Cinematographer Christine Ng On Expressing Emotion Through the Lens and Working On 'Poker Face'

On today's episode of Creative Space, we have the pleasure of chatting with Christine Ng, a New York-based cinematographer who works on everything from commercials to music videos to documentaries to TV. The first commercial she ever shot aired during Super Bowl XLVI, her first full-length documentary was the Emmy nominated  Everything is Copy  for HBO, and she just wrapped Rian Johnson’s TV series, Poker Face, for Peacock. On top of all of this, Christine was also named a Rising Star of Cinematography by American Cinematographer in 2022.

We talk about how creativity manifests as a cinematographer and how Christine prepares for a project.  We also talk about what she learned from working with director Rian Johnson on the soon-to-be-released series, Poker Face.

For more on Christine, visit: christineng.com.

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SHOW NOTES:

0:00—Introduction
1:06—Sam Jones shoutout
2:50—Growing up in Queens and Hong Kong
4:50—The impact of ‘Eternal Sunshine of the Spotless Mind’
6:43—Being inspired by Ellen Kuras
8:28—The film shoot that found her at 9 years old
10:00—Meeting her favorite Cantonese pop star
11:19—Christine’s definition of creativity
11:55—Working on ‘When They See Us’
12:00—Expressing emotion through the lens
14:14—How leadership influences creativity
16:50—Creativity is everywhere but are you open to receive it?
17:30—How Christine prepares for a film project
20:20—The double-edged sword of mood boards
22:00—Being intentional about what’s in the frame 
23:10—If you aren’t fluid, you won’t be happy
24:50—Preparing for ‘Poker Face’
27:00—Things will always go wrong but have the right mindset
29:07—The role of AD’s (assistant directors)
31:00—Building collaborative bonds quickly
34:33—What Christine learned starting out on the crew side
36:00—Making crazy camera movements happen on ‘Poker Face’
41:30—Where Christine sees film and TV going 
45:30—What Christine learned from ‘Poker Face’
50:00—Come grow over here
53:00—The importance of being kind
53:40—Advice for aspiring cinematographers
58:00—What’s next for Christine

Episode Transcript

Jennifer Logue (00:10):
Hello everyone and welcome to another episode
of creative space, a Podcastwhere we explore, learn and grow
and creativity together. I'myour host Jennifer Logue. And
today we have the pleasure ofchatting with Christine Aime, a
New York based cinematographerwho works on everything from
commercials to music videos todocumentaries to TV, the first

(00:33):
commercial she ever shot airedduring Superbowl 56 and her
first full length documentarywas the Emmy nominated
everything is copy for HBO. Shealso just wrapped Rian Johnson's
TV series Pokerface for peacock.
On top of all of this, Christinewas also named a rising star of
Cinematography by Americancinematographer in 2022. Welcome

(00:56):
to Creative Space. Christine.

Christine Ng (01:01):
Hi. Thanks for having me.

Jennifer Logue (01:03):
Oh, my gosh, it's such a pleasure. And first
of all, I want to shout out SamJones. The amazing Sam jazz has
connected us.

Christine Ng (01:11):
Yeah, she's amazing. She's just like a
creative burst of positiveenergy.

Jennifer Logue (01:18):
Yes, perfectly sums it up. Like her tagline is
put a little lol in your heart.

Christine Ng (01:24):
Yeah, yeah, that's exactly what she does. I mean,
I, I met her on set. Yeah. Andit was really funny because we
were setting up and, you know,like, there's video village like
director's video village, andthere's like, client or like,
creative video village. And so Ijust like looked over, and there
was no one there. And then I waslike, setting up the shot. And I
looked over and then Sam wasthere. And I didn't know her

(01:45):
then. And I looked at her and Ilike, like, kind of wave. Do you
know? And she weighed? And shelike, got up just like, can I
give you a hug, and I'm like,and then and then we hugged. And
then I mean, we became like fastfriends, like, immediately. And
then since then we've done acouple of jobs together. And

(02:07):
she's just really wonderful. AndI'm so happy to have met her
because it's like, you know,when you get not like older,
just like later in life, and youand you feel like you've met a
lot of people who was like yourpeople, and then suddenly like,
someone comes into your lifeunexpected. You're like, oh my
god, like, Where have you been?
Yes. It's so nice to meet peoplelike that. And feel like super

(02:28):
connected very quickly. Andthat's exactly who like Sam is
to me.

Jennifer Logue (02:36):
Amen. She's a magical human being. And it's
been I feel so grateful that ourpaths crossed in life. And,
yeah. So Well, let's talk aboutyour career and your life. You
have such an interestingbackground. You know, you were
born in Hong Kong. And then youwere raised in New York City.

(03:00):
How has your upbringing shapedyour creative lens,

Christine Ng (03:05):
totally, I, you know, growing. So I grew up in
New York, but I grew up inQueens, which is, you know, one
of the most diverse places inthe world. And I think like
growing up here, definitelyimpacted me in such a positive
way of like, thinking ofcommunity, and just like, you
know, what a community lookslike and, and inclusivity. And,

(03:28):
you know, diversity to medoesn't even like, it's like
when I walk into a room, andit's one shade, and I'm the
other shade, it's very strangeto me, and it actually makes me
feel like like an outsider. Andgrowing up even in Hong Kong,
it's like, when I did I kind ofmove back to a little bit in
fifth grade. And even the schoolI went to in Hong Kong was an

(03:53):
American school and it was stilldiverse. So like, every type of
schooling I've been to up untilcollege, I went to NYU was
incredibly diverse in the makeupand I think because of that it's
really made me a person who'sjust, you know, very open to
other cultures and, and, andwhen things are the same, I'm
like, Wait, this is super weird.
So it on a on a creative impact.

(04:16):
It's it's great because I'm, I'mconstantly wanting to learn new
things. And 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 want to and I craveworking in all the different
things because I just want tolearn I just want to be immersed

(04:37):
in things that I'm unfamiliarwith. And unfamiliar
unfamiliarity is like, is likecomforting to me.

Jennifer Logue (04:45):
That is beautiful. It's so clear, they
have this voracious appetite forlearning. Like it comes out in
your energy. So who inspired yougrowing up?

Christine Ng (04:57):
I feel like when I when I was growing up like I I
wanted, you know, I feel likeyou always want to be a teacher
at one point, you know, becauseI feel like your teachers are so
nurturing and, and your teachersare also people that make you
learn things, right? Like they,they, they show you things that
you don't know, they inspire youto keep growing, they're like,

(05:21):
they push you into uncomfortableplaces, which is like, still
what I love. So I feel like justteachers in general, like
inspired me to learn. And thenyou know, I don't even know if I
understood photography, or likecinematography, until like, much
later in life. I always lovedcameras, and I always loved
taking photos. But the technicalaspect of it and the kind of

(05:44):
storytelling aspect of it, Ididn't really understand or
really consider until I watchedEternal Sunshine of the Spotless
Mind, which is, you know, justlike this incredibly immersive,
visual, visceral storytellingthat, like, makes me makes me
consider life in a differentway. And also takes visual

(06:07):
storytelling in a way that makesyou feel like you're in a
different space, you know, likelensing and, and lighting and
the production design and howthey go from kind of one
universe to another universe tolike your subconscious. And it's
like, all these things that ishard to contextualize and

(06:30):
visualize that film, did it showperfectly. And watching that
film made me notice visualstorytelling?

