PERSONAL STATEMENT
As a first-generation Vietnamese-American, my cinematic perspective is shaped by a lived experience of resilience, reinvention, and cultural duality. My cinematographic voice is rooted in visual dramedy—shaped by the films of Charlie Chaplin and Jackie Chan, my father’s cinematic idols as he came of age after the Vietnam War. These were the only movies I had access to as a child, and their blend of physicality, emotion, and wit laid the foundation for how I see and frame stories. The Musical is particularly meaningful to me, not only because of how we can capture its themes, but because of my longstanding creative collaboration with director Giselle Bonilla. Over the years, we’ve built a shared vocabulary that allows us to push visual storytelling in bold and unique ways, as seen in the short. For this film, my focus is on using the camera and lighting to elevate both the script’s dramatic and comedic rhythms—through composition, movement, and pacing—to create moments that resonate emotionally while delivering levity when needed.
VISUAL IDEAS
This is a comedy. But it shouldn’t look like a comedy. Shooting the film as serious as possible and creating a cinematic tone that adds to the muted chaos that begins to bubble up as the film progresses is how we can visually make this film funnier. A great short form example I’ve always loved was Ryan Gosling’s “Papyrus” bit on SNL. By creating a serious tone and punching through the tension with visual ideas such as zooms, whips, and lighting changes, we make those funny moments even funnier. Some cinematic references would be The Player by Robert Altman, Being John Malkovich by Spike Jonze, The Manchurian Candidate (2004) by Johnathan Demme, Man on Fire by Tony Scott, A Serious Man and Burn After Reading by the Coen Brothers.
COLOR AND LENSING
Creating a distinct visual contrast between what I’d call the “Pre-Principal Brady” and “Post-Brady” sections of the film is essential to tracking Doug’s psychological unraveling. We can achieve this by shifting aspect ratios and lens choices to reflect his internal transformation. Pre-Brady would lean toward cooler tones, soft, even lighting, and a grounded visual language—shot in 1.85:1 on spherical lenses to create a familiar, almost mundane reality.
But when Doug reaches his breaking point—when he can no longer deny the way Brady has derailed his life—the visual world fractures. We go full Apocalypse Now: the lighting grows harsher and warmer, as if the image itself is being scorched by the sun, especially in the school setting. The aspect ratio shifts to 2.39:1 widescreen, using anamorphic lenses to exaggerate depth, distortion, and scale. This not only allows us to better frame the ensemble but also helps portray the exaggerated, heightened reality Doug begins to construct in his mind. The transition is jarring by design, signaling a departure from objectivity and grounding the audience inside his unstable perception.
Once this language is established, I imagine we can toggle between these visual worlds depending on Doug’s mental state. Compositionally, we’ll push extremes—tight, uncomfortable close-ups that suffocate, paired with wide, empty frames that emphasize isolation. Together, these tools help shape a subjective, emotionally driven visual experience that charts Doug’s descent in a visceral way.
I LOVE ZOOMS
I could easily write an entire research paper on the power of the zoom lens and its unique effectiveness compared to other cinematographic tools. In The Musical, zooms aren’t just a stylistic choice—they’re a psychological device, crucial to accessing Doug’s internal descent into madness. Much of the narrative is driven by his act of watching: scrutinizing his surroundings, forming judgments, and jumping to conclusions. The zoom becomes an extension of that gaze, compressing the world around him and heightening his alienation and will to burn everything to the ground.
VOYEURISTIC SHOOTING THROUGH FOREGROUND
A large portion of the film is seen through Doug’s POV, immersing the audience in his internal world. We often frame him observing from a distance—through windows, across rooms, or behind curtains—placing him physically and emotionally outside the action. To reinforce this, we use the longer end of zoom lenses to mimic his gaze, compressing space and isolating him or what he’s looking at in the frame. This approach amplifies his paranoia and emotional distance, while the shallow depth and voyeuristic feel of these focal lengths convey his self-doubt and anxious, obsessive mindset. It’s a subtle but effective way to align viewers with his psychological state and build tension throughout the film.
THROWING IN THE KITCHEN SINK
The script has a lot of instances where there’s one off moments where break into a dream sequence or into heightened montages and I think this is where the camera and lighting can really have a lot of fun. Ideas like step-printing, split-diopters, random flashes of light in slow motion, strong stage-like back lighting occasionally, POV of objects flying through the air, all add to the craziness and helps build a unique blueprint for this movie.
LOCATIONS: APARTMENTS
A location we return back to a few times in the script are Doug and Brady’s apartments. Across the street from each other, the vibe of the spaces couldn’t be more different. Breaking down and unkempt vs brand new and warm.
LOCATIONS: SCHOOL (DOUG’S OFFICE + THEATRE)
More examples of how we can use warmer, harder light and shooting through foreground elements like windows to add to the tone of the film. Doug’s office and the work in progress rehearsals of the musical is haphazard and thrown together but as he gets more tunnel vision into his own delusions and get the students unknowingly on board, the final production is way more produced and better lit.
PULLING THIS MOVIE OFF
To reiterate my working relationship with Giselle, this film requires us to operate at the highest level while navigating tight schedules and limited budgets. Meeting that challenge means assembling a team that prioritizes collaboration and is driven by a shared commitment to the project’s success—not just a paycheck. With my experience within the indie and studio system, including work with companies like Monkeypaw and Universal Pictures, has prepared me for the demands of larger productions (from crew size to the meticulous details we’re able to prep for a project) Equally important are the relationships I’ve cultivated with LA-based rental houses and crew, which is key in getting us across the finish line. Partners such as On The Mark Media, Lensworks, Old Fast Glass, Keslow Camera, and MBS have consistently supported me with generous discounts and donations. In addition, industry heavyweights like Panavision, Cooke Optics, Aputure, Kodak, Fotokem, and Company 3 continue to champion my work. I also own a Sony Venice 2 and anamorphic lens package, which helps reduce technical costs and ensures we can invest more in what appears on screen.
THANK YOU