Roger Pratt

Director of photography
The favorite director of photography for many leading British directors, Roger Pratt has proven himself a master at numerous genres, adept at expressionistic lighting ("Batman" 1989), muted, musty tones ("Shadowlands" ... Read more »

Filmography

Camera, Film, & Tape (39)

Keeping Rosy 2014 (Movie)

(Director of Photography)

The Karate Kid 2010 (Movie)

(Director of Photography)

Dorian Gray 2009 (Movie)

(Director of Photography)

Inkheart 2009 (Movie)

(Director of Photography)

Closing the Ring 2007 (Movie)

(Director of Photography)

Harry Potter and the Goblet of Fire 2005 (Movie)

(Director of Photography)

Troy 2004 (Movie)

(Director of Photography)

Harry Potter and the Chamber of Secrets 2002 (Movie)

(Director of Photography)

Iris 2001 (Movie)

(Director of Photography)

Chocolat 2000 (Movie)

(Director of Photography)

Grey Owl 2000 (Movie)

(Director of Photography)

King Lear 1998 - 1999 (TV Show)

Director of Photography

The End of the Affair 1999 (Movie)

(Director of Photography)

Daedalus & Icarus 1997 - 1998 (TV Show)

Director of Photography

Orpheus & Eurydice 1997 - 1998 (TV Show)

Director of Photography

Perseus & the Gorgon 1997 - 1998 (TV Show)

Director of Photography

The Avengers 1998 (Movie)

(Director of Photography)

Theseus & the Minotaur 1997 - 1998 (TV Show)

Director of Photography

In Love and War 1996 (Movie)

(Director of Photography)

12 Monkeys 1995 (Movie)

(Director of Photography)

Mary Shelley's Frankenstein 1994 (Movie)

(Director of Photography)

Shadowlands 1993 (Movie)

(Director of Photography)

Year of the Comet 1992 (Movie)

(Director of Photography)

The Fisher King 1991 (Movie)

(Director of Photography)

Bernard and the Genie 1990 (Movie)

(Director of Photography)

Batman 1989 (Movie)

(Director of Photography)

High Hopes 1989 (Movie)

(Camera Operator)

High Hopes 1989 (Movie)

(Director of Photography)

Paris By Night 1989 (Movie)

(Director of Photography)

The Adventures of Baron Munchausen 1989 (Movie)

(model unit) (Director of Photography)

The Short and Curlies 1989 (Movie)

(Photography)

Consuming Passions 1988 (Movie)

(Director of Photography)

Mona Lisa 1986 (Movie)

(Director of Photography)

Brazil 1985 (Movie)

model photography (Photography)

Brazil 1985 (Movie)

(Director of Photography)

Meantime 1982 (Movie)

cinematography (Cinematographer)

The Sender 1981 (Movie)

(Director of Photography)

The Dollar Bottom 1980 (Movie)

(Director of Photography)

Not I (TV Show)

Director of Photography

Biography

The favorite director of photography for many leading British directors, Roger Pratt has proven himself a master at numerous genres, adept at expressionistic lighting ("Batman" 1989), muted, musty tones ("Shadowlands" 1993), and quirky comedy, ("Brazil" 1985).

A film school graduate, Pratt began in the business as a camera loader, a function he served on "Monty Python and the Holy Grail" (1975). It was during this shoot that he first met Python member, writer-director Terry Gilliam. Pratt moved up to lighting designer and camera operator before doing the cinematography for Roger Christian's Oscar-winning short, "The Dollar Bottom" (1981). Christian hired Pratt as cinematographer on what became the debut feature film for both, the underrated thriller "The Sender" (1982). By 1985, Pratt was working with Gilliam as director of photography on "Brazil", creating the nightmarishly futuristic world dominated by machines to vivid, colorful life. He shot second unit work on Gilliam's fantastical "The Adventures of Baron Munchausen" (1989) and further collaborated with the director on "The Fisher King" (1991) and "12 Monkeys" (1995), for which he again created a nightmarish world using careful shadings of light.

Pratt's abilities with dark tones and atmospheric shadowing was particularly revealed in Neil Jordan's "Mona Lisa" (1986) and confirmed with Tim Burton's "Batman". The latter was often praised, often criticized for the darkness and expressionism of its texture, which, if not a total departure from the comic strip, certainly was unexpected by those who had been fans of the 1960s TV series. Sir Richard Attenborough enlisted Pratt to shoot "Shadowlands", which offered the muted, sedate tones of the British countryside. Pratt again teamed with Attenborough on the "In Love and War" (1996), which often had a warm yet muted glow. Kenneth Branagh enlisted Pratt for "Mary Shelley's Frankenstein" (1994). Also in the 80s, Pratt worked with Mike Leigh on the latter's early TV short films, including "Meantime" (1983), and "The Short and Curlies" (1987). Pratt has worked occasionally for British TV and has shot numerous TV commercials as well. Reteaming with Neil Jordan for 1999's remake of "The End of the Affair", he picked up his first Best Cinematography Oscar nomination.

EDUCATION

attended film school

Milestones

1999

Reteamed with Neil Jordan to shoot "The End of the Affair"; received first Oscar nomination in the Best Cinematography category

1999

Third film with Richard Attenborough, "Grey Owl"

1996

Reteamed with Attenborough for "In Love and War"

1995

Third feature collaboration with Gilliam, "12 Monkeys"

1993

Was cinematographer on "Shadowlands", directed by Richard Attenborough

1991

Reteamed with Gilliam on "The Fisher King"

1989

Shot Tim Burton's "Batman"

1987

Worked with Mike Leigh on "The Short and Curlies"

1986

Was director of photography on "Mona Lisa"; first collaboration with Neil Jordan

1985

Worked with director Terry Gilliam on "Brazil"

1982

Feature debut as director of photography, "The Sender"

1981

Served as cinematographer on short film "The Dollar Bottom"

Began career as a clapper loader, progressing to lighting designer; was loader on "Monty Python and the Holy Grail"

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