Jennifer Logue (06:39):
Oh, my gosh, that was the moment for you was
that when you knew you wanted tobe a cinematographer?

Christine Ng (06:43):
I think that's the moment when I when I was like,
oh, like, what is that? You knowwhat I mean? Like, what, like,
how do you tell stories likethis? And I think it made me
really consider like,filmmaking, not just as like a
career, but more of like acreative outlet, you know, to
make something that's sospecial. And then then I started

(07:07):
looking up, you know, MichelGondry. And then I started
looking up Ellen caress who wasthe DP of that film and, and
just, you know, who she's afemale DP, and that is, was, was
rare, it's still a little bitrare now. And, you know, just
seeing her trajectory and seeingthe type of work that she's
done. Because she's also someonethat works, a documentary that
works in features that is also adirector, she also shoots

(07:29):
commercials, and she's obviouslydone music videos, like, the
breadth of her work is somethingthat inspired me to always want
to be like to have a diverseresume, and a diverse, you know,
accolade of work. Because Ithink that's the only way you
can grow. Like, if you keepdoing one thing, for me, at

(07:51):
least, I feel like I keep doingit the same way. And I, it's
hard for me to break out of myown kind of like, thought
process, but to challengeyourself and, and go from
something that's like a hugecrew to something that's, you
know, scripted huge crew tosomebody that's unscripted and
like really tiny, then you kindof have to problem solve

(08:11):
differently. And you have tolike wear different hats,
patients, and I think that'swhat makes you a really well
rounded filmmaker. And also,when I actually so when I moved
back to Hong Kong when I wasnine, my parents so I was born
there. My parents were bornthere, too. And we still had a
lot of family there. My parentswent back to help my
grandparents with their familybusiness and took me with them

(08:33):
because I was so young. So Iwent to school there and an
American school and we live withmy grandparents. And I have an
older sister who stayed herebecause she was in college. And
it was the first time where Iwas like, oh my god, is this
what being an only child feelslike? Because my parents just
gave me all their attention.
Whatever I wanted to do was thething we're gonna do. Oh, nice.
Oh, excited to like, show mewhere they grew up. Because it

(08:54):
was I was finally at an agewhere I could like, understand
cruciate Yeah, appreciate eat.
Like, remember that time. Like,I don't think I really
remembered anything before. Itwas like five, you know what I
mean? Like, and there was onenight where we went outside
literally stepped outside of mygrandparents apartment. And

(09:14):
there was a film shoot. Oh, andthat I was like, what's going
on? That was the first time I'veever seen a film shoot, you
know, ever, and, and they wereshooting nights. And my parents
were like, could see like, thetwinkle in my eye. And they're
like, Okay, you can stay up aslong as you want. And you can
stay here and watch them work.
And I was like, oh my god, like,Oh, cool. Cool. Yeah. Like I

(09:34):
don't ever really had like, abedtime. But the fact that they
were like, you can be out waslike, you know, I was just so
excited. And it was so cool tojust see like, a bunch of people
make something together. Andit's clearly all about teamwork.
And I didn't know what anyonewas doing. And so we you know, I

(09:55):
stayed up really late and we gotto see see them work. And then
the next day we went back, andthey were there again. And they
were shooting some daytimescenes, like in the afternoon.
And I used to really be intoCantonese pop. And my favorite
pop star was there, what? It wasjust like, I've like everything
I like everything you want as akid, like, you know, just like

(10:18):
came true. And I was so excitedto meet him. And like, I took a
photo with him. And, you know,and I think the potential of
like, as a child meeting, like,he wasn't like my idol. But you
know, it's like meeting someonewho's famous is so insane. And
like, it's so funny now, becauseit's like, I rarely get

(10:38):
starstruck. I think that's alsopart of like, being a New
Yorker, you're just kind oflike, like blase about
everything. Like, yeah, that'scool. Whatever, right? And it's
funny, because like, as a nineyear old, that was, like,
freaking out. And then now it'slike, I work with, like, you
know, very, very famous people.
And I'm just like, hey, I'mChristina. Nice to meet, you
know, like, just like, superlaid back and chill about it.

(10:58):
But like, I mean, I really thinklike, that, that moment in my
life was kind of pivotal for meto even understand that, like,
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 (11:18):
Now, this is creative space. So I asked this
question of everyone. But how doyou define creativity?

Christine Ng (11:26):
Oh, that's a good question. Huh, ha, you know,
create creativity for me, in thecontext of the type of work that
I do, and how I create reallystarts with my connection with
the story with the person thatI'm making it with, and the

(11:48):
energy inside a room, and how Iam responding to that. And I
think like, when I worked on,when they see us with Ava
DuVernay and Bradford Young, whowas the DP, you know, there was
something about holding thecamera on that project that felt

(12:08):
so incredibly impactful. And,and I understood it was so I
mean, I 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

(12:32):
relationship between me and theperson I'm filming, is the way
that you're gonna internalizeit. Mm hmm. You know what I
mean. And so, so much of it isabout like, physicality that is
not actually tangible on thescreen in a way, because it's
how I am expressing theproximity between me and you, or

(12:54):
me, and, you know, this floweror whatever, like, you know,
like, it's like, There'ssomething so impactful about
that, about how then you cut tosomething really wide. And that
kind of shows like loneliness orsomething, you know, and it's
like, so it's almost like, howdo I express emotions? With the
lens? Is how my creativityworks? And how do you then bring

(13:18):
in lighting? And how canlighting subtly, you know, also
affect that emote stuff? Or howcan I help tell someone's story
that honors them? And when Iwork in documentary, it's like,
how can I make sure the subjectfeels comfortable when I'm
there, and when I'm holding acamera, because like, not

(13:40):
everyone feels comfortable infront of your camera, most
people don't feel comfortable infront of a camera. And I think
if you're able to create this,like kind of like just synergy
and safe space, then they forgetit's there and they're able to
be vulnerable is ultimately whatthe filmmaker wants. Right? When
you're making documentaries. Isthis like, intimate connection

(14:01):
between the viewer and thesubject? And how do you break
that down? And so I feel like mypersonality and just kind of
like my general, like energyaffects the creativity in the
space that I'm in. Oh, yes, thatmakes so much sense. Yeah. So
like creativity for me in thecontext of what I do is it's

(14:24):
it's a, it's a bit of it's a lotof that, but it's also so much
about like being a leader. Andwhen you're working on a show,
or you have, you know, two to300 people or two people it
doesn't matter. There's stillthis like, need for a leadership
quality and like being levelheaded and being clear. And

(14:46):
making sure that everyone likehas the task but also like they
themselves are also owning thetask. Yes, you want to empower
the person you're you'reassigning a task to to do it.
The way that If they do it, youknow, without micromanaging them
and like, you know, you wantthem to feel like they're,
they're respected and, and in aspace where it's like, we value

(15:11):
you being here, you know. Sothat's also part of like, that
influences my creativity,although it's not creative at
all, but it's part of this like,bigger system of like, I don't
know what you call it, just likeleadership. Yeah, like, and that
influences everything, you knowwhat I mean? Like, even just
like coming into a room andsaying hello to someone can
influence the creativity ofanything? Yes, it's all energy.

