Christine Ng On Cinematography, Collaboration, and Creative Leadership

In this special replay of Creative Space, we revisit another fan-favorite conversation, featuring New York-based cinematographer Christine Ng. Christine’s work spans commercials, music videos, Emmy-nominated documentaries, and hit TV shows. From shooting her first commercial during Super Bowl 56 to Rian Johnson’s TV series Poker Face for Peacock, Christine’s journey is a masterclass in creativity, resilience, and leadership.

In this episode, Christine and I discuss:

• Her journey from growing up in Queens to becoming a trailblazing cinematographer
• How diversity and her upbringing in one of the most multicultural cities in the world have shaped her creative process
• The importance of building trust on set and creating a safe space for subjects, especially in documentary work
• How she brings emotion to life through the camera, blending storytelling with technical prowess
• Lessons learned from working on high-profile projects like Everything is Copy and Poker Face

Tune in for an insightful conversation about overcoming challenges, the art of visual storytelling, and the power of building a creative career in the film and TV industry.

For more information on Christine Ng, visit: christineeng.com.

To sign up for the weekly Creative Space newsletter, visit: http://eepurl.com/h8SJ9b.

To become a patron of the Creative Space podcast, visit: https://bit.ly/3ECD2Kr.

SHOW NOTES:

0:00 — Introduction
3:00 — Christine’s early life growing up in Queens, NYC
6:00 — How diversity has influenced her creative process
9:00 — Bringing emotion to life through the camera
15:00 — Lessons from working on high-profile projects like Everything is Copy
18:00 — Building trust on set: creating a safe space for subjects
21:00 — Transitioning from commercials to narrative film and TV
24:00 — Balancing technical skills and storytelling
27:00 — The challenges and rewards of working on Poker Face
30:00 — Christine’s creative philosophy: staying open to inspiration
33:00 — The role of leadership and collaboration in her work
36:00 — What’s next for Christine: Upcoming projects and aspirations
39:00 — Advice for aspiring cinematographers
43:00 — Conclusion

Episode Transcript

Jennifer Logue (00:10):
Hello everyone and welcome to Creative Space, a
podcast where we explore, learnand grow in creativity together
.
I'm your host, jennifer Logue,and today we are wrapping up our
fan-favorite series with anincredible guest before
launching into season three onOctober 20th.
Joining us today is none otherthan Christine Ng, a New York

(00:32):
based cinematographer who hasworked on everything from
commercials and music videos toEmmy nominated documentaries and
hit TV shows.
In this conversation, christineshares her journey from growing
up in Queens to becoming atrailblazing cinematographer.
We'll talk about how diversityhas shaped her creative process,
the importance of buildingtrust on set and how she brings

(00:56):
emotion to life through thecamera.
Trust me, you won't want tomiss this, so let's dive in.
Hello everyone, and welcome toanother episode of Creative
Space, a podcast where weexplore, learn and grow in
creativity together.
I'm your host, jennifer Logue,and today we have the pleasure
of chatting with Christine Ng, aNew York-based cinematographer

(01:20):
who works on everything fromcommercials to music videos, to
documentaries, to TV.
The first commercial she evershot aired during Super Bowl 56,
and her first full-lengthdocumentary was the
Emmy-nominated Everything isCopy for HBO.
She also just wrapped RianJohnson's TV series Poker Face

(01:41):
for Peacock.
On top of all of this,christine was also named a
rising star of cinematography byAmerican Cinematographer in
2022.
Welcome to Creative Space,christine.
Hi, thanks for having me.
Oh my gosh, it's such apleasure.
And first of all, I want toshout out Sam Jones, the amazing

(02:02):
Sam Jones, who connected us.

Christine Ng (02:07):
Sam Jones, the amazing Sam Jones who connected
us.
Yeah, she's amazing.
She's just like a creativeburst of positive energy.

Jennifer Logue (02:11):
Yes, perfectly.
Sums it up Like her tagline isput a little LOL in your heart.

Christine Ng (02:17):
Yeah, yeah, that's exactly who she is.
I mean I, um, I met her on setand it was really funny, cause
we were setting up and, um, youknow, like there's video village
, like director's video villageand there's like client or like
creative video village, and so Ijust like looked over and there
was no one there.
And then I was like setting upthe shot and I looked over and
then Sam was there and I didn'tknow her then and I looked at

(02:39):
her and I like like kind ofwaved, you know.
And then she waved and she likeGod, I'm just like can I give
you a hug?
And I'm like, uh, and then, andthen we hugged and then, um, I
mean we, we became like fastfriends, like immediately.
Um, and then since then we'vedone a couple of jobs together,
um, and she's just reallywonderful and, um, I'm so happy

(03:03):
to have met her, because it'slike you know, when you get not
like older, just like later inlife, and you and you feel like
you've met a lot of people whowas like your people, and then
suddenly like someone comes intoyour life unexpected, you're
like, oh my God, like where haveyou been?
Yes, it's so nice to meetpeople like that and feel like

(03:24):
super connected very quickly,and that's exactly who Sam is to
me.

Jennifer Logue (03:29):
Amen.
She's a magical human being andit's been.
I feel so grateful that ourpaths crossed in life, totally
yeah.
So well, let's talk about yourcareer and your life.
You have such an interestingbackground.
You know you were born in HongKong and then you were raised in

(03:51):
New York City.
How has your upbringing shapedyour creative lens?

Christine Ng (04:03):
you know, growing up.
So I grew up in New York but Igrew up in Queens, which is, you
know, one of the most diverseplaces in the world, and I think
, like growing up heredefinitely impacted me in such a
positive way of like thinkingof community and just like you
know what a community looks likeand and inclusivity, and you
know, diversity to me doesn'teven like.

(04:25):
It's like when I walk into aroom and it's one shade and I'm
of the other shade.
It's very strange to me and itactually makes me feel like like
an outsider.
And growing up, even in HongKong, it's like when I did, I
kind of moved back to a littlebit in fifth grade and even the
school I went to in Hong Kongwas an American school and it

(04:46):
was still diverse.
So, like every type ofschooling I've been to up until
college I went to NYU wasincredibly diverse in in the
makeup and I think because ofthat, it's really made me a
person who's just, you know,very open to other cultures and
and and when things are the same, I'm like, wait, this is super
weird.
So, on a, on a creative impact,it's.

(05:09):
It's great because I'm I'mconstantly wanting to learn new
things and wanting to bechallenged and wanting to be put
in situations that I've neverput in before, and so you know
when you were talking about justlike the type of genres I've
worked in, I I want to and Icrave working in all the
different things, because I justwant to learn, I just want to
be immersed in things that I'munfamiliar with and

(05:33):
unfamiliarity is like comfortingto me.

Jennifer Logue (05:38):
That is beautiful.
It's so clear that you havethis voracious appetite for
learning, like it comes out inyour energy.
So who inspired you growing up?

Christine Ng (05:50):
I feel like when I , when I was growing up, like I
wanted, you know, I feel likeyou, you always want to be a
teacher at one point, you knowcause?
I feel like your teachers areso nurturing and and your
teachers are also people thatmake you learn things right,
like they, they, they show youthings that you don't know.
They inspire you to keepgrowing.

