In this interview Tom Debenham shares his journey from a childhood passion for art and music to becoming a director of photography and visual effects. With a background in Fine Art and photography, Tom is a passionate image maker and collaborator, happy working on all formats and scales of production. He reflects on the influence of his creative family and the challenges and inspirations he encountered in his career. Tom emphasizes the importance of authenticity, collaboration, and trusting one’s instincts in the creative process.
Tom has worked as a DoP and visual effects supervisor for 25 years, contributing to well-known films such as The Matrix Resurrections, Under the Skin, Harry Potter and the Chamber of Secrets, Shaun of the Dead, and V for Vendetta. He has been shooting plate units and elements alongside the main unit on many features, and also 2nd unit on films such as Under the Skin for Jonathan Glazer and Finding Altamira for Hugh Hudson.
His recent drama work includes camera consultancy on Jonathan Glazer’s multi-award nominated Zone of Interest, shooting a short period film being developed into a feature, a BBC short film for Glazer, a low-budget independent feature, and a horror pilot for Sky. Tom has also served as DoP on a number of commercials and promos, including brands such as Canon for Jonathan Glazer, Ballantines, Cheerios, and AIB for Si and Ad / Academy.
A Lifelong Passion for Art and Music
Discovering Creativity Early On
I don’t think I ever thought that I wanted to work in the entertainment industry and I don’t really recall when that term became a common one. What I was always interested in was art and music. I used to draw passionately as a child. My mother was a musician and I played the cello and then later the double bass, which I still play occasionally.
Drawing was an overriding passion for me. I used to fill sketchbooks all the time, drawing whatever I could find. That was really the direction I thought I was going in more than anything; drawing and painting. I used to make sculptures when I was older. My uncle gave me a welder, and I used to weld things together. So just making things practically was a big passion.
Influences from a Creative Family
Growing up in a creative family, I was surrounded by positive role models. My mum was a musician, my granny was a painter, and my uncle was a director. These influences made me believe that a career in the creative industry was possible. It’s something that I’m very aware of now, that lots of people that don’t have those role models within easy reach and it can be so much harder.
My mum was a musician, my granny was a painter and my uncle was a director so I did have some pretty positive creative role models around me.
One vivid memory I have is of my uncle, who was a film director, taking me on set when I was quite young. I did a job as a runner a couple of times on things he was working on. This exposure gave me a glimpse into what a career in film might look like, although I didn’t see it as part of my trajectory until much later.
Early Film Inspirations
One of the most significant inspirations for me was The Empire Strikes Back. I vividly remember watching it at a big cinema, and being completely overwhelmed by the different world that opened up in front of me. The film was presented as fact, and I believed it, which was incredibly exciting. I must have been around 12 or 13 at the time.
Interestingly, the cinematographer of The Empire Strikes Back, Peter Sushitzky, was a family friend through music. He played the flute and knew my family. I met him a few times when I was younger, but it wasn’t until much later that I connected the fact that he was the one who shot that film, which had such a profound impact on me.
This connection made me realize that a career in film was not completely out of reach. As I started being responsible for my own images and saw them projected, I began to understand that this was the essence of what truly excited me.
Education and Pivotal Moments
Formal Art Education
I studied art at the Slade School of Fine Art, for four years, a period I describe as fantastic and an amazing opportunity to explore my creativity.
My paintings were very multi-layered. It was about to passing through space and time and building up those layers. A turning point in my career came when one of my tutors looked at one of my paintings and remarked that it looked like a one-minute film.
One of my tutors looked at one of my paintings for quite a long time and said, ‘That looks like a one-minute film.’ That was an eye-opening moment for me.
This comment was eye-opening for me, making me realise that I should be thinking about moving images rather than still images because I’m trying to pack all this stuff into a single image that perhaps could be unraveled and turned into something. This realisation made sense given my hobby and passion for photography, And I started beginning to put those ideas together and think about what I might do with that.
The Start of a Film Career
First Steps in the Film Industry
My first job in the film industry came through a good friend, Dan Glass, who suggested I apply for his job as a runner at the computer film company he worked at. I remember my interview with Mike Boudry, the inspirational boss at the computer film company.
He was an ex-physicist who had gone into film. During the interview, we talked about welding and tractor driving, which were the main skills he was interested in, along with my art school background. I think he thought I might be able to put things together and figure things out.
This job turned out to be excellent training, allowing me to develop my skills and knowledge in the industry.
Starting at the bottom, I had no idea about digital effects or anything related to film production. I only knew about photography and painting, but I knew I liked solving technical problems. This job turned out to be excellent training, allowing me to develop my skills and knowledge in the industry.
Day-to-Day Director of Photography and Visual Effects
When you think about my career as a Director of Photography and Visual Effects, it’s quite varied—what you might call a portfolio career. As one of the founders of One of Us, most days I’m in the office due to the industry’s downturn. I oversee projects and mentor younger supervisors, reviewing images, discussing project progress, client behavior, and strategies to improve outcomes. This involves a lot of creative management, directly looking at pictures and figuring out how to make them better, which I find really enjoyable.
When I’m filming, it’s often intense and fast-paced. Recently, I worked on a short notice test scene for a film that went to Cannes. It involved pre-lighting and shooting at Shepperton Studios, collaborating with both new and familiar crew members. Building strong working relationships quickly is crucial, especially on long shooting days with tight schedules.
In every aspect of my work, I strive to be a diplomat and collaborator. I value input from all team members, fostering a sense of ownership and pride in their work. Adaptability is key, whether I’m working on short films, test scenes, or features seeking funding.
Major Projects and Collaborations
The Matrix
Working on The Matrix Resurrections was a thrilling experience. I was doing some very, very, massively technically involved, and creatively exciting tests around the evolution of bullet time and how that might evolve into the next generation of bullet time. So that was a fascinating thing. This project required collaboration on complex camera arrays, allowing me to wear both hats as a director of photography and visual effects supervisor.