Jennifer Logue (15:34):
And every action we do has a reaction.

Christine Ng (15:37):
Exactly. Exactly.
Exactly. So like, my creativitycan, you know, can be inspired
by the smallest thing or, like,affected by the smallest thing,
but it also reflects what I'mfeeling, you know, so like, I
feel like, you know, generallyI'm not super, like emotional,

(15:58):
but I tried to be emotionalthrough my mike, my creative
work, you know, so like, How canI portray an emotion? How can I
make people feel something, andthat's hard, you know. And
that's the thing where I feellike I try to do with my work.
And then I also, you know,obviously wanted it to look

(16:20):
beautiful, and I want it to,like, feel organic and genuine
to the story that we're tryingto tell. So like, not everything
looks the same beautiful, likebeautifully the same, but
beautiful in its own way. Andhow do you capture that? Right?
Um, so all those all thosethings, to me is creativity,
like, in my, I guess, in mywork, but I feel like creativity

(16:43):
is can be so can also be a solothing. 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 really,like, you know, like, it's just
like, allowing the space toinfluence me and to like, react
to it. Is is is all creat, like,creativity is everywhere. It's

(17:09):
just like, are you? Are youopening yourself to receive it?
Right?

Jennifer Logue (17:17):
That's a beautiful statement. I love
that.

Christine Ng (17:20):
I say that to myself more.

Jennifer Logue (17:24):
It's another call of putting on my wall. So
we all need that reminder. Onthe subject of your creative
process. What is your process?
Like, when you're preparing for,you know, a project?

Christine Ng (17:39):
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
scripts, but either I get thescript first, or I have a
meeting with the director, maybeI met the director for coffee,

(17:59):
and maybe then then they'retalking about a potential
project, and I haven't read thescript, but then it's, it's,
it's kind of like just riffingon again, energy and vibes,
like, like, I think like, whenyou have coffee with someone, or
even this, it's like,immediately, you kind of like,
can feel if like, you're gonnahave a good conversation or not,

(18:21):
right? Like, it's kind of likegauge. And that's really
important to like, then actuallybe able to creatively connect
with someone and trust eachother, right? Because like,
that's part of it too. Like, andas a DP, I feel like I, my, my
goals, you know, is to honor thescript, honor the story, and
help the director achieve theirvision. So sometimes, like, I

(18:45):
might pitch an idea, they mightnot be into it, but that's okay.
Because I know that I'm inservice to the script, the story
and what their point of view is.
And so, you know, I would readthe script and just write
general notes about it. And Itried to like, I tried to read
it a few times before I have tothen talk to someone. My first
read is just like, kind of getthe basic outline of like, what

(19:08):
happens in the story, and thenI'll go back and like, notice
these things that the writerhave, has done, like, you know,
they plant ideas in thebeginning, that that kind of
echo throughout the story, andhow does that? How does that
grow over time? And how doesthat how does the trajectory of
our subject also changethroughout the story? And how do

(19:28):
you portray that visually, in away that we're also growing as
well? Um, and if they're notgrowing, that's also a choice,
then it's like, are you justdoing the same things like
throughout the whole thing, orjust something? Is there a
climax that happens that then dolike change the visual language
with a story, you know, andthere's like, so many things. I

(19:49):
mean, we're not even talkingabout a story that is real or
has has a story right now or anarc but it's like, you know, I
tried to kind of think of aboutlike, well, whose perspective do
we want the story to be toldfrom? Right? And then that
affects like, how the camera isreacting to what they're doing.
So I just tried to do like avery, like, basic read. And then

(20:13):
I go back and I like, try tofind things that kind of appear
multiple times are like a themeor like, you know, anything
somatic that that. That kind ofis the tone of the piece. And
then I usually go and I look forsome visuals. Or I try to look
for like, like clips of stuff,or something, or sometimes I

(20:36):
like, it's also a double edgedsword when you do that, because
I honestly don't love doing it.
Because I think I then if Ipresent images, or if I present
a film that I'm Oh, it's likethis, then people are like, No,
that's, it's not like that, youknow? And I'm like, no, no, no,
it's not like that. But this isthe closest thing I can find to
that, you know, and like, Ithink, the hope is that whenever

(20:58):
you make something, you'realways trying to make something
that's different. That's likerevolutionary, that's like,
something you haven't seenbefore, like something that's
whatever, right? That breakssome rule or whatever. That
that, that is exciting. Andunfortunately, when you when
that's your goal every time thenthere aren't examples that
exist, that show what you'retrying to create. And so it's

(21:20):
this, like, do I really want toshow stuff or doing not? And
sometimes I just pull stuff justto like, have to, like start a
conversation. So I always saylike, this is just to start a
conversation. This is not whatI'm, there's not like exactly
it, but it's just to like, thenhave a starting point to kind of
bounce ideas again, you know, sothen it's so much of that just

(21:40):
like more conversations of like,okay, like, what exactly is
this? Or like, how do we wantthis feel? And then, you know,
then you start working withother creative people, not just
the director, like theproduction designer, you know,
like, I'm, like, this room I'min right now. Like, I created
it, I just learned it, you know,but like, has to be that, like,
is different than my livingroom, you know, but it's also

(22:01):
like, I don't know, like, Ithink like a space obviously
influences like your characterand like, what are you going to
show about your characterthrough the space and, and color
theory and things like that, andeven their, like, their clothes,
and like the wardrobes and thenlike costume designer, and then
you start working with yourgaffer and, you know, you start
talking about lighting, and thenit's like, all these things

(22:22):
coming together. And thensuddenly, it's like, you filled
the frame right with with allthese ideas. And that's why
narrative is so exciting,because you can, as much as you
can, right like with the amountof resources that you have,
like, really be intentionalabout what you put in the frame.
Whereas like documentary, youknow, you always are walking in
situations where you don'talways know where you're to get
into. And that's like adifferent path of like