(06:12):
They're like they push you intouncomfortable places, which is
like still what I love.
So I feel like just teachers ingeneral like inspired me to
learn.
And then you know, I don't evenknow if I understood photography
or like cinematography untillike much later to learn.
And then you know, I don't evenknow if I understood
photography or likecinematography until like much
later in life.
I always loved cameras and Ialways loved taking photos, but

(06:34):
the technical aspect of it andthe kind of storytelling aspect
of it I didn't really understandor really consider until I
watched Eternal Sunshine of theSpotless Mind, which is, you
know, just like this incrediblyimmersive, visceral storytelling
that, like makes me, makes meconsider life in a different way

(06:58):
, and also takes visualstorytelling in a way, that
storytelling in a way that makesyou feel like you're in a
different space, you know, likelensing and and um and lighting,
and the production design andhow they go from kind of one
universe to another universe, tolike your subconscious, and

(07:18):
it's like all these things thatis hard to contextualize and
visualize.
That film did it so perfectly.
Um, and watching that film mademe notice visual storytelling.

Jennifer Logue (07:32):
Oh my gosh, that was the moment for you, was
that when you knew you wanted tobe a cinematographer?

Christine Ng (07:36):
I think that's the moment when I, when I was like,
oh, like what is that?
You know what I mean, like,what, like, how do you tell
stories like this, that you knowwhat I mean like what, like,
how do you tell stories likethis?
And I think it made me reallyconsider, like um, filmmaking
not just as like a, a career,but more of like a, a creative
outlet, you know, um, to makesomething that's so special, um,

(07:59):
and then then I started lookingup, you know, michelle Gondry,
and then I started looking upEllen Kuris, who was the DP of
that film and and just, you knowshe's a female DP and that is
was was rare, still a little bitrare now.
And you know, just seeing hertrajectory and seeing the type
of work that she's done becauseshe's also some networks, a
documentary that works infeatures, that is also a

(08:21):
director, she also shootscommercials and she's obviously
done music videos Like, thebreadth of her work is something
that inspired me to always wantto be like, to have a diverse
resume and a diverse, you know,accolade of work, because I
think that's the only way youcan grow Like if you keep doing

(08:42):
one thing for me, at least, Ifeel like I keep doing it the
same way and I it's hard for meto break out of my own kind of
like thought process.
But then you have to challengeyourself and and go from
something that's like a hugecrew to something that's, you
know, scripted huge crew tosomething that's unscripted and
like really tiny.
Then you kind of have toproblem solve differently and

(09:05):
you have to like wear differenthats in different situations,
and I think that's what makesyou a really well-rounded
filmmaker.
And also when I actually so,when I moved back to Hong Kong
when I was nine, my parents so Iwas born there and my parents
were born there too, and westill had a lot of family there
my parents went back to help mygrandparents with their family
business and took me with thembecause I was so young.

(09:26):
So I went to school there, inan American school, and we live
with my grandparents and I havean older sister who stayed here
because she was in college, andit was the first time where I
was like oh my God, is this whatbeing an only child feels like?
Because my parents just gave meall their attention.
Whatever I wanted to do was thething we're gonna do.
Oh nice, so excited to likeshow me where they grew up,

(09:47):
because it was I was finally ofan age where I could like
understand, appreciate, yeah,appreciate, like remember that
time, like I don't think Ireally remembered anything
before I was like five you knowwhat I mean like actually, um,
and there was one night where wewent outside, literally stepped
outside of my grandparents, um,and there was one night where
we went outside, literallystepped outside of my
grandparents apartment and therewas a film shoot, oh, and that

(10:10):
I was like what's going on?
That was the first time I'veever seen a film shoot, you know
, ever and um, and they wereshooting nights and my parents
were like, could see like thetwinkle.
In my end they were like, okay,you can stay up as long as you
want and you can stay here andwatch them work.
And I was like, oh, my God likecool.
Yeah, like I don't ever reallyhad like a uh, a bedtime, but

(10:33):
the fact that they were like youcan be out, um, was like you
know, I was just so excited andthen it was so cool to just see
like a bunch of people makesomething together and it's
clearly all about teamwork and Ididn't know what anyone was
doing and so we, you know, Istayed up really late and we got
to see them work.

(10:53):
And then the next day we wentback and they were there again
and they were shooting somedaytime scenes, like in the
afternoon, and I used to reallybe into Cantonese pop and my
favorite pop star was there.
What it was just like likeeverything, right, like
everything you want as a kid,like you know, just like came
true and I was so excited tomeet him and like I took a photo

(11:17):
with him and you know, and Ithink the potential of like as a
child, meeting like he wasn'tlike my idol, but you know, it's
like meeting someone who'sfamous is so insane and like
it's so funny now, because it'slike I rarely get starstruck,
right, I think that's also partof like being a New Yorker.
You're just kind of like likeblase about everything Like,

(11:37):
yeah, that's cool, whateverRight, and it's funny because,
like as a nine-year-old, I waslike freaking out.
And then now it's funny because, like as a nine-year-old, I was
like freaking out.
And then now it's like I workwith, like you know, very, very
famous people and I'm just like,hey, I'm Christine, nice to
meet you, you know, like justlike super laid back and chill
about it.
But like I mean, I really thinklike that that moment in my
life was kind of pivotal for meto even understand that like

(11:59):
this is a career, you know, andthe fact that they can just stay
up late and work with famouspeople and like teamwork and
make something like that wasreally influential for me.

Jennifer Logue (12:10):
Now, this is creative space, so I ask this
question of everyone but how doyou define creativity?

Christine Ng (12:19):
Oh, that's a good question.
That's a good question.
Huh, you know, createcreativity for me, in the
context of the type of work thatI do and how I create, really
starts with my connection withthe story or the person that I'm
making it with and the energyinside a room and how I am

(12:44):
responding to that.
And I think, like when I workedon when they See Us with Ava

(13:04):
DuVernay and Bradford Young, whois the DP, you know there was
something about holding thecamera on that project that felt
so incredibly impactful and andand I understood it was so.
I mean, at that point I hadbeen, like you know, working for
like eight to 10 years and youknow, doing camera stuff, but it
wasn't until that point where Iwas like, wow, like how I
literally how I'm holding thecamera and my physical

(13:25):
relationship between me and theperson I'm filming is the way
that you're gonna internalize ityou know what I mean, and so so
much of it is about, like,physicality that is not actually
uh tangible on the screen, in away, because it's how I am
expressing the proximity betweenme and you or me, and

(13:47):
you know, this flower, whatever,like you know, like it's like,
and there's something soimpactful about that, about how
then you cut to something reallywide and that kind of shows
like loneliness or something youknow, and it's like.
So it's almost like how do Iexpress emotions with the lens
is how my creativity works, andhow do you then bring in

(14:11):
lighting, and how can lightingsubtly, you know also affect
that and emote stuff, or how canI help tell someone's story
that honors them?
And when I work in documentary,it's like how can I make sure
the subject feels comfortablewhen I'm there and when I'm

(14:31):
holding a camera?
Because, like, not everyonefeels comfortable in front of a
camera.
Most people don't feelcomfortable in front of a camera
, and I think if you're able tocreate this like kind of like
just synergy and safe space,then they forget it's there and
they're able to be vulnerable,because they're ultimately what
the filmmaker wants.
Right, when you're makingdocumentaries, is this like

(14:53):
intimate connection between theviewer and the subject and how
do you break that down?
And so I feel like mypersonality and and and just
kind of like my personality andand and just kind of like my
general, like energy affects thecreativity in the space that
I'm in, oh yes, that makes somuch sense.
Yeah, so like creativity.

