“ It’s been a slow and steady road, and I am finally doing exactly what I want to do. It’s an incredible feeling.”
GRETA ZOZULA “Even though at the age of nine I had no real idea what it meant, I knew I wanted to make movies,” says cinematographer Greta Zozula, 30. “My sister and I would write scripts, and take out our VHS or Hi8 camcorder and take turns acting out our stories. I thought for sure I wanted to be an editor because at the age of 12 it was really accessible; but once I went to college and discovered all that went into it, I knew that I had to be on set. Camera came very naturally, and I knew it was what I was meant to do.” “I love collaborative storytelling,” she adds. “The idea that you can bring a bunch of people together who may or may not know each other and tell a story that can change peoples lives and viewpoints is amazing to me.” Zozula studied cinematography at The School of Visual Arts, earning her BFA in 2010. She worked her way through the camera department on shorts and features. In 2014, she shot Immaculate Reception, which went to Sundance and also won an ECA. Her first narrative feature, Never Goin’ Back, also premiered at Sundance (in 2017), was bought by A24, and had its theatrical release in August 2018. A presence at festivals like Sundance has helped get her name out there. “DPs rely on reputation and word of mouth for a lot of work, especially in the beginning stages of their careers,” Zozula shares. “I can say that Sundance has been the most influential for me personally. The films that I have premiered there have been the biggest propellers of my career. I got my agent through Sundance, and a lot of new work. I’ve made invaluable
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DIRECT OR OF PHOT OGRAPHY YEARS IN GUILD: 6 LOCATION: BROOKLYN HOMETOWN: ACME, PA
connections that I still have to this day. People respect film festivals, and when you can put that on your résumé, it means something.” Augustine Frizzell, writer, director and editor of Never Goin’ Back, appreciates Zozula’s commitment. “If Greta’s going to put her time and effort into making a film, she’s going to make sure it looks great,” Frizzell states. “She’s imaginative and resourceful and doesn’t let practical issues become excuses for less than stellar work. I love the idea that young up-and-coming filmmakers can watch someone like Greta take limited resources and turn out a gorgeous product.” Zozula’s patience and persistence stand out for DP Joe Anderson, whom she met when Anderson was 2nd Unit DP and Zozula was a loader on Martha Marcy May Marlene, another Sundance hit. “I think young DP’s feel a lot of pressure to try to be rock stars right out of film school,” Anderson explains. “So, I appreciate that Greta worked her way up through the camera department. She has taken the time to learn all aspects of the trade [and] inherently understands how a camera sees the world.” Leaving the security of being an in-demand operator and moving to DP was challenging and rewarding for Zozula, who just wrapped the feature Light from Light with director Paul Harrill and is in production on What Breaks the Ice. “It was hard at first, but I am so happy I did it the way that I did,” she says. “It’s been a slow and steady road, and I am finally doing exactly what I want to do. It’s an incredible feeling.”