Under the Skin
Working on Under the Skin was one of the most rewarding collaborations of my career. This project was a complete highlight for me, as I wore several hats, including visual effects and early visual development. It was the reason my colleagues Rachel, Dominic, and I set up our company, One of Us. I began early visual development on the project twenty years ago, and it started filming in 2011, ten years later.
Jonathan Glazer, the director, was amazing at rolling with the punches, reconceiving things as they changed, and ensuring that every breath counted in terms of everybody’s effort. He exemplified great leadership in making sure the project was realised to its fullest potential.
One of the technical challenges we faced was developing a camera system we called OneCam. I spent a lot of time filming people covertly around the streets of Glasgow, in nightclubs, shopping malls, and other locations. The physicality of shooting these scenes was exciting and challenging. I worked as the second unit director of photography while also looking after visual effects.
The project was really multifaceted, with an amazing cast, crew, and spirit. It was a labor of love for everyone involved, and I’m tremendously proud of what we achieved.
Inspiration from Terrence Malick
Terrence Malick was a complete inspiration in the way that he talked about imagery in connection with music and humanity. He was just absolutely an amazing inspiration as a person, as a filmmaker, and as a, I guess, somewhat as a philosopher, really.
Terrence Malick was a complete inspiration in the way that he talked about imagery in connection with music and humanity.
Authenticity and Collaboration
My approach to filmmaking is centered around serving the story. I believe that every aspect of the production, from the script upwards, should serve the story. Whether my part is tiny or huge, it should always contribute to the overall narrative.
In every aspect of what I do, I believe in serving the project rather than my own ideas about the project. This approach goes a long way in terms of communication and collaboration. Whether I’m looking after a project as a creative director on the visual effects side or shooting something myself, it’s always about how we can best serve the story.
Our part might be tiny or huge, but it should always contribute to the overall narrative.
I believe that giving a voice to everyone, regardless of their stage in the industry, is important. Being receptive to observations and ideas from others makes every day interesting and a pleasure. Giving everyone ownership and pride in what they’re doing leads to better outcomes.
Being confidence in your decisions, while being open to alternative ideas, is crucial. Serving the project and being generous in spirit while being clear and confident in your vision is something I passionately believe in.
Reflections and Advice for Aspiring Creatives
Believing in Yourself and Your Work
I think in terms of people entering the industry, I think it’s really important to believe in yourself and believe in what you can do, even if you are not as fortunate as I was to have had role models that show you what that could be.
I think trust your instincts. Look at the images you take on your phone or the sketches you make and understand that they are your signature—they mean something and are worth something. This belief in yourself is essential for growth and development.
Trust your instincts, look at the images you take on your phone, look at something that you might scribble on a sketchpad and think that means nothing, but just look at it again.
I recall a guitar lesson from an inspirational bassist, Barry Guy, who told me that each note can only come from the individual playing it.
This philosophy applies to filmmaking as well. Every direction you point the camera in, every line you draw, and everything you do as a creative person can only come from you as an individual. Trusting that, and being quiet and humble about it, is important.
Each note can only come from you, and the same is true for every direction you point the camera in.
You don’t have to make grand gestures to create something interesting; sometimes, simply standing in the right spot in relation to the light and subject can create magic.
The Importance of Humility
Humility is another important trait for me. I believe in being humble about serving something greater than oneself. It’s not about your voice being heard, but the voice of the project.
In my opinion, remembering that other people are part of what makes a project successful is essential for long-term success in the creative industry. And I think just remembering that and remembering that other people are part of this will hopefully take you a long way.
Be humble about serving something greater than you. It’s not your voice that needs to be heard, it’s the voice of the project that’s important.
In today’s world, especially for the younger generation, it’s easy to be swayed by images and social media, thinking that you need to present yourself in a certain way. It’s important to stay calm and step away from that mindset.
Recognise that you are everything you need to be, and focus on asking for help, working with others, and looking at other people’s work without measuring yourself against them.
It’s very important to be ambitious and to have ideas and to develop them to practice and become better, but I think it’s also important to not feel hopeless because there’s other people that do things a little more flashy than you.
The best examples in film, music, and almost every creative endeavor are often simple and authentic. They have a truth to them that resonates with people. It’s all about human stories in the end. If you can channel that and tell it truthfully by whatever means, you’re onto a good thing.
Biography
Tom is a highly skilled and passionate image maker with a background in Fine Art and photography. With over 25 years of experience as a Director of Photography (DoP) and visual effects supervisor, Tom has established himself as a versatile and collaborative professional, adept at working across various formats and scales of production.
Throughout his career, Tom has contributed to numerous high-profile projects, often shooting plate units and elements alongside the main unit. He has served as the 2nd unit DoP on films such as Under the Skin for Jonathan Glazer and Finding Altamira for Hugh Hudson. His expertise extends to specialized areas like models and miniatures, high-speed and macro photography, and extended effects work, including Terrence Malick’s IMAX film Voyage of Time. Recently, Tom has been exploring virtual production on a large-scale test for a feature film.
Tom’s recent drama work includes camera consultancy on Jonathan Glazer’s multi-award-nominated Zone of Interest, shooting a short period film being developed into a feature, a BBC short film for Glazer, a low-budget independent feature, and a horror pilot for Sky. In addition to his work in drama, Tom has served as DoP on various commercials and promos for brands such as Canon, Ballantines, Cheerios, and AIB.
Discover more about Tom using the links below
- Website: https://www.tomdebenham.com/
- Company: https://www.weacceptyou.com/
- IMDB: https://www.imdb.com/name/nm0213389/