(15:14):
For me, in the context of what Ido, it's, it's, it's, it's a,
it's a bit of, it's a lot ofthat, but it's also so much
about like being a leader.
And when you're working on ashow where you have, you know,
two to 300 people or two people,it doesn't matter there's still
this like need for a leadershipquality and and and like being

(15:35):
level-headed and being clear andand making sure that everyone
like has a task, but also likethey themselves are also owning
the task.
You want to empower the personyou're you're assigning a task
to, to do it the way that theydo it, you know, and without
micromanaging them.

(15:56):
And like you know you, you wantthem to feel like they're,
they're respected and and in aspace where it's like we value
you being here, you know.
So that's also part of likethat influences my creativity,
although it's not creative atall, but it's part of this like
bigger um system of like I don'tknow what you call it Just like
leadership, yeah, like, andthat influences everything.

(16:19):
You know what I mean.
Like, even just like cominginto a room and saying hello to
someone can influence thecreativity of anything.

Jennifer Logue (16:25):
Yes, it's all energy and every action we do
has a reaction.

Christine Ng (16:30):
Exactly, exactly, exactly, so like my creativity,
can you know, can be inspired bythe smallest thing, or like
affected by the smallest thing,but it also reflects what I'm
feeling, you know, so like Ifeel like.
You know, generally I'm notsuper like emotional, but I try

(16:54):
to be emotional through my work,my, my creative work, you know,
so like, how can I portray anemotion?
How can I make people feelsomething?
Um, and that's hard, you know,um, and that's the thing where I
feel like I try to do with mywork, um, and then I also, you
know, obviously want it to lookbeautiful and I want it to like,

(17:15):
feel, um, organic and genuineto the story that we're trying
to tell.
So like, not everything looksthe same, beautiful, like,
beautifully the same, butbeautiful in its own way, um,
and how do you capture that?
Right, um, so all those, allthose things, to me, is is
creativity, like in my, I guess,in my work, um, but I feel like

(17:38):
creativity is, is, can be, so,can be, also be a solo thing.
You know what I mean.
Like I could just walk aroundwith my camera and feel creative
energy, you know, like sittingin a park or like being on the
subway, or like anything reallylike.
You know, like it's just likeallowing the space to influence
me and to like react to it.

(18:00):
Is is all like.
Creativity is everywhere.
It's just like are you openingyourself to receive it right?

Jennifer Logue (18:10):
That's a beautiful statement.
I love that.

Christine Ng (18:13):
Yeah, I could say that to myself more.

Jennifer Logue (18:17):
It's another quote I'm putting on my wall, so
we all need that reminder.
On the subject of your creativeprocess what is your process
like when you're preparing for,you know, a project?

Christine Ng (18:32):
Yeah, I think you know, for me, depending on what
type of genre it is, I prepdifferently.
So if it's a narrative project,you know I'll get the script
first usually, or it depends on,again, what kind or how I got
the script.
But either I get the scriptfirst or I have a meeting with
the director.
Maybe I met the director forcoffee and maybe it.

(18:53):
Then then they're talking abouta potential project and I
haven't read the script, butthen it's, it's.
It's kind of like just riffingon, um again, energy and vibes
Like like I think, like when youhave coffee with someone, or
even this, it's like almostimmediately you kind of like can
, can feel if, like, you'regoing to have a good
conversation or not, right, likeyou kind of like gauge and

(19:16):
that's really important to likethen actually be able to
creatively connect with someone,um and trust each other, right,
because, like that's part of ittoo, like, and as a dp I feel
like I, my, my goals, you know,is to honor the script, honor
the story and help the directorachieve their vision.
So sometimes, like, I mightpitch an idea and they might not

(19:39):
be into it, but that's's okay,cause I know that I'm in service
to the script, the story andwhat their point of view is.
Um, and so you know I wouldread the script and um just
write general notes about it andI try to like I try to read a
few times before I have to thentalk to someone.
My first read is just like kindof get the basic outline of,

(20:03):
like what happens in the story,and then I'll go back and like
notice these things that thewriter has done.
Like you know, they plant ideasin the beginning, that kind of
echo throughout the story, andhow does that?
How does that grow over time?
And how does that, how does thetrajectory of our subject also
change throughout the story?
And how do you portray thatvisually in a way that we're

(20:27):
also growing as well?
And if they're not growing,that's also a choice.
Then it's like, are you justdoing the same things, like
throughout the whole thing, ordoes something?
Is there a climax that happens?
That then to like change thevisual language of the story,
you know, and there's like somany things.
I mean we're not even talkingabout a story that is real or it

(20:47):
has a has a story right now oran arc, but it's like you know,
I try to kind of think aboutlike well, whose perspective do
we want the story to be toldfrom, right, um, and then that
affects, like how the camera ishis reacting to what they're
doing.
So I just try to do like a verylike basic read, and then I go

(21:08):
back and I like try to findthings that kind of appear
multiple times or like a themeor like you know anything
thematic, that that that kind ofis the tone of of the piece.
And then I usually go and Ilook for some visuals, um, or I
try to look for like like clipsof stuff or something, or

(21:29):
sometimes I like it's also adouble-edged sword when you do
that, because I honestly don'tlove doing it, because I think I
, I.
Then if I present images or ifI present a film that I'm like,
oh, it's like this, then peopleare like, no, that's, it's not
like that, you know.
And I'm like, no, no, no, it'snot like that, but this is the
closest thing I can find to that, you know, and like I think the

(21:50):
hope is that whenever you makesomething, you're always trying
to make whatever that isexciting and unfortunately, when
that's your goal every time,then there aren't examples that
exist that show what you'retrying to create.

(22:12):
And so it's this like, do Ireally want to show stuff or do
I not?
And sometimes I just pull stuffjust to like have to like start
a conversation.
So I always say, like this isjust to start a conversation,
this is not what I'm, this isnot like exactly it, but it's
just to like then have astarting point to kind of bounce
ideas again, you know.
So then it's it's so much ofthen just like more

(22:33):
conversations of like okay, likewhat exactly is this?
Or like how do we want this tofeel?
And then you know, then youstart working with other
creative people, not just thedirector, like the production
designer, you know, like um,like this room I'm in right now,
like I created it, I designedit, you know, but it like has
like energy.
That like is different than myliving room, you know.

