Camera operator Trevor Jeffrey Coop is the son of the late cinematographer Denys Coop (1920–1981). He was born in Pinner, Greater London, on 16 September 1945. He was educated at a public school but decided not to continue with education and didn’t go to university. He wanted to get into the film business as soon as possible.
What did you do after leaving public school?
I went to Harrow to study at The British Institute of Photographers. After the first year I left because I realised still photography wasn’t for me. In those days the only way to get a job in the film industry was to have an ACTT (Association of Cinematograph and Television Technicians) union card. To get a card you had to have a job, it was a catch twenty-two situation. One of the few ways in was to work at the processing laboratories. If you got a job there you automatically got a probationary union ticket. So, I got a job and without any training at all they put me in the negative cleaning room where negatives were looked at before printing.
Were you interested in films as a child?
Yes, as a kid my idea of movies was Saturday morning cinema watching old scratched black and white films. When I was around thirteen my father took me to London’s West End to see South Pacific (1958), which was a musical in 70mm Todd AO. When I saw it I was hooked and wanted to work on Todd AO movies. With my father being in the business, my sister and I used to go on location and have a good time being surrounded by filmmakers. Watching that Todd AO movie was very influential.
When did you get to work with cameras?
The very day my two-year probationary period was up I gave in my notice. I went to see Sydney Samuelson [1925– ] in Cricklewood and asked him if I could work there. I said I don’t want any money I just want to learn about cameras. I was there for six weeks and learned how to load magazines on all types of cameras and taking apart and putting together again. A guy by the name of Bob Jordan was doing a movie called Quatermass and the Pit (1967) as the focus puller. His loader had gone off to be a focus puller before they started. Bob and Ronnie Bridger, who I had been working with were close friends and Ronnie said I have this fantastic loader Trevor but haven’t any work for him. I went on to work with Bob on several pictures.
A chance happening in my career was meeting cinematographer Freddie Young [1902–1998]. He was about to start on The Battle of Britain (1969) and I went to work for him as a loader. Freddie and I got on very well and I went on to work with him on twenty-three movies either as his loader, focus puller, operator, or on the second unit. He didn’t suffer fools at all. If you made a mistake and went and told him immediately, he would stick up for you. He was very loyal. On Ryan’s Daughter (1970), which took a year and ten months to shoot I had a back problem. Six months into the shoot I had to go back to England for an operation and I was off the picture for a few weeks. The director David Lean [1908–1991] said to Freddie, “Do we have to have Trevor back?” Freddie said, “If you don’t, you can get yourself another cameraman.” That was the type of man he was and not at all difficult to get on with. He would shout only if you were doing something stupid. If you did your job well he was hugely supportive.
What makes a great camera operator?
Diplomacy is the biggest asset you can have. Our life is being a catalyst between the actors, director, and cinematographer. Some directors are not good communicators with the actors. You learn skills by watching and working with the person above you for years. As a focus puller you are working with operators. I was fortunate enough to work with top operators and cinematographers. You pick up things you don’t realise you are learning.
Do you do lighting design?
Yes, I do. It’s only called lighting design in television. A lot of American DPs hate the term because it only applies to television.
Did you ever consider becoming a DP?
I have done a number of pictures as second unit DP with people including Stephen Goldblatt and Roger Pratt. I worked on the second unit of Charlie Wilson’s War (2007) with Stephen as DP on the main unit. I have also done hundreds of commercials as a DP. I made a conscious career decision in 1983 to remain as an operator. I was lucky enough to land the job operating the “A” camera on Amadeus (1984) and it suddenly hit me that I was working with people that some would call geniuses. The picture was nominated for the Oscar that year. If a picture is nominated the operator gets a certificate from the Academy, which I have on my wall. I thought if I remain operating, having been fortunate enough to get some big pictures I want to carry on working with these people as opposed to moving quickly up to a DP and working on the small stuff. So that is why I stayed operating, which I love. Everyone was telling me how good I was at it and fortunately I was getting work on decent pictures.
Trevor Coop. Courtesy of Amy Coop
I was very happy doing that for around thirty years. About ten years ago the situation in the industry changed. Budgets got smaller and schedules got tighter and producers wanted cinematographers to do their own operating. The grade of the operator is gradually being eroded. Most major pictures have several cameras in use so an operator is still required. The prestige jobs as the “A” camera operator on major features is beginning to severely diminish, which is just a sign of the times. I am very much of the view that you can’t give one hundred percent to both jobs. If you do light and operate you can be very successful but it could be better if there were two people doing it.
When you do DP work and operating on the second unit do you get extra pay for doing both jobs?
No, you get the cinematographer’s wage and you throw the operating in for nothing.
What was the best advice you were given and who gave it to you?
Probably cinematographer Freddie Young. I was pulling focus then. We were having a difficult day and the director was giving him a hard time. He was in his seventies and I said to him, why don’t you give it up Freddie, you have a great track record and won many awards, why do you put up with the hassle. He said, “Every day I go to work I learn something new and if I don’t I know I am not paying enough attention. I’ll continue going to work until I am a hundred, if I live that long.” I then adopted the same attitude.
