In the spotlight: Interview with Ammonite's gaffer Andy Cole

Director Francis Lee’s new film “Ammonite” has made the official selection for the Cannes Film Festival 2020. Shot by cinematographer Stéphane Fontaine with lighting gaffer Andy Cole, this beautiful drama stars Kate Winslet and Saoirse Ronan as a lesbian couple in the 1840s. The film is not a biopic, but a romantic story of hope inspired by the life of British palaeontologist Mary Anning.

The camera and lighting equipment for this production was supplied by Pixipixel. Now we’re pleased to have the opportunity to speak with gaffer Andy Cole whose credits include The Favourite, The Current War, Crooked House, and many more. Read our interview for Andy’s insights on getting started in the industry, “go-to“ items of kit, and some of the lighting challenges on the set of Ammonite.

Andy Cole, Lighting Gaffer

Andy, can you tell us how you came about to be a gaffer? What was the breakthrough moment when you knew this was the life for you?

My first film to gaffer was a Harry Palmer spy film in Saint Petersburg, Russia in 1993. The conditions were very harsh and crew were leaving on a daily basis. I was best boy and when the gaffer went home. I decided to take over that role rather than production flying in a new gaffer.

How did you get involved in this project - Ammonite?

I was approached by production and Pixipixel to have a Skype call with Stephan Fontaine. I’m not sure how my name was in the frame for that project, but it worked out. 

What was the brief of lighting “Ammonite”? Tell us about your collaboration with Ammonite’s cinematographer Stéphane Fontaine?

The brief was for a very soft and gentle approach. Working with two lovely female leads, Stéphane wanted a textured feel to the lighting that would enhance the beauty on screen. So, everything was bounced light or very diffused light.

What was the most challenging part of shooting this movie, from a lighting perspective?

Bouncing light can be more difficult than direct light and so trying always to keep the texture to a point where it’s nearly too little but just enough was a nice challenge. 

Do you have any special or favourite go-to items of kit that you always carry on a shoot, if so, can you tell us why?

I would say 18k Fresnels if the job allows or 12k/6k Pars if working on a smaller production.

Why Pixipixel on this one for you? Did we deliver to your expectations?

I had been hoping for an opportunity to work with Pixipixel and when the production manager asked me if Pixipixel would be ok with me I had no hesitation and yes, I cannot fault the service and professionalism. Also, there is a human side which always helps.

Were there any memorable moments on this set for you?

Yes, I loved working on the Jurassic coast; it was so beautiful. Also filming in the British museum is always good. A little like a dead zoo 😂

If you could offer one piece of advice to aspiring electricians or gaffers what would this be?

I would say to keep trying and don’t give up. Gaffer as much as you can as from small projects come some bigger ones. Keep interested and always try to see if you can improve or simplify something without trying to fix something that is not broken.