(22:53):
But it's also like um, I don'tknow like.
I think like a space obviouslyinfluences, like your character,
and like what are you trying toshow about your character
through the space and and colortheory and things like that, and
even their like their clothes,and like the wardrobes.
And then like costume designer,and then you start working with
your gaffer and you know youstart thinking about lighting,
and, and then it's like allthese things coming together and

(23:15):
then suddenly it's like you'vefilled the frame right with with
all these ideas.
And that's why narrative is soexciting, because you can, as
much as you can right, like withthe amount of resources that
you have, like really beintentional about what you put
in the frame.
Um, whereas like documentary,you know you always you're
walking in situations where youdon't always know what you're
gonna get into, and that's likea different path of like

(23:37):
creativity and prep.
But but with it's just a lot ofconversations and a lot of just
like, what are we influenced byand why, and, and and, and
collectively as a group, likecoming up with ideas of like who
a character is, how do we wantto portray this character, and
then you meet the actor and thenyou're like, oh, wow, like this

(23:57):
is like you know.
Then then you're there andyou're doing, doing a rehearsal,
and you're like, oh, wow, Ijust like I imagined when I read
on the paper that they weredoing like that they would read
it like this, but wow, like thisenergy that they are bringing
is also something else, and thatactually takes a lot of the
prep that you've done, like kindof throws it out the window.
But that's OK, because at thatpoint, hopefully, you've had

(24:17):
enough conversations to actuallylike not repeat like goals.
Like you enough conversationsto actually like not repeat like
goals.
Like you already know what thegoal is for the scene and even
though the the actor, has nowcome up with something different
than what we all imagined, it'sactually just to make it better
.
You know what I mean.
So then it's like creativity isjust like fluid, right, like
creativity and creation, andthat is just like you have to be

(24:39):
fluid about it, or or you won'tbe happy.
Like I think if you're like thisis what I want, and someone
comes in and you know you lose alocation, you're just going to
be upset.
But instead of being upset, youcould be like okay, maybe, like
this is better, oh, this spaceis bigger or this, whatever,
right.
Like, trying to like bepositive about it is also like a
hard thing to do sometimes,cause if you really want

(25:01):
something, but then in the end,things always happen for a
reason, and and and in the end,things are always going to be
okay, going with the flow, yeah,yeah, going with the flow is
just like super important, Ithink, in this, in this industry
and in my role.
But prep is also reallyimportant, just like trying to
have as many conversations asyou can to understand the

(25:22):
director, to understand, youknow, or, if it's a writer
director, even better, like tounderstand like the birth of the
story and like why you know andand yeah, so it's, it's like
the prep of it is is soimportant.
So that's kind of what I do fornarrative stuff.

Jennifer Logue (25:39):
That's so interesting.
How long would you say it takesto prepare for a narrative?

Christine Ng (25:46):
I think you know, unfortunately we're always, it's
always budgetarily.
Uh, the budget dictates howmuch time we have.
You know what I mean.
So, like um on poker face,which I just shot this year or a
few months ago it was, it's anhour long show, so it's 10 days

(26:06):
of shooting.
It's usually roughly 60 pages.
Or you know, you say like aminute a page and we have 10
days to prep and 10 days toshoot.
Wow, which like sounds like alot.
But then you're, you know you'reliterally in a car for like two
days looking at locations, thenyou're trying to break down the
script, then you're trying toget all your equipment orders in

(26:28):
, then you're trying to likefigure out a pre-light or you
have to do some testing.
Or you know, you're also oncalls with the costume designer,
with the production designer,with the prop, with the you know
props department.
Like you're just on all thesecalls and then suddenly you're
like, oh my god, like half theweek is over, oh, and we lost
the location.
Okay, we got to get back in thevan and look again.
You know um, so it's likeconstant and they're casting.

(26:50):
So, like you know, I'm not withthe director always, because
they also have to do their prep,like casting, so they might be
gone for a few hours looking atcasting tapes, and then I'm
trying to like break down thescript or look at like a light,
like figure out the lightingplan, or you know things like
that, and working with locationsand the AD to figure out the
schedule, cause then suddenlyour actor is not available

(27:10):
anymore, or, like you know,you're constantly like moving
puzzle pieces around and tryingto make it work and do it all on
on, on time and within budget,you know.
So it's this constant likeconversation, conversation,
conversation.
Or if there's like a big stunt,you also have to like have
meetings with the stunt team andlike they might have to go do a

(27:30):
previs for you and like showyou, you know like what they're
thinking to execute the stuntand how long does that take?
How long does that take on set?
Um, what other tools will weneed to execute that?
So it kind of like everythingjust kind of compounds on itself
and the next thing, you know,it's like okay, day one.
You know, here we go.

Jennifer Logue (27:51):
Ready to go, but you're not.

Christine Ng (27:54):
You're still like okay, so what are we doing this
afternoon?
Or like, oh no, like this thinghappened for tomorrow, we have
to move this, or it's snowing.

Jennifer Logue (28:03):
You Like this thing happened for tomorrow.

Christine Ng (28:03):
We have to move this, or it's snow Like it's
snowing you know, and you'relike you can never control the
weather, yeah, you know.
Or there's a thunderstorm, likeI shot Rap Sh** in Miami and we
shot like end of summer intofall in Miami, which is still
kind of like stormy season, likehurricane, thunderstorm,
whatever season, and yeah,that's what happened.
Like every day around threeo'clock we'd have to shut down

(28:26):
for like an hour and a halfbecause it would just be like
thunderstorms are coming in andyou have to turn off the
generators.
Everyone has to be undercover,you can't be on the street, um,
so you can't shoot.
Or it's like continuity, likeit wasn't raining when we
started the scene.
Now it's raining, everything'swet.
We gotta wait.
You know, it's this likeconstant, um, things always go
wrong.
Like things, um, things alwaysgo wrong.
Like things like things willalways go wrong, and that's you
just have to be like okay, sowhat's going to go wrong today?

(28:47):
You know what I mean.
Like, if you have that mindset,then you're like okay, well, of
course, uh, that's you know.
And also like shooting all thisstuff during COVID, right, like
, wow, like an actor testpositive, or like what do you
call it?
Um, the rapid test?
Yeah, what's the one?
When it's like, uh, like closecontact, close contact.
They can't come to work either.

(29:07):
And it's like, oh no, you know.
And then you're like trying tomove things up in the schedule
with people you can shoot.
Or, if it does start raining,you're like, do we go back to
the stages and try to shootsomething in an apartment that
we have a set for?
You know, like you'reconstantly just trying to be
like how do we make the most ofthe time?

Jennifer Logue (29:24):
and the people that we have, the resources we
have right now.

Christine Ng (29:27):
Yeah, yeah, exactly, exactly so.
It's so much of all of that um,constantly, um.
So it's like and, and that'slike luxurious prep time too.
You know like 10 days for 10days and 10 days of shooting for
an hour is still kind of likeleisure, luxurious, even though
it's like you're averaging sixpages a day, which doesn't

(29:50):
include what's on the paper.
You know, like car crash, likethat's one, that's one strip,
but that could take 12 hours toshoot you know.
And then, you're like okay, westill have 59 and seven eighths
pages that we have to do on thenine days, you know.
So it's this like you know, adsassistant directors on set are,
I mean, they are incrediblebecause they are the ones who

(30:15):
try to really see ahead andmention all the potential
problems that can happen andcome up with the best case
scenario for a schedule.
And then I'm there to like kindof vet it a little bit, like do
I agree or do I see otherthings that could go wrong?
And and being able to be very,um, honest with my ID and and

(30:37):
with timing too.
You know, it's like if we'regoing to shoot in the space and
it's daylight dependent and andI don't have, you know, we
didn't get a pre-light I'm goingto be like I need an app like
minimum two hours to get a cranein here, to get a condor in
here, to like do all, likewhatever.
And they'll be like oh, okay,so maybe we should shoot, maybe

(30:57):
we should shoot this at the endof the week and maybe we can get
you some rigors.
You know what I mean.
It's like this constant, likehow do we map?
Yeah, again, like maximize ourtime, but be smart about it, you
know, and the ADs are alwayspeople that I am always like,
leaning on, to be like, hey,what are you thinking?
Or like you know what?