How long do you hope to carry on for in the business?
For as long as I can; as long as the phone keeps ringing. Unfortunately it’s an ageist business. There are a lot of young directors in their twenties and thirties who don’t want to work with people a lot older than them. They want to work with their own generation. Eventually the phone stops ringing. You don’t decide when to retire; the business retires you. If I am offered the work and I am healthy enough, I would be happy to carry on well into old age.
What did you think of Ryan’s Daughter compared to other David Lean epics?
It was a nice picture. I don’t think it was a big enough story to be a David Lean epic. It wasn’t in the same league as Bridge on the River Kwai (1957), Lawrence of Arabia (1962), or Dr. Zhivago (1965) in terms of the epic factor. I don’t think the story was strong enough. I was working with Ernie Day [1927–2006], who I think was one of the best operators that ever lived.
What was actor Robert Mitchum [1917–1997] like to work with on Ryan’s Daughter?
Fantastic, absolutely wonderful, a real professional. He was a very good actor. David Lean hated him because David couldn’t multitask and Bob after a take would be telling a joke to the sparks. Halfway through the joke he may be required to go on set again. After the take Bob would go back to the sparks and finish the joke. David couldn’t cope with the fact that someone could turn it off and on like that, because he couldn’t. So there was quite a lot of animosity between Bob and David. All the actors on that film were great to work with. Because we were shooting on the West coast of Ireland for nearly two years, apart from two months in South Africa when we ran out of sunshine in Ireland, it was like a family. Normally the actors are separated from the crew and cosseted. We were all suddenly at the same sort of level. So whether you were Bob Mitchum or the clapper loader you were part of the same family. We all had respect for each other and friendship for each other. It was very different from a lot of other movies with the exception of David Lean, who was always a bit aloof. But, having said that I had a lot of time for David and I very much appreciate the privilege of having worked with him. Lean was a perfectionist and in those days you didn’t have a video village so a director couldn’t watch on a monitor what you were doing. They had to wait until the next day to find out exactly what had been shot. The camera operator, in those days was the only person on the entire unit to know what was in the frame.
Have you any favourite films you have worked on?
I think The Battle of Britain (1969) would have to be one of them as it was the first film I’d worked on with Freddie Young. Another reason for that is it was the first serious big budget war movie that all the German parts were spoken in German with subtitles, which gave it a feel of reality. I also met my wife on that picture. I enjoyed The Tamarind Seed (1974) directed by Blake Edwards [1922–2010]. Working with Blake was an absolute joy. He was very lighthearted. I also worked with him on the Pink Panther movies. I used to go home aching with laughter on those. All the pictures I have done with Kenneth Branagh [1960– ] would be at the top of the list, although sometimes he’s very frustrating because he gets ideas and won’t be turned, even when they are wrong. I have never met anybody in my entire life that has such huge enthusiasm for filmmaking, whether as a director or actor. His enthusiasm is infectious no matter what he works on. You can’t wait to get up in the morning to go to work; he is a joy to work with.
Do you have any favourite bits of kit?
I like lots of kit; the producers don’t, they want to cut the equipment down to as little as possible. They say things like, “What do you want a box of lenses for, can’t you shoot the whole thing on one lens by just moving in closer or further away.” You need a lot of tools to make a good movie. Sometimes you haven’t got the money for it but you still try to make it into a good movie. I love crane shots. A crane, small or large would be my favourite toy to put the camera on. You can do very interesting things with cranes and it is not necessarily expensive. Some producers say cranes are expensive and are sometimes reluctant to use them. By using a crane you could end up getting six fantastic shots in a day. So if you did all your crane shots in one day it wouldn’t be too expensive and on small budget pictures you could produce some impressive shots. I like all the tools. There is so much technology that enables you to do things nowadays that you couldn’t do before. Also, the equipment is getting smaller and lighter. You can put cameras in places where you wouldn’t have dreamed of in the past. Today we have high-resolution cameras the size of a packet of cigarettes. We now have the opportunity to do stuff which was unthinkable even five years ago.
What was your biggest challenge?
It is always a challenge, it doesn’t matter what it is. Sometimes people who are making a two million dollar movie want it to look like a fifty million dollar movie and you have to come up with ways of trying to do that.
Do you like digital as much as film and are you saddened to see film go?
I am sadder than you could possibly say to see film go. I think digital is a wonderful tool to have at our disposal but the demise of film, I think is the biggest disaster that has happened to the world’s film industry. For many years, even if the production was originated on film it is transferred straight to an electronic device for post-production and ultimately exhibition. I think originating the image on film is by far the best way of doing it. It’s the subtlety you can create and you know exactly where you are. Also, digital takes the creativity away from creative because anybody can do it. It’s a shame that eventually film will not be left as a tool for cinematographers. Years ago