(22:44):
creativity and prep. But butwith narrative, it's just a lot
of conversations and a lot ofjust like, what are we
influenced by and why. And, and,and collectively as a group,
like coming up with ideas oflike, who a character is how do
we want to portray thischaracter, and then you meet the
actor, and then you're like, oh,wow, like, this is like, you

(23:05):
know, then then you're there andyou're doing a rehearsal, and
you're like, oh, wow, I justlike, I imagined when I read on
the paper that they were doinglike 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 kind ofthrows it out the window, but
that's okay. Because at thatpoint, hopefully, you've had
enough conversations to actuallylike, not repeat, like goals,

(23:29):
like you already know what thegoal is for the scene. And even
though the actor has now come upwith something different than
what we all imagined, it'sactually just to make it better,
you know, me so then it's like,creativity is just like fluid,
right? Like, the and creationand that is just like, you have
to be fluid about it. Or, or youwon't be happy. Like, I think if

(23:51):
you're like, This is what Iwant, and someone comes in and
you know, you lose a location,you're just going to be upset,
but instead of being upset, youcan 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,because if you really want
something, but then in the end,all things always happen for a
reason. And in the end, thingsare always going to be okay. Go

(24:16):
with the flow. Yeah, yeah, gowith the flow is just like super
important, I think in this inthis industry and in my role.
But prep is also reallyimportant, just like trying to
have as many conversations asyou can to understand the
director to understand, youknow, or if it's a writer
director even better, like tounderstand, like, the birth of
the story and like, why, youknow, and, and yeah, so it's,

(24:40):
it's like the prep of it is soimportant. So that's kind of
what I do for narrative stuff.

Jennifer Logue (24:47):
That's so interesting. How long would you
say it takes to prepare for anarrative?

Christine Ng (24:53):
I think, you know, unfortunately, we're always it's
always budgetarily a The budgetdictates how much time we have,
you know what I mean? So like,on poker face, which I just shot
this year or a few months ago,it was, it's an hour long show.
So it's 10 days of shooting,it's usually roughly 60 pages

(25:16):
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 a lot, but then you're, youknow, you're literally in a car
for like, two days looking atlocations, then you're trying to
break down the scripts, thenyou're trying to get all your
equipment orders in, then you'retrying to like figure out a pre

(25:38):
light, or you have to do sometesting, or, you know, you're
also on calls with the costumedesigner, with the production
designer, with the prop withthe, 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 gotta getback in the van and look again,
you know, I'm so it's like,constant. And they're casting.
So like, you know, I'm not withthe director always, because

(26:00):
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, because then suddenly,our actor is not available
anymore. Or like, you know,you're constantly like moving

(26:21):
puzzle pieces around and tryingto make it work. And do it all
on on, on time. And withinbudget, you know? So it's this
constant, like conversation,conversation conversation, or if
there's like a big stunt, youalso have to, like, have
meetings with the stunt team.
And like, they might have to godo a previous for you and like,
show you, you know, like, whatthey're thinking to execute the

(26:41):
stunt. And how long does thattake? How long does that take on
set? What other tools will weneed to execute that? So it kind
of like everything just kind ofcompounds on itself? And then
next thing, you know, it's like,okay, day one, you know,

Jennifer Logue (26:57):
here we go, ready to go? And they're not,
you're still

Christine Ng (27:01):
like, okay, so what are we doing this
afternoon? Or like, oh, no,like, this thing happened for
tomorrow, we have to move thisor it's snow. Like it's snowing.
You know, and you can nevercontrol the weather. Yeah, you
know, or there's a thunderstormlike I shot wrapped in Miami,
and we shot like end of summerinto fall in Miami, which is
still kind of like stormyseason, like Hurricane

(27:24):
thunderstorm whatever season.
And, yeah, that's what happened.
Like, every day, around threeo'clock, we'd have to shut down
for like an hour and a halfbecause it would just like
thunderstorms are coming in. Andyou have to turn off the
generators, everyone has to beon recover. You can't be on the
street. So you can't chew orit's like continuity. Like it
wasn't raining when we startedto see now it's raining,
everything's wet. We gotta wait.
You know, it's this like,constant. Things always go

(27:46):
wrong, like things like thingswill always go wrong. And you
just have to be like, Okay, sowhat's gonna go wrong today? You
know what I mean? Like, if youhave that mindset that you're
like, Okay, well, of course,that you know, and also like
shooting all the scepter andCOVID. Right, like, wow, like,
enact or test positive? Or like,what do you call it? The rapid
test? Yeah. Or what's the onewhen it's like a, like, close

(28:09):
contact? Like, close contact?
They can't come to work either.
And it's like, oh, no, you know,and then you're like, trying to
move things up in the schedulewith people you can shoot? Or if
it does start raining, you'relike, do we go back to the
stages and try to shootsomething in an apartment that
we have set for? You know, like,you're constantly just trying to
be like, how do we make the mostof

Jennifer Logue (28:30):
the time? And the people we have the resources
we have right now? Yeah,

Christine Ng (28:35):
yeah, exactly.
Exactly. So it's so much of allof that, constantly. So it's
like, and that's like, luxuriousprep time to, you know, like, 10
days for 10 days, and 10 days ofshooting for an hour's still
kind of like, like luxury,luxurious, even though it's
like, you're averaging six pagesa day, which doesn't include

(28:55):
what's on the paper, you know,like, car crash, like, that's
one, that's one strip. But thatcould take 12 hours to shoot,
you know, and you're like, Okay,we still have 59 and seven
eighths pages that we have to doon the nine days, you know, so
it's this, like, you know, Aedesassistant directors on set are,
are, I mean, they areincredible, because they are the

(29:20):
ones who, who, who try to reallysee ahead. And, and mention all
the potential problems that canhappen and come 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 other thingsthat could go wrong and, and
being able to be very honestwith my ID and with timing to

(29:45):
you know, it's like, if we'regonna shoot in the space and
it's daylight dependent, and,and I don't have you know, we
didn't get a pre light. I'mgoing to be like, I needed an
app like minimum two hours toget a crane in here to get a
condor in here to like do likeWhatever. And they'll be like,
Oh, okay, so maybe we shouldshoot, maybe we should shoot
this at the end of the week andmaybe we'll get you some

(30:08):
riggers. You know what I mean?
It's like this constant, like,how do we map? Yeah, again, like
maximize our time, but be smartabout it, you know. And the
Aedes are always people that Iam always like, leaning on to be
like, Hey, what are youthinking? Or like, you know,
what, what do you How long doyou think this will take us just
based on your experience? Youknow, and again, it's also like,

(30:29):
with different directors everytime with, you know, just like
just moving cast of things.

Jennifer Logue (30:37):
adapting to different styles to is something
to think about.