(31:17):
What do you?
How long do you think this willtake us?
Just based on your experience,you know, and and again.
It's also like with differentdirectors every time with you
know, just like just moving castof things.

Jennifer Logue (31:31):
Adapting to different styles, too, is
something to think about.

Christine Ng (31:34):
Yeah, yeah, yeah, like, even just like
communication style you knowwhat I mean Just like you have
to like be able to communicateso clearly, so quickly with
these collaborators that youhave that you just met, you know
, execute something that is sowildly difficult and complicated

(31:55):
.

Jennifer Logue (31:55):
Here's a question for you on the subject
of collaboration.
How do you build thatcollaborative bond quickly?

Christine Ng (32:01):
Yeah, that's a good question.
I mean, I think like I ask alot of questions.
I'm just like, okay, well, sowhat do you think about this?
Or like, are there any filmsthat you, you know?
If it's like, let's say it'snot television, let's say it's
just like someone's likenarrative feature, I'd be like,
okay, well, what films, whatfilms inspired you for this?

(32:26):
Or like, what do you see arecomplimentary to what we're
creating?
What do you like in general?
Just like, not even just onpaper, but like you know, what
do you like?
And also, just like you know,I'm I'm like a caffeine addict.
So, like I'm always like, oh, Igot to go get coffee, can I buy
you a coffee?
And I think, like you know justlittle things like that, just
being kind, right, like justbeing like aware and being like,

(32:46):
oh, I'm going to get some water, do you want a glass of water?
You know, like, just literally,things like that, I think for
me mean a lot If someone offersme water or someone like like,
oh, should we go get lunch?
Or, like you know, do you needsomething?
Or like you know, just thingslike that, just like checking in
and like just humanizing eachother and realizing that we're
all humans in a world of, likechaos.

(33:08):
Uh, you know, like just thatalone and and and just be like,
oh, where are you from?
You know like little littlethings, like oh, uh, you know
where do you live, or likewhatever, like little things
like that, I think, just justjust to try and form like a
friendship.
At the same time, um, inaddition to like trying to
execute something impossible,those little things matter, and

(33:32):
not just with directors.
Like you know, when I come on asan alternating DP, I don't
really hire the crew, and so thecrew I'm inheriting from the DP
that started the job.
So it's like we take turns,like I'm shooting, they're
prepping, then I'm prepping,they're shooting, and the crew
stays on the whole time.
Oh, interesting, it's just wetake turns, like I'm shooting,
they're prepping, then I'mprepping, they're shooting, and
the crew stays on the whole time.
Oh, interesting, it's just theleaders come in and out, you

(33:53):
know, and so that's hard because, as someone who doesn't start
the job, I sometimes don't knowthese people and they've been
collaborating and working withall together for like a few
weeks, and then I'm here out ofnowhere and I have to just like
quickly assimilate intowhatever's happening, or like
you know, or if things aren'tgreat, how can I make things

(34:14):
better?
How can I, you know, what can Ido to to make this like
communication easier for them,when, when I'm shooting, you
know, like things like that, andthat you gotta like it's fast,
you know, and I don't even havetime to talk to them sometimes
cause they're on set Right.
So it's like, how do you andoftentimes what I do is I come
in and go how's it going?
How's the job going for you?

(34:35):
Are there things that haven'tbeen working for you?
What can I do better?
And I say that that's like thefirst thing I say just to like
understand, like, what are theyhaving trouble with?
Is it sometimes like a timelinething?
Is it sometimes like is it, ifI have ideas, do you want me to

(34:56):
just text you immediately so youhave time to think about it, or
would you rather I like compilea list and come to you like day
six or seven of my prep, whereyou only have two days left to
like think about it?
Do you want to wait until thetech scout for me to tell you
everything, or like what'sbetter for you?

Jennifer Logue (35:09):
Figuring out their communication styles and
so smart.
These seem like simple things,but I know to a lot of listeners
this is going to be like wow, Inever thought of that.

Christine Ng (35:19):
Yeah, and it's like it makes such a difference,
like also realize these things,like cause, you know, I came
from the crew side, so I was anAC for a few years.
I was camera I still operatefor other people and like my
friends and stuff and like, andalso being a DP and I also did a
little bit of lighting and, andyou know, if you're the crew
member, oftentimes by the timeyou get information, it's like

(35:42):
so many things have already beenset that you're like, if you
had told me that you wanted todo this, I would have gotten
this piece of gear, this liketiny piece of gear that would
have saved our lives.
It would have saved an hour oftime of this or that or whatever
.
You know, it's like, oh, weneed to go from a crane to
handheld and I need to do thatfast.
Like that might affect how youbuild the camera, you know, and

(36:04):
it's like if you actually tellpeople these things your
technicians, who are there tosupport you and you're clear
about that then they're going tothink of ways to to make their,
their process more streamlinedand efficient, because if you're
trying to go from like a giantzoom to a prime handheld, you
have to swap a lot ofaccessories.
So then it's like do we want todo that?

(36:27):
Should we also think about theorder in which we shoot things
so that we're not going back andforth, or do we just get a
second camera and have itstanding by with primes?
You know, it's like all thesedecisions that influence the
time and your workflow.
And then if you get a secondcamera, do we need another crew?
And is that, does that makesense monetarily?
Or maybe it does, because wedon't have time and we want to

(36:48):
do crane shots and handheld.
You know, then you're like,okay, that makes sense.
And then it's like, oh, if I'mthinking of a crane shot, I
better text my key grip and tellhim like I'm thinking of the
shot I want to do this thing.
Like on poker face, I had somecrazy camera movements I wanted
to do, and my key grip, robHarlow, is like such a
sweetheart and such a like likeyes, man, you know, like yes.

(37:12):
He's more like a yes, ma'am.
He's like yes, ma'am, you know,he's always I'm always like
okay, rob, I have an idea.
And he's like yes, what, whatis it Like?
He's actually excited to bechallenged.
You know, we were shooting inthis RV and I basically wanted
to do a shot that was likechildren of men.
You know like kind of comingaround seeing all the characters
whipping around, pushing backLike we don't want to see

(37:32):
anything and and my gaffer tooit's like we have to hide all
the lights out of frame.
You know like.
And then working with VFX, likeworking with the VFX team and
being like, hey, I need to putsome track down, can you paint
that out?
You know like things like that,where it's like it has to
become a big discussion.
And then the way I wanted tomove the camera.
We you know Rob and I had a fewideas and one of them I had to

(37:56):
involve art department and Ineeded them to modify like the
kitchen, like in RVs you knowhow they sometimes have a little
kitchenette area.
So I needed them to modify theactual kitchen cabinet because
it jutted out and that preventedus from moving the camera.
So I asked them if they couldrebuild the cabinet with, like,
working plumbing, and thatinvolves special effects to make
working plumbing.

