- Paul Cameron, ASC's visually groundbreaking work as a director and a director of photography has helped shape the craft of cinematography in the 21st century. Cameron recently directed multiple episodes of "Special Ops: Lioness", created by Taylor Sheridan for Paramount+, as well as multiple episodes of HBO's acclaimed "Westworld" series. Previously, Cameron was Cinematographer on "Reminiscence", starring Hugh Jackman and Rebecca Ferguson, "21 Bridges", and "The Commuter", starring Liam Neeson. His other DP credits include: "Pirates of the Caribbean: Dead Men Tell No Tales", "Man on Fire", "Déjà Vu", "Collateral", "Dead Man Down", "Total Recall", "Swordfish", and "Gone in Sixty Seconds", among others. Cameron is on the Board of Governors for The Academy of Motion Picture Arts and Sciences, has won both Clio and AICP awards, and is represented by DDA.- IMDb Mini Biography By: DDA
- SpouseLaura Stabilini(? - present)
- The short film Beat the Devil (2002) he shot with Tony Scott at the helm was entered as part of the New York Museum of Modern Art permanent film collection in 2003.
- 2006 - Invited as a member of the ASC/American Society of Cinematographers as well as the Academy of Motion Picture Arts and Sciences.
- My fear is that the content will be designed for the medium. People "will say, 'what works in VR? Let's design a story that works in VR!' Then maybe you can't move the camera, you have to have certain kind of frames, and create a story that works just for that. That's a real problem. [2016]
- It took 100 years to develop film into a very elegant medium. Cameras are now small and quiet, we have amazing film stocks. We have pushed that craft to absolute perfection. [2016]
- [on Westworld (2016)] The lines are definitely blurring between film and television. It's an interesting time. They're not making films in the $15 million range any more at the studios, but now we have TV shows that can have a budget of $15 million for an hour episode. [2016]
- There's a new generation of kids who've been raised for a decade on digital technology and are accustomed to ultraclean images, sharp backgrounds, and high resolution. If you take them to see a film like Carol (2015) that was shot on Super 16, they think there's something wrong with the picture. [2016]
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