Christine Ng (30:41):
Yeah, yeah. Yeah, like, even just a communication
style. I mean, just like, youhave to, like be able to
communicate so clearly, soquickly. With these
collaborators that you have thatyou just met, you execute
something that is so wildlydifficult and complicated.

Jennifer Logue (31:03):
Here's a question for you on the subject
of collaboration. How do youbuild that collaborative Bond
quickly?

Christine Ng (31:11):
That's a good question. I mean, I think like,
I asked a lot of questions. I'mjust like, Okay, well, so what
do you think about this? Orlike, Are there any films that
you, you know, if it's like,let's say, it's not television,
let's say it's just like,someone's like, narrative
feature? I'd be like, Okay,well, what films? What films

(31:32):
inspired you for this? Or like,what do you see are
complementary to what we'recreating? What do you like, in
general, just like, not evenjust on paper, but like, you
know, what do you like, andalso, just like, you know, I'm
like, a caffeine addict. Solike, I'm always like, Oh, I
gotta go in coffee. Can I buyyour coffee? And I think like,
you know, just little thingslike that. Just being kind,
right? Like, just being, like,aware and being like, Oh, I'm

(31:54):
gonna get some water. Do youwant a glass of water? You know,
like, just literally things likethat. I think, for me mean, a
lot. If someone offers me water,if someone like, like, Oh,
should we go get lunch? Or like,you know, do you need something
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 like,chaos. You know, like just that

(32:17):
alone? And just be like, Oh,where are you from? You know,
like, little little things like,oh, you know, where do you live
or like, whatever, like, littlethings like that, I think just
just just to try and form like,a friendship at the same time.
In addition to like, trying toexecute something impossible,
those little things matter. And,and not just with directors,

(32:40):
like, you know, when I come onas an alternating DP, I don't
really hire the crew. And so thecrew, I'm inheriting from the DP
that started the job. So it'slike, we take turns, like, I'm
shooting, they're prepping, thenI'm prepping, they're shooting,
and we and the crew stays on thewhole time, well, interests, the
leaders come in and out, youknow. And so that's hard.

(33:02):
Because as someone who doesn'tstart the job, I sometimes don't
know these people. And they'vebeen collaborating and working
with all together for like, afew weeks, and then I'm here out
of nowhere. And I have to just,like, quickly assimilate into
whatever's happening, or like,you know, or if things aren't
great, how can I make thingsbetter? How can I, you know,

(33:24):
what can I do to make this likecommunication easier for them
when I'm shooting and you know,like, things like that, and that
you gotta like, it's fast, youknow, and I don't even have time
to talk to them sometimes,because they're on set right
now. So it's like, how do you?
And oftentimes what I do is Icome in and go, how's it going?
How's the job going for you? Arethere things that haven't been

(33:44):
working for you? What can I dobetter? And I say that that's
like, the first thing I say, Ah,it's like, understand, like,
what are they having troublewith? Is it sometimes like a
timeline thing? Is it sometimeslike, is, if I have ideas? Do
you want me to just text youimmediately so you have time to
think about it? Or would yourather I like compile a list and
come to you like, day six orseven of my prep where you only

(34:07):
have two days left to like,think about it? Do you want to
wait until the tech scout for meto tell you everything or like
what's better for you? You're

Jennifer Logue (34:16):
going out there communication styles and yeah,
so smart. These seem like simplethings, but I know to a lot of
listeners, this is going to belike wow, I never thought of
that. Yeah,

Christine Ng (34:27):
and it's like makes such a difference. Like
also realize these things likebecause you know, I came from
the crew side so I was in a seafor a few years I was camera I
still operate for other peopleand like my friends and stuff
and like and also being a DP andI also did a little bit of
lighting and and you know, ifyou're the crew member,
oftentimes by the time you getinformation, it's like so many

(34:49):
things have already been setthat you're like if you had told
me that you wanted to do this, Iwould have gotten this piece of
gear or this like tiny piece ofgear that would have saved our
lives, it would have saved anhour of time of this or that or
whatever, you know, it's like,oh, we need to go from a crane
to handheld. And I need to dothat fast like, that might

(35:10):
affect how you build the camera,you know. And it's like, if you
actually tell people thesethings, your technicians who are
there to support you, and you'reclear about that, then they're
going to think of ways to, tomake their their process more
streamlined and efficient.
Because if you're trying to gofrom like a giant zoom to a
prime handheld, you have to swapa lot of accessories, then it's
like, do we want to do that?

(35:34):
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 thenif you get a second camera, do
we need another crew? And isthat? Does that make sense
monetarily? Or maybe it does,because we don't have time and

(35:54):
we want to do crane shots andhandheld, 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 began the shot. I
want to do this thing. Like I'mpoker face. I had some crazy
camera movements I wanted to doand my key grip, Rob Harlow is
like such a sweetheart and sucha like, like, Yes, man. You

(36:15):
know, like, like, yes. He's morelike a Yes, ma'am. He's like,
Yes, ma'am. You know, he'salways I'm always okay. Rob, I
have an idea. And he's like,yes. What, like, what is it,
like, he's actually excited tobe challenged, you know, we were
shooting in this RV, and Ibasically wanted to do a shot
that was like children of men,you know, like, kind of coming
around. So you know, thecharacters whipping around

(36:36):
pushing back when you like, wedon't want to see anything. And,
and my gaffer too, it's like, wehave to hide all the lights out
of frame, you know, like, andthen working with VFX, like
working with the VFX team andbeing like, hey, I need to put
some tracks down. Can you paintthat out? You know, like, things
like that, where it's like, ithas to become a big discussion.
And then the way I wanted tomove the camera, we you know,

(36:57):
Rob and I had a few ideas. Andone of them I had to involve art
department and I needed them tomodify like the kitchen. Like in
RVs. You know, how theysometimes have a little
kitchenette area? Yeah, so Ineeded them to modify the actual
kitchen cabinet because it shutit out. Removing the camera. So
I asked him if they couldrebuild the cabinet with working

(37:17):
plumbing, and that involvesspecial effects to make working
plumbing. So now you're justlike, suddenly, it's like, I've
just that alone? I've talked tofive departments. Yeah, and I'm
still talking to the ABS andthe, and the producers and my
director, and the writers, youknow, it's like, it's like this
constant, like, on a tighttimeline.

Jennifer Logue (37:40):
It's incredible.
Yeah.