(38:16):
So now you're just likesuddenly it's like I've just
that alone.
I've talked to five departments, yeah, and I'm still talking to
the AD's and the and theproducers and my director and
the writers, you know, it's likeit's like this constant, like
on a tight timeline.
It's incredible, yeah.
And you know, and and and and.
While they're, while they'reshooting on set, they're also

(38:40):
thinking of how to rig thingsfor me.
So they they were buildingstuff, you know like just
outside of set and sending mevideos of like potential rigs
that could work.
And then I would like, then Iwould text them back and be like
that's great, or I'd be likethat's too big or like I don't
know if that's going to work orwhatever you know.
And it's like so it's thingslike that, and and and

(39:01):
establishing.
Like how does Rob like to work?
Like do you want me to tell youimmediately?
And he's like just tell me.
Like if you have an idea, theearlier you tell me, the more I
can think about it, the more Ican sleep on it, the more I can
also talk to my dolly grip, likedo you have ideas or talk to
like specialty crane places orother camera support places to

(39:21):
figure out if there's a piece ofequipment that we don't know
about or like off the top of ourhead that could help us execute
this plan more efficiently.
Yeah, yeah, you know.
And same thing with likelighting.
It's like, oh well, we're gonnashoot, um, you know it's, it's
a night, it's a night exterior.
Um, I'm thinking we need to putlights here, here and here.
We better go see the.

(39:42):
Can I, can you leave set for anhour to drive this road with me
and see if it makes sense, andthen asking locations to go and
take photos at night for me sothat I can see it at night and
make a more educated decision onhow we're lighting it.
You know, um, so it's so manythings and that's just like
these are all just tiny scenesof a whole show.

(40:03):
You know, um, and yeah,communication is so important
and and and just being thankful,like I'm so grateful for their
knowledge and their and the factthat they care you know, like
everyone's in it.

Jennifer Logue (40:16):
Everyone has their head in the game and
they're passionate aboutproducing the best work you
possibly can.

Christine Ng (40:22):
Yeah, yeah, and and like, if you don't, like, I
think, if I don't reciprocaterespect to them, or like, really
lean into, like their expertise, and say, no, tell me what you
think.
Like you know you actuallyprobably know more than me this
is what I want, but I don't knowif it's possible, you know, and
they love that Like, they lovethat.
It's like like people want toknow that they're needed right.

(40:46):
People want to know thatthey're needed right, like to be
a person, that you need theirinput, you want their expertise,
you want their mind, you wanttheir.
You know it's nice to be needed, it's nice to feel like you
know when you want to dosomething, you know you can call
someone.
You know they'll take care ofyou too.
You know, like that's.

(41:06):
Another thing is that I alwaysknew with the poker face team
that that they would help me, nomatter what I wanted.
You know, even though it wasgoing to be like a really hard
ask and a really tight time oh,it's snowing now.

Jennifer Logue (41:17):
Oh, now you got the snow.

Christine Ng (41:18):
Nice, so much better than rain.
Um, so, yeah, I just feel like,um, like respect to me is
really, really important and Ithink being a crew member before
and just understanding thatit's like if I had known a few
more things, if the DP just gaveme a few just literally a
paragraph, of what we're doing,that would help me, help them,

(41:42):
and so I try to do that witheveryone I hire.
I'm like, hey, this isgenerally what we're doing.
If you have any follow-upquestions based on what I said,
I'm like, hey, this is likegenerally what we're doing.
Um, if you have any follow-upquestions based on what I said,
like, please ask me.
You know, and and over time,when you work with people like
that for years, um, you justhave a shorthand and they know
that if I'm telling themsomething, it's like actually
important and it pertains tothem.

(42:02):
You know, I'm not just liketelling them to tell them, but I
mean I am, but also it's like,hey, like this might affect you,
you know, um for sure they getto know your style and how you
work, and yeah there's less uhum, reacclimation time and they
know what to expect, and thenyou can eliminate that step of
getting used to each other and,just you know, jump right into

(42:27):
it.

Jennifer Logue (42:27):
Exactly, Exactly .
So where do you see the filmand TV industry going in the
next 10 years?

Christine Ng (42:36):
I guess, like 10 years ago, I could not have
predicted streaming.
You know which is wild.
I mean, I feel like it's like agood and bad thing, but I don't
know.
Like short form content, it'slike a good and bad thing, but I
don't know, like short-formcontent, like TikTok and stuff
that kind of like, will thatbecome more and more prevalent

(43:00):
in our lives where we're unableto like hold our attention for
half an hour or an hour, like Idon't know, like you know, like,
like you know, like that's alittle like scary just for
mental health reasons.
But in terms of like theindustry, I I mean, I hope we
continue down this path where wekeep giving green lighting

(43:20):
stories that need to be told andheard.
You know, I feel like I feellike the reception for that kind
of stuff has been prettypositive.
So I hope that like thattrajectory continues.
I hope that the industry doesbecome more inclusive.
I know there was obviously abig push for that, like during

(43:43):
COVID and during, like you know,time's up.
I feel like you know, I thinkpeople are just like a little
bit, a little bit more aware ofit.
I hope that there's like thebacklash subsides.
I feel like sometimes there'slike a little bit of backlash
with that type of progression,but hopefully that'll even
itself out and and more and morecreators will will be will be

(44:09):
coming from differentbackgrounds, because I think I
think when the industry isone-sided, it influences the
world and I think, you know, ifwe can um, like culturally right
, like, and if we can have morevoices of different people and
different walks of life, reallylike almost at a surplus, it

(44:35):
might be beneficial to kind oflike the kind of intense like I
don't know, there's just so muchlike I feel like racial war and
culture war and you know what Imean Like stuff going on in the
world that I hope that, like,if there's more stuff to kind of
bring us together, yes, Artbrings us together.

Jennifer Logue (44:58):
I really believe creativity can save the world.

Christine Ng (45:01):
Yeah, I think so too.

Jennifer Logue (45:03):
It's just a matter of people tapping into
their own creativity too, Causecreativity breeds empathy.
Yes, so at least by creatinglike the work that you do.
It's that's how the averageperson's able to feel and see
from someone else's perspective,if they're not creating
themselves.
But yeah, I really believeartists like we're is a service

(45:29):
to the world to be an artist.

Christine Ng (45:37):
It is yeah, yeah, and, and sometimes I'm like, oh,
I wish I could do more, youknow what I mean Like I wish I
could do more work to like helpthat, um, but everything takes
so long in production, you knowone step at a time.
Yeah time yeah, yeah yeah, so Ihope that's where the industry
goes.
I mean it's so hard to saybecause it's so like political
um and and so many things aremerging together now, like

(46:01):
conglomerates are mergingtogether, that it's like I feel
like, uh, the amount of mediathat's like being pumped out
might like start slowing down,and also the economy, like it's
so it's all so tied togetherthat it's like I hope, I hope
there can be more work so thatit helps the economy.
You know, and you know thataffects everything.

Jennifer Logue (46:25):
You most recently worked on Rian
Johnson's series for PeacockPoker Face, which we talked
about a little earlier.
What was that experience like?
Did you learn anything fromthat particular time on set?

Christine Ng (46:36):
Yeah, totally.
I mean, you know, poker Facewas arguably maybe the biggest
job I've done since, you know,or, or, yeah, ever it was.
You know, like, like I said,it's an hour long, uh, kind of
like movie of the week.
Vibe.
Uh, it was a 10 episode show.
Um, I was originally gonna justdo three, uh, but then I ended

(46:57):
up being invited to stay for onemore, which ryan directed, so
that was really exciting, um, soI ended up shooting four, um,
and each episode is its ownlittle universe.
So, like new director, basicallya new cast, except for natasha
leone.
Um, she's like a consistentcharacter throughout the whole

(47:18):
show and a few other characters,but she's like in every episode
and we're kind of like droppedinto a new, a new world every
episode.
So, like that was difficultbecause you're almost starting
from scratch every time.
Yeah, you director, like youknow, new vibe in a way, and and
what was great about that waslike, yeah, I really needed to

(47:39):
figure out how to communicatebetter, how to be a more
efficient collaborator, to kindof be creative quickly, to be
efficient, to be and also tolike challenge myself and also
to to kind of also allow myselfto be more confident in myself.

