About
Alonso is a visually-driven filmmaker. As a cinematographer, he mostly shoots scripted commercials. As a director, he does short unscripted pieces, which he shoots himself.
Rather than a gear-obsessed DP, he is passionate about finding the most impactful and elegant way of telling the story, all with a strong and unique aesthetic. He is fascinated with people in general, which reflects both in the way he collaborates with directors, producers, etc; as well as in the way he chooses to capture characters both in scripted and unscripted work.
Directors he shoots for think of him as a respectful ally who is at all times focused on the interjection of story and visuals. Keeping a positive and kind environment is also one of his strengths, as he thinks it’s crucial for high quality work and an enjoyable life.
He is from Veracruz, México. Studied Film & Video at SVA in New York City, where he started his career as a Digital Imaging Technician (DIT). In 2008, he joined the camera union and worked with such notable directors as Martin Scorsese, Doug Liman and Derek Cianfrance. He then turned into Stereography and was the head of the 3D department for Baz Luhrmann's The Great Gatsby, amongst many other films and TV shows.
Upon his return from Australia in 2012, he co-founded Bakeshop Media, where he started Producing, Directing and DPing. He has since worked with brands such as Google, Disney, Coca-Cola, Nestle, and dozens more.
Alison’s notes: yes to Less of a gear-obsessed DP, yes to positive attitude on set. And to write about the scale of Gatsby and leverage it. I started out in 2008 on big movie and sets as a DIT and later on Stereographer. The most exciting people to work with were Martin Scorsese, Doug Liman and Derek Cianfrance. In 2012 I headed the 3D department for Baz Luhrmann's The Great Gatsby, for which I spend 9 months in Australia, that was crazy. But I came back eager to become a DP and director.
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Or perhaps more of a statement of my philosophy:
You probably think of DPs as people who get overly excited about gear. But I believe strongly that the bigger difference is always made by the intangible choices.
Less than a gear-obsessed DP, I am one who believes that the bigger difference is always made by the intangible choices. I was very lucky early on to work on big movie sets, most notably with Martin Scorsese, Doug Liman and Derek Cianfrance. To my surprise, the more accomplished the director or DP were, the more they valued storytelling over equipment. I’ve still made sure to know about every camera/lens/etc, but only as more subtle means to get to a result.
Directors that I shoot for think of me as a respectful ally. Hyperfocused, positive and always trying to make it all better without holding up a production for selfish reasons. When collaborations are most rewarding, we are all in-sync with the common goal of making the piece better, all the while gratefully enjoying what we’re so lucky to be doing.
“Oh, but you don’t look Mexican” is what I always get. But I am, and very proud of it. And you’ll hear it in my accent, even if I’ve been in the US for 15 years.
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Less of a gear-obsessed cinematographer, I am one who believes that the bigger differences are always made by the intangible choices. The pursuit of beautiful shots often seems to overpower people’s approach, but I try to focus more on how character, environment and story are created.
I started my career with very technical jobs, as DIT, and later on as the head of the 3D department (Stereographer) in big movies and TV shows. It gave me a great technical foundation, but more importantly, it allowed me to watch how very successful directors worked: Martin Scorsese, Doug Liman, Baz Luhrmann, among others. I was always shocked to see how humble and focused they were, and the importance of clear and honest communication with their collaborators, two principals that I apply to my work to this day.
Once I was back from my 6 months in Australia working on The Great Gatsby, I felt it was time to transition into shooting and later on to direct.
On set, directors who I shoot for think of me as a kind and respectful ally who remains focused and positive, no matter the circumstances. My nature is to keep a kind and relaxed environment by bringing like-minded crew members and by keeping such attitude myself as I think it’s crucial for high quality work and an enjoyable life. When I’m directing, being prepared is everything for me, although I make sure to keep certain flexibility to find certain things on set as I think an element of naturalism always elevates things.
Filmmakers who inspire me most lately are Yorgos Lanthimos, Ruben Östlund, and Alfonso Cuarón.
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