Today we’d like to introduce you to Katie Colwell.
Hi Katie, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstory.
My name is Katie Colwell (she/her) and I am a cinematographer and director from a small town in Connecticut. I received my Bachelor of Arts in Filmmaking from Oakland University (Rochester, MI) with honors and am the recipient of the 2020 Meritorious Award, Future Leader Award, and Filmmaking Award.
Through my studies at Oakland University, I fell in love with the camera. My favorite part of the production process was storyboarding and creating the visuals for the film. It became apparent to me very quickly that I was meant to be a cinematographer. I love working with different directors on a variety of films, from narratives to documentaries and shorts to series. It’s thrilling dissecting the vision the director has and executing it into something beautiful and memorable on screen.
Giving art a platform through film festivals was also something I discovered to be a huge passion of mine while at Oakland University. During my senior year, I led the resurgence of Grizzdance Film Festival after its 20-year hiatus and was named the co-director for that year. It was amazing taking part in an event where we were able to share work that would otherwise never be seen by the public.
Currently, I am working as a freelance cinematographer in New York City and have started my own film festival, Madness Film Festival in Brooklyn, NY.
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey has been a fairly smooth road?
It has not been smooth nor easy, but I can say that I have gotten far in only a couple of years. One thing I’ve noticed with being in an industry like film and television, you tend to get tunnel vision. There is so much focus on the current project, and then the next, and then the next. It’s too easy to forget to pause and look back on all the amazing work that has already been done.
A big struggle that I, and other cinematographers face, is becoming a cinematographer that has their go-to clients and directors. The cinematographer is one of the most important pieces of making a great film. They not only are in charge of the entire visuals of the film, but they work very closely with the director and are very involved in how the story is told. Since this industry is so network-based, it’s difficult to find people that are willing to branch out and work with someone new, especially when they need someone they know they can trust wholeheartedly. I can have the most amazing reel in the world but if I don’t have the connections and recommendations, it’s unlikely I’ll get consistent work. It means that I also need to go out on a limb for fresh directors and productions with little budget. I’ve been putting in my time and energy on these projects to expand my network and gain the trust from these filmmakers.
Though it’s a long and difficult process, it’s not without its rewards. Being able to hone in my craft, work with some talented artists, and develop these small projects into something really beautiful and worthwhile is an amazing and exciting experience. Working with what you are given and not relying on fancy cameras and huge crews to make phenomenal and cohesive stories is a talent in itself and I’m thrilled to be developing that skill.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar, what can you tell them about what you do?
A big project I am currently working on that I wrote and am the director and cinematographer for is a short film titled Lapse. It is a female-centric horror film following Terry, an overachieving and overwhelmed star competitive swimmer who blacks out alone one night in the pool—the same pool a dead body is found the next morning. This is a project that is very personal to me that combines my Division I competitive swimming experience and, of course, filmmaking.
Through the pre-production and production process, some really amazing people who believe in my vision have joined the project. The producer and my biggest advocate for the film, Soukaina Alaoui El Hassani, was the first to go all in on the project when I first brought it to her in the beginning of 2021. When I told Soukaina that I not only wanted to direct this film but to also be the cinematographer, she didn’t bat an eye. I usually receive a lot of pushback when I tell people I want to do both but she believed me and the project fully right from the start.
From there, we developed a successful crowdfunding campaign that caught the attention of Couper Samuelson, President of Feature Films at Blumhouse who is now an Executive Producer. We then were able to bring on an amazing crew consisting of majority of women and non-binary filmmakers. Filming this in Michigan, we hired almost all of our cast and crew from the local area. The only exceptions were myself, Soukaina, and our gaffer, Rutuja Sawant, who flew out from New York City. Rutuja was so involved in the development process of the visuals and the film itself that when we were on set, we began to communicate almost silently, as if we were reading each other’s minds. Both Soukaina and Rutuja were not only amazing resources, but their talents and insight elevated the film to a whole new level.
We wrapped production on July 24th and are now deep in the post-production process. We are looking to have the film completed and on its festival run in the beginning of 2023. For more information about the film, you can visit lapseofficialfilm.com or follow us on Instagram, Facebook, and TikTok at @lapseofficialfilm.
On the other side of the camera, Madness Film Festival is now in its second year and submissions are open! After founding the festival and having a successful inaugural year, I’m excited to expand it. Showcasing more films, introducing panels, mixers, and including awards.
I’ve always wanted to create a festival that inspires future filmmakers, introduces the vast world of film to the general audience, and shares some really fun and amazing stories with the world. Madness Film Festival has been such a fun experience and I hope that it keeps developing and growing in years to come.
The festival is currently accepting short films of any genre that are 15 minutes or less in length (including credits) with submissions closing February 28th, 2023. The event will take place May 26th-28th, 2023 in Brooklyn, NY. You can find out more information about the festival and how to submit at madnessfilmfestival.com.
Are there any apps, books, podcasts, blogs or other resources you think our readers should check out?
Music is hugely inspirational for me whenever I am brainstorming the visuals for a film. I always listen to music while I work and I tend to make playlists for each film I’m working on. It allows me to get inspiration and brainstorm new ideas while being free to visualize whatever comes to me. When I try to look at films for visual inspiration, I tend to look at it with a technical eye versus a creative one. Music keeps me creative, open-minded and focused on what’s best for the story.
Shotdeck is a tool I frequently use. It’s a great database that allows you to look at shots from thousands of films and filter them by shot size, lighting style, color, and more. Once I have my vision and know what I want, I use it to create lighting and color mood boards, as well as use it for examples to give to my team when I want to execute a specific lighting or shot style.
Contact Info:
- Website: katiecolwell.com
- Instagram: katiecolwelll