(48:02):
Like that's always a little bithard for me to like like be
like no, you belong here, youwere the person for the job.
You know, like I thinksometimes I'm still like oh,
whoa, like am I qualified forthis?
You know, and it's like if Ryanthinks you can do it, if Jaron
thinks you can do it, if Stevethinks you could, if all these
producers and other DPs who areof super high caliber think you

(48:24):
can do it, then clearly you'reinvited to the party.
You know what I mean.
So that was huge for me.
Like to be invited to be a partof that was really really huge
for me.
And and and you know that groupof people I've been
collaborating for like more than20 years and like I know what

(48:45):
that means.
Right, I haven't had, I don'thave, I haven't had a, but I
understand that even like youknow some of my collaborators
for like five years, 10 years,like those friendships are so
sacred that when you do invitesomeone else in, they really
have to be like a really goodfit, you know, and for them to

(49:06):
only talk to me for like 15, 20minutes here and there, to then
be like no, she would be a greatpart of this.
This community is like.
That meant a lot for me, youknow, cause they're just,
they're legendary filmmakers.
Like everything they've allmade are like, really just like
high caliber and and differentand great and exciting.
So I learned so much from frombeing a part of their crew.

(49:33):
And Steve Yedlin is, you know,he's this incredible DP, but
he's also such a like professor,like he just is so technical,
like sometimes I think I'm nottechnical enough as a DP, um,
but he is like like literally tolike the decimal to things you
know what I mean Like he's likehe's so detail oriented, he's so

(49:57):
smart.
He can like write program, likecomputer programs, to like help
him light a set, to like helphim do previs on, like day for
night stuff.
Like he was showing me thingsthat I have not seen before and
he was an open book, you know hewas literally like come sit
here, watch what I'm doing, youhave any questions?
Like, please ask.
And he was an open book.
You know he was literally likecome sit here, watch what I'm
doing, you have any questions?
Like, please ask.
And and he also taught me a lotabout lighting and the way that

(50:20):
he and Jaren like work andlight was something that I got
to learn from and also nowintegrate into my working style,
and that's like.
The thing is that sometimes Ithink, as a DP, you don't grow
anymore because you do thingsthe same way, and even when I
try to like switch genres andswitch, you know, I'm working

(50:41):
with new, creative people my, my, the way I work is still kind
of the way I work and, and Ithink, like um, being able to
work with them, seeing the waythey work, um, is just like
unlike how I've seen it withother people and and being able
to actually learn from them,seeing the way they work is just
like unlike how I've seen itwith other people and and being
able to actually learn from themand grow Like.
I think like sometimes it'slike you feel like you can't

(51:02):
grow anymore, like how do youchallenge yourself to grow?
But when you have people whoare like we want you to grow
with us, no, come grow, comegrow over here, you know like
that's huge.
Like to be invited to, to learnfrom them and to just like,
literally to be invited to be inthe room to watch them work.
Just observing and watchingsomeone, you are learning so

(51:23):
much, and so I and you know Ithink this is a question you
asked me earlier but like, wheredo I hope this industry goes?
I also hope that there's moreopportunities for people to
shadow on set, to like observe,just be invited into the room
and to like take, you know, takethe locks off these gates.
You know, and just like openthe gates and like let people in

(51:45):
and see what's behind thecurtain.
You know, like it's such amystery, and sometimes I think
some things are still a mystery,even though I'm very much a
part of it.
Sometimes you feel like, oh,I'm not allowed to go over there
, but it's like, are we justcreating these barriers
ourselves?
You know, and you know the waythat Ryan and his teamwork, it's
very much like come hang out,like, yes, you're allowed in

(52:08):
here, like, come over here, lookat what we're doing, and I
think like, think, like thatmentality um, fosters a really
positive environment.
And and then it, it, it allowedme to like ask questions that,
like you know, some could saylike, oh, that's a dumb question
.
And it's like, no, it's not adumb question if you don't know.
Or it's like, oh, that's agreat question.
Like no one's ever asked thator like you know, it's like you

(52:29):
don't know until you say it andyou can't be afraid to say it,
and they create a room that'snot where you're not afraid to
speak your mind or speak yourtruth and that's really
important to like the way I workand the way I like to work.
You know, and I think, and Idon't know, maybe that's how I
got the job, because I was Ikept talking about like an
energy in a room and how Ireally like respect is really

(52:52):
important to me and how I likecreativity is important, but you
can't have that until unlessyou respect and respect people
and honor each other and theyare truly the same way.
And you know, I also talkedabout how I just love working
with my friends and and if itwere up to me, I would just work
with my friends all the timeand that's what they've been
doing forever and it's like it'sjust like they get it, you know

(53:13):
.
And it's like it's just likethey get it, you know, and and
that's like it's cool to seelike Titans like that also feel
the same way about what can beperceived as small things, like
you said, right, but everylittle thing really matters and
every little thing adds to arelationship with each other,
and even down to the PAs.

(53:35):
It's like, you know, somepeople are rude to PAs and I'm
like these four kids, you know,like they are here the longest,
they have the longest days.
They never get to sit down,they are at everyone's beck and
call.
They have to.
Like you know, it's just hardwork and it's like some people
treat them like.
And I'm just like you, gotta.
You know you gotta just hardwork and it's like some people
treat them like and I'm justlike you, gotta.

(53:55):
You know you gotta berespectful and kind to them
because they're here for you,they're here to support you and
also like tomorrow they could beyour boss.
Like you know what I mean.
It's all like this world andthis industry is like you never
know who this you know itdoesn't matter.
Like, like if this person isthe producer or the lead, like
number one on the call sheet, ora PA or a driver, or like

(54:17):
whatever, or the caterer, it'slike it doesn't matter.
They're just people like justbe nice to people.
Like ultimately, like that'sjust like constantly what I say,
but like it's truth.

Jennifer Logue (54:26):
The golden rule just applies everywhere, you
know?
I mean, there's a reason why wecall it the golden rule, but
not everyone got the memo.
I don't think.
Yeah, I don't think so either.

Christine Ng (54:36):
But we're trying to, we're trying to.
I keep trying to put the memoup everywhere.
Just be nice, Just be kind.

Jennifer Logue (54:43):
Well, this may be related to this next question
what advice do you have foraspiring cinematographers that
are just starting out?
You touched on this a littlebit before.
Yeah, with the coffee you had.