Christine Ng (37:41):
And, you know, and, and while they're, while
they're shooting on set, they'realso thinking of how to rig
things for me. So they werebuilding stuff, you know, like,
just outside of set and sendingme videos of like, potential
rigs that could work. And then Iwould like, then I would text
them back and be like, That'sgreat. I'd be like, That's too
big, or like, I don't know, ifthat's gonna work or whatever,

(38:03):
you know, and it's like, so it'sthings like that, and, and
establishing like, how does Roblike to work? Like, do you want
me to tell you immediately, andhe's like, just tell me like, if
you have an idea, the earlieryou tell me, the more I can
think about it, the more I cansleep on it, the more I can also
talk to my dolly grip, like doyou have ideas or talk to like,

(38:25):
specialty crane places or othercamera support places to figure
out if there's a piece ofequipment that we don't know
about? Or like off the top ofour head that could help us
execute this plan? Instantly?
Yeah, yeah. You know, and samething with like, lighting. It's
like, oh, well, we're gonnashoot, you know, it's a night.
But tonight exterior. I'mthinking we need to put lights

(38:46):
here, here. And here. We bettergo see the kid night, can you
leave set for an hour to drivethis road with me, and then see
if it makes sense. And thenasking locations to go and take
photos at night for me, so thatI can see it at night and make a
more educated decision on howwe're relating it, you know, so
it's so many things. And that'sjust like, these are all just
tiny scenes of a whole show, youknow? And, yeah, communication

(39:11):
is so important and just beingthankful. Like, I'm so grateful
for their knowledge. And thefact that they care, you know,

Jennifer Logue (39:22):
everyone's in it. Everyone has their head in
the game, and they're passionateabout producing the best work
you possibly can.

Christine Ng (39:29):
Yeah, yeah. And like if you don't, like I think
if I don't reciprocate respectto them or like, really lean
into like, their expertise andsay, No, tell me what you think
like, you know, you actuallyprobably know more than me. This
is what I want. I don't know ifit's possible, you know, and
they love that like, they lovethat it's like, like people want

(39:51):
to know that they're needed.
Right is like to be a personthat you need their input you
want their expertise you wanttheir mind you want their you
know, it's nice to be needed.
It's nice to feel like, youknow, when, when you want to do
something, you know, you cancall someone you know, they'll
take care of you too. You know,like, that's another thing is

(40:13):
that I always knew with thepoker face team that, that they
would help me no matter what Iwanted, you know, even though it
was gonna be like a really hardask. And a really tight time.
Oh, it's snowing now. Oh, now

Jennifer Logue (40:24):
you got the snow. Nice. Yeah.

Christine Ng (40:27):
So nice, too much better than rain. Um, so yeah, I
just feel like I'm like, respectto me is really, really
important. And, and I think likebeing a crew member before. And
just understanding that it'slike, if I had known a few more
things, if the DP just gave me afew, just literally a paragraph
of like, what we're doing thatwould help me help them. And so

(40:49):
I try to do that with everyone Ihire. I'm like, Hey, this is
like, generally what we'redoing. If you have any follow up
questions based on what I said,like, please ask me, you know,
and, and over time, when youwork with people like that for
years, you just have ashorthand, and they know that if
I'm telling them something, it'slike, actually important, and it
pertains to them, you know, I'mnot just like, telling them to

(41:12):
tell them, but I mean, I am, butalso it's like, hey, like, this
might affect you, you know?

Jennifer Logue (41:18):
For sure, they get to know your style and how
you work. And yeah, there's lessreclamation time and they know
what to expect. And then you caneliminate that step of getting
used to each other, and just,you know, jump right into it.
Exactly, exactly. So where doyou see the film and TV industry

(41:39):
going in the next 10 years?

Christine Ng (41:43):
I guess like 10 years ago, I could not have
predicted screaming, you know,which is wild? I mean, I feel
like it's like a good and badthing. But I don't know, I like
short form content, like ticktock. That kind of like, like,

(42:05):
will that become more and moreprevalent in our lives, we're
unable to, like, hold ourattention for half an hour or an
hour? Like, I don't know, like,you know, like, nothing little
like scary just for mentalhealth reasons. But in terms of
like the industry, I, I mean, Ihope we continue down this path
where we keep giving,greenlighting stories that need

(42:30):
to be told and heard, you know,I feel like, I feel like the
reception for that kind of stuffhas been pretty positive, that
like that trajectory continues.
I hope that the industry doesbecome more inclusive. I know,
there was obviously a big pushfor that, like, during COVID.
And during like, you know,time's up, I feel like, you

(42:53):
know, I think people are justlike a little bit, a little bit
more aware of it, I hope thatthere's like the backlash
subsides, I feel like sometimesthere's like a little bit of
backlash with that type ofprogression. But hopefully,
that'll even itself out and, andmore and more creators will,
will be will be coming fromdifferent backgrounds, because I

(43:16):
think, I think when the industryis one sided, it influences the
world. And I know if we can,like culturally, right, like, if
we can have more voices ofdifferent people and different
walks of life, really, like Ialmost had a surplus. It might,

(43:39):
it might be beneficial to kindof like the kind of kind of
intense like, I don't know,there's just so much like, I
feel like racial war and culturewar, and you know what I mean,
like stuff going on in the worldthat I hope that like if there's
more stuff to kind of brandstogether.

Jennifer Logue (44:03):
Yes, art brings us together. I really believe
creativity can save the world.
Yeah, I think it's just a matterof people tapping into their own
creativity to cut. Yeah,creativity breeds empathy. Yes.
So at least by creating, like,the work that you do, it's,
that's how the average person isable to feel and sees from

(44:24):
someone else's perspective. Ifthey're not creating themselves.
But yeah, I really believeartists, like we're a service to
the world to be an artist.

Christine Ng (44:39):
It is, yeah. Yeah.
And sometimes I'm like, Oh, Iwish I could do more. You know
what I mean? Like, I wish Icould do more work to like, help
that. But everything takes solong in production, you know,
one step at a time. Yeah. Yeah.
Yeah. So I hope that's where theindustry goes. I mean, it's so

(45:00):
hard to say because it's solike, political. And so many
things are merging together now,like conglomerates are merging
together that it's like, I feellike the amount of media that's
like being pumped out, mightlike start slowing down, and
also the economy like it's soit's all so tied together that

(45:23):
it's like I hope, I hope therecan be more work so that it
helps the economy, you know,and, you know, that affects
everything.

Jennifer Logue (45:32):
You most recently worked on Rian Johnson
series for peacock Pokerface,which we talked about a little
earlier. What was thatexperience? Like? Did you learn
anything from that particulartime on set?

Christine Ng (45:44):
Yeah, totally. I mean, you know, poker face was
arguably maybe the biggest jobI've done, since you know, or,
or Yeah, ever. It was, you know,like, like I said, it's an hour
long, kind of like movie of theweek vibe. It was a 10 episode
show, I was originally going tojust do three. But then I ended

(46:05):
up being invited to stay for onemore, which Ryan directed. So
that was really exciting. So Iended up shooting for and each
episode is its own littleuniverse. So like a new
director, basically a new cast,except for Natasha, Leone. She's
like, a consistent characterthroughout the whole show, and a

(46:26):
few other characters, but she'slike, in every episode, and
we're kind of like dropped intoa new, a new world every
episode. So like, that wasdifficult, because you're almost
starting from scratch everytime. Yeah, you director like,
you know, new vibe, in a way.
And what was great about thatwas like, Yeah, I really needed
to figure out how to communicatebetter, how to be a more

(46:48):
efficient collaborator. to kindof be creative quickly, to be
efficient to be. And also to,like, challenge myself. And also
to kind of also allow myself tobe more confident in myself.
Like, that's always a little bithard for me to like, like, be

(47:11):
like, No, you belong here. Youare the person for the job. You
know, like, I think sometimesI'm still like, oh, whoa, like,
Am I qualified for this? Youknow, and it's like, if Ryan
thinks you can do it, if Jaronthinks you can do it, if Steve
thinks you could run things, youcould, if all these producers
and other DPS who are of superhigh caliber think you can do it
didn't clearly you're invited tothe party, you know what I mean?

(47:34):
So that was huge for me, like tobe invited to be a part of that
was really, really huge for me.
And, and, and, you know, thatgroup of people have been
collaborating for like, morethan 20 years. And like, I know
what that means, right? Like, Ihaven't had I don't have, I've
haven't had a collaborator for20 years yet, but like, but I

(47:57):
understand that even like, youknow, some of my collaborators
for like, five years, 10 years,like, those friendships are so
sacred, that when you invitesomeone else in, they really
have to be like, a really goodfit, you know, and for them to
only talk to me for like, 1520minutes here and there to them
Be like, no, she would be agreat part of this. This

(48:19):
community is like, that meant alot for me, you know, because
they're just, they're legendaryfilmmakers, like, everything
they've all made are like reallyjust like, high caliber, and
different and great andexciting. So I learned so much
from from being a part of theircrew. And Steve Yedlin is, you

(48:41):
know, he's this incredible DPbut he's also such a like,
Professor like, he just is sotechnical. Like sometimes I
think I'm not tech technicalenough as a DP. But he is like,
like, literally to like, thedecimal two things you don't
really like He's like, he's sodetail oriented. He's so smart.

(49:05):
He can like write programs likecomputer programs to like, help
him light a set to like, helphim do prevous on like, Day for
Night stuff. Like he was showingme things that I have not seen
before. And he was an open book,you know, he was literally like,
come sit here, watch what I'mdoing. You have any questions
like, please ask and, and healso taught me a lot about

(49:26):
lighting and the way that he andJaron like work and light was
something that I got to learnfrom and also now integrate into
my working style. And that'slike, the thing is that
sometimes they think as a DP,you don't grow anymore because
you do things the same way. Andeven when I tried to, like,
switch genres and switch, youknow, I'm working with new

(49:48):
creative people. My my, the wayI work is still kind of the way
I work and I think like, beingable to work with them seeing
the way they work, is just likeUnlike how I've seen it with
other people, and being able toactually learn from them, and
grow, like, I think like,sometimes it's like, you feel

(50:09):
like you can't grow anymore?
Like, how do you challengeyourself to grow, but when you
have people who are like, wewant you to grow with us, no,
come grow up, come grow overhere, you know, like, that's
huge, like to be invited to, tolearn from them, and to just
like, literally, to be invitedto be in the room to watch them
work, just observing andwatching someone you are
learning so much. And so I andyou know, I think this is a

(50:34):
question you asked me earlier,but like, where do I hope this
industry goes, I also hope thatthere's more opportunities for
people to shadow on set to,like, observe or just be invited
into the room and to like, take,you know, take the locks off
these gates, you know, and justlike, open the gates and, like,
let people in and see what'sbehind the curtain, you know,
like, it's such a mystery. Andsometimes I think some things

(50:56):
are still a mystery, even thoughI'm very much a part of it.
Sometimes you feel like, Oh, I'mnot allowed to go over there.
But it's like, are we justcreating these barriers
ourselves, you know, and, youknow, the way that Ryan and his
team work, it's very much like,coming out, like, yes, so you're
allowed in here, like, come overhere, look at what we're doing,
like, and I think like, thatmentality fosters a really

(51:18):
positive environment. And thenit, it allowed me to, like, ask
questions that like, you know,some could say, like, Oh, that's
a dumb question. It's like, No,it's not a dumb question. If you
don't know, or it's like, oh,that's a great question like
that. Or, like, you know, it'slike, you don't know until you
say it, and you can't be afraidto say it, and they create a

(51:39):
room. That's not where you'renot afraid to speak your mind or
speak your truth. And that'sreally important, too, like, the
way I work and the way I like towork, you know, and I think, and
I don't know, maybe that's how Igot the job, because I was, I
kept talking about like, anenergy in a room and how I
really, like respect is reallyimportant to me, and how I like
creativity is important that youcan't have that until, unless

(52:02):
you respect and respect peopleand honor each other. And they
are truly the same way. And youknow, I also talked about how I
just love working with myfriends and, and if it were up
to me, I would just work with myfriends all the time. And that's
what they've been doing forever.
And it's like, beautiful, it'sjust like, they get it, you
know, and that's like, it's coolto see, like, tightens like that

(52:26):
also feel the same way aboutwhat can be perceived as all
things that you said, right, butevery little thing really
matters. And every little thingadds to a relationship with each
other. And even down to the PAs,it's like, you know, some people
are rude to pas, and I'm like,Oh, the poor kids, you know,

(52:48):
like, they are here the longest,they have the longest days, they
never get to sit down, they areat everyone's beck and call,
they have to, like, you know,it's just hard work. And it's
like, some people treat themlike, and I'm just like, you
gotta you know, you gotta berespectful and kind to them,
because they're here for you.
They're here to support you. Andalso like, tomorrow, they could
be your boss, like, you knowwhat I mean? It's all like this

(53:10):
world. And this industry islike, you never know who this
you know, it doesn't matter.
Like, like, if this person isthe producer or the lead, like
number one on the call sheet ora PA or driver or like whatever
the caterer it's like, doesn'tmatter. They're just people,
like, just be nice to peoplelike ultimately, like that's
just like constantly what I saybut like, it's truth, the golden

Jennifer Logue (53:33):
rules is applies everywhere. You know, I mean,
there's a reason why we call itthe golden rule. But not
everyone got the memo? I don'tthink.

Christine Ng (53:44):
But we're trying to we're trying to I keep trying
to put the memo up everywhere.
Just be nice. Be kind.

Jennifer Logue (53:50):
Well, this may be related to this next
question, what advice do youhave for aspiring
cinematographers that are juststarting out? You touched on
this a little bit before? Yeah,the coffee you had?

Christine Ng (54:01):
Yes, yes. So I feel like as a as a young
cinematographer, or aspiringcinematographer, you kind of
have to put yourself out there alittle bit, you kind of you
know, and I think like with thepower of social media and
Instagram, the people that youadmire the people that you look
up to the people that you aspireto be, they're actually
reachable. You know, I thinkwhen I wanted to be a DP when I

(54:21):
was younger, like, I didn't knowhow to get to Elon, like, I
don't like you call their agent,and they're like, Okay, like fan
mail, whatever, you know. Andwhat's ironic is I actually met
Ellen at Parc pictures becauseshe DP had something there. And
then she was represented as a,as a director there. And then
she and I became friends andlike, you know, it's just crazy
how these things happen. Butlike, as a young, aspiring DP, I

(54:43):
think it's like, if you look upto someone and you like their
work, you should reach out tothem and you should, you know,
see if you can have a coffeewith them or conversations if
they have any advice for you, orif they could just tell you
about how they got started. Orif you have the ability and they
have the ability to have you onset to shadow them a little bit.
Like, all these things will beable to help you with your
career. And as for me, like Ijust kept working, like, even if

(55:09):
I wasn't the DP, and I was likean AC, or if I was a second AC,
or if I was, you know, doingproduction work or whatever, it
didn't matter, like the factthat I was just out there, 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

(55:31):
this nucleus web that I keeptalking about, like one person
leads to another leads toanother. And next thing, you
know, like, the person you metfive years ago, might be, may
have written a script. And youmentioned you want to be via DP,
and you guys have been kind ofkeeping in touch. And then
they're like, Oh, hey, I gotmoney for the script, I want you
to shoot it. And then you makethis film, like, you know,
things like that happen. And ithappens more often than you

(55:53):
think. And it's the more so themore you put yourself out there.
And the more you go out and tryto meet people, and the more,
you know, as I was younger, Icalled myself, like an
opportunist. I was like, Oh, isthere an opportunity there? I'm
there, you know, and just like,and just be willing to be
uncomfortable and be vulnerable,but also believe in yourself

(56:13):
enough to be able to say thatyou want to be a DP. You know, I
wish I had said that sooner.
Like I said that, finally, mysenior year of college, you
know, and all my friends werelike, Why don't you tell me
earlier, I would have had youshare my film or whatever, you
know, so senior year, I shotthree, I think I shot three
films that year. And it was likea big deal for me, because I
didn't before you know, and if Ihad just spoken up a little bit

(56:35):
to my, my group, my community,they probably I probably would
have done more earlier, youknow, and it's like, and it only
takes like, you speaking up foryourself for you to actually
manifest these things and like,have to manifest it for to
actually happen.

Jennifer Logue (56:55):
Put it out there. Yeah, you just have to
clip it inside zactly. Because

Christine Ng (56:59):
no one knows, right? Like, if I don't say, I
want to do this, no one willknow. And if they don't know,
they're not going to consideryou or think of you when, when
an opportunity does come up. Iactually ran into someone
yesterday, I went to a Broadwayshow. And she was sitting like
dangling in front of me. And sheturned around, I had someone I
hadn't seen for like five years.
And she did production work onlike, documentary stuff. And

(57:21):
then we met up outside and we'retalking and she was telling me
that she really wants to be aproducer's assistant or writer's
assistant, because her goal isto be a writer and comedy for
television. And also, I didn'tknow that, you know, and now
that I've been doing more TV,and some of it being comedic,
it's like, I know, a couple ofwriters, you know, I know a
couple of like, show runnersnow, you know, and like, in the

(57:43):
off chance that I find out thatthey need someone I can help be
like, Oh, you, you know, myfriend, you know, my friend is
interested. And she's great, youknow? And it's like, if she
never told me that, you know,who knows? Like, who knows,
maybe next week, I'll have a jobfor her. I won't. But like, the
fact that she's on my mind, andI know these things about her

(58:04):
that I'm actually able to like,help her.

Jennifer Logue (58:08):
Yes, you got to speak it into existence. We hear
that a lot. But we got to liveit too. So what's next for you?
Huh? Ah, that's a good question.

Christine Ng (58:21):
Well, I'm, I'm shooting a few commercials in
the new year. I'm working on adocumentary about disability
rights, which I'm really excitedabout. Cool. My friend is
directing it. She's wildlytalented. It's her first like,
directing foray, I guess. Butshe's been a journalist for a
long time. Her name is Lizplank. I don't know if you know
her, but she like she's pretty,like prominent in the socials.

(58:45):
But she's really amazing. And I,you know, I was really happy
when she told me that she wantedto do it because I was like,
You're, she's such an amazing,like, journalists like just like
a really good storyteller. And Ithink like, you know, being a
director is hard, and especiallybeing a documentary filmmaker.
And I'm just really happy to beable to be here to like, support
her and to help her. So I'vebeen shooting that on and off,

(59:06):
like in the past year, and we'regoing to continue to keep
shooting. So I'm doing that I'mfilming a live taping of a
Broadway show that I don't knowif I can talk about it, but that
will be totally fine. It's,it's, it's an award winning
show. So that's exciting. Andthen you know, I've just been
interviewing for a few things.
Hopefully something will come upnext year, I'd really love to

(59:29):
shoot like a narrative feature.
I'd really love to continue tokeep doing more narrative things
but you know, I love documentaryI mean, I'm just like, honestly
really excited about kind of thethe things that just come up
because I love the kind of like,I love spontaneity, I love

(59:52):
challenges I love kind of likeshape shifting and like, you
know, like constantly having toreorganized my brain for a
different thing. And, and sodoing this Broadway show is
like, I haven't done that I'vedone like stand up I've operated
on on some live Broadway showsstuff. But this, I haven't
deployed one. So this will be adifferent thing for me. And

(01:00:13):
that's exciting. And so I'mreally excited to learn, you
know? Yeah, so it's like, Idon't know, hopefully 2023 We
get I mean, 2022 went by realfast and, and it was a really
great year. You know, I'm justreally lucky that I get to work
on things that I care about, andwith people that I really love,
so it's kind of amazing,

Jennifer Logue (01:00:33):
Christine, you're incredible. Oh, my
goodness. I am so grateful toSam for introducing us. I'm so
excited to see what you do inthe next year. And thank you so
much for taking the time works.
Yeah, thank you podcast

Christine Ng (01:00:49):
questions and, and just like, you know, giving
people a platform to talk about

Jennifer Logue (01:00:54):
their work. For more on Christine, visit
Christine inc.com. And thank youso much for tuning in and
growing in creativity with us.
I'd love to know what youthought of today's episode. What
you found was interesting, whatyou found most helpful. You can
reach out to me on social mediaat Jennifer Logue or leave a
review for creative space onApple podcasts so more people
can discover it. I appreciateyou so much for being here in

(01:01:17):
the beginning stages of this. Myname is Jennifer Logue and
thanks for listening to thisepisode of creative space. Until
next time,