Christine Ng (54:54):
Yes, yes.
So I feel like, as a youngcinematographer, aspiring
cinematographer, you kind ofhave to put yourself out there a
little bit.
You kind of you know, and Ithink, like with the power of
social media and Instagram, thepeople that you admire, the
people that you look up to, thepeople that you aspire to be,
they're actually reachable.
You know, I think when I wantedto be a DP when I was younger,

(55:16):
like I didn't know how to get toEllen, like I don't like you
call their agent and they'relike okay, like fan mail,
whatever you know.
And what's ironic is I actuallymet Ellen at Park Pictures
because she DP'd something thereand then she was represented as
a director there and then sheand I became friends and, like
you know, it's just crazy howthese things happen.
But, like as a young, aspiringDP, I think it's like if you

(55:37):
look up to someone and you liketheir work, you should reach out
to them and you should, youknow, see if you can have a
coffee with them or aconversation, see if they have
any advice for you or if theycould just tell you about how
they got, and they have theability to have you on set to
shadow them a little bit Likeall these things will be able to
help you with your career.
And, and as for me, like I justkept working, like even if I

(56:02):
wasn't the DP and I was like anAC or if I was a second AC or if
I was, you know, doingproduction work or whatever it
didn't matter Like the fact thatI was just out there and I was
meeting people constantly andjust talking to people and
trying to figure out what otherpeople were passionate about.
That's how you build community,you know, and that's how you
build the foundation of, likeyour web Right Of this, like

(56:24):
this nucleus web that I keeptalking about.
Like one person leads toanother, leads to another and
next thing, you know, like theperson you met five years ago
might be may have written ascript and you mentioned you
want to be a DP, and you guyshave been kind of keeping in
touch and then they're like ohhey, I got money for the script,
I want you to shoot it, andthen you make this film.
Like you know, things like thathappen, and it happens more

(56:45):
often than you think, and it'sthe more so the more you put
yourself out there and the moreyou go out and you try to meet
people and the more you know, asI was younger, I called myself
like an opportunist.
I was like, oh, is there anopportunity there?
I'm there, you know, and justlike, and just be willing to be
uncomfortable and be vulnerablebut also believe in yourself

(57:06):
enough to be able to say thatyou want to be a DP.
You know, I wish I had saidthat sooner.
Like I said that finally, mysenior year of college, you know
, and all my friends were like,why didn't you tell me earlier I
would have had you shoot myfilm or whatever you know.
So senior year, I shot three.
I think I shot three films thatyear and it was like a big deal
for me because I didn't before,you know, and and and, if I had

(57:28):
just spoken up a little bit toto my, my group, my community,
they probably, I probably wouldhave done more earlier, you know
, and it's like um and it itonly takes like you speaking up
for yourself for you to actuallymanifest these things and like
have to manifest it for it toactually happen, put it out

(57:48):
there.
Yeah.

Jennifer Logue (57:50):
You just can't keep it inside.

Christine Ng (57:52):
Exactly Cause no one knows, right, like if I't
say I want to do this, no onewill know, and if they don't
know, they're not going toconsider you or think of you
when, when an opportunity doescome up.
I actually ran into someoneyesterday.
I went to a Broadway show andshe was sitting like diagonally
in front of me and she turnedaround.
It's someone I hadn't seen forlike five years and she did

(58:13):
production work on likedocumentary stuff.
And then we met up outside andwe were talking and she was
telling me that she really wantsto be a producer's assistant or
a writer's assistant becauseher goal is to be a writer in
comedy for television.
And I was like I didn't knowthat, you know, and now that
I've been doing more TV, andsome of it being comedic, it's
like I know a couple of writers,you know, I know a couple of

(58:34):
like showrunners.
Now, you know, and like in theoff chance that I find out that
they need someone I can help belike, oh you, you know my friend
, you know my friend isinterested and she's great, you
know.
And it's like if she never toldme that you know who knows,
like who knows, maybe next weekI'll have a job for her or I
won't, but like the fact thatshe's on my mind and I know

(58:57):
these things about her, then I'mactually able to, like, help
her.

Jennifer Logue (59:00):
Yes, you got to speak it into existence.
We hear that a lot, but we gotto live it too.
So what's next for you?

Christine Ng (59:12):
Ah, that's a good question.
Well, I'm shooting a fewcommercials in the new year.
I'm working on a documentaryabout disability rights which
I'm really excited about.

Jennifer Logue (59:22):
Oh cool.

Christine Ng (59:23):
My friend is directing it.
She's wildly talented.
It's her first like directingforay, I guess but she's been a
journalist for a long time.
Her name is Liz Plank.
I don't know if you know her,but she's been a journalist for
a long time.
Her name is Liz Plank.
I don't know if you know her,but she like, she's pretty like
prominent in the socials, butshe's really amazing and I, you
know I was really happy when shetold me that she wanted to do
it because I was, like you're,she's such an amazing like

(59:45):
journalist, like just like areally good storyteller.
And I think, like you know,being a director is hard,
especially being a documentaryfilmmaker, and I'm just really
happy to be able to be here tolike support her and to help her
.
So I've been shooting that onand off, like in the past year,
and we're going to continue tokeep shooting.
So I'm doing that.

(01:00:06):
I'm filming a live taping of aBroadway show.
I don't know if I can talkabout it, but that will be
coming up.
It's.
It's it's an award winning show, so that's exciting.
And then, you know, I've justbeen interviewing for a few
things.
Hopefully something will comeup next year.
I'd really love to shoot like anarrative feature.

(01:00:26):
I'd really love to continue tokeep doing more narrative things
.
But you know, I love documentary.
I mean, I'm just like honestlyreally excited about kind of the
, the, the things that just comeup, cause I I just love the
kind of like, I love spontaneity, I love challenges, I love, um,

(01:00:46):
kind of like shape-shifting andlike you know, like constantly,
uh, having to reorganize mybrain for a different thing and
and so doing this Broadway showis like I haven't done that.
I've done like standup, I'veoperated on some live Broadway
show stuff, but this I haven'tDP'd one.
So this will be a differentthing for me and that's exciting

(01:01:07):
, and so I'm really excited tolearn, you know, yeah, so it's
like I don't know, hopefully2023 will be good.
I mean, 2022 went by real fastand and it was a really great
year.
You know, I I'm just reallylucky that I get to work on
things that I care about andwith people that I really love,
so it's kind of amazing,christine you were incredible.

Jennifer Logue (01:01:28):
Oh my goodness.
I am so grateful to Sam forintroducing us and I'm so
excited to see what you do inthe next year, and thank you so
much for taking the time Ofcourse, yeah.

Christine Ng (01:01:41):
Thank you for all the questions and, just like you
know, giving people a platformto talk about their work.

Jennifer Logue (01:01:48):
That brings us to the end of today's episode
and the conclusion of our fanfavorite series for seasons one
and two.
I absolutely love thatconversation with christine.
Her perspective on storytelling, leadership and embracing
challenges is truly inspiring.
It's also cool to seecreativity through the lens of a

(01:02:10):
cinematographer.
Pun intended, one of the mostimpactful things Christine
shared for me was creativity iseverywhere.
It's just about whether you'reopen to receiving it.
That idea really speaks to theheart of this podcast and why
we're all here to grow, learnand be open to the creativity

(01:02:31):
that's in us and all around us.
I hope you enjoyed thisconversation as much as I did.
Christine's work is justremarkable and I can't wait to
see what she creates next.
If you want to learn more abouther, you can visit her website
at christineengcom and, thatbeing said, I'd love to know
what resonated with you.
You can do that by reaching outon social media at Jennifer

(01:02:55):
Logue.
Also, please leave a review forCreative Space on Apple
Podcasts or wherever you getyour podcasts.
Your support means everythingand it helps other people
discover creative space.
Anyway, that's all for thisepisode.
My name is Jennifer Logue.
Thanks for listening.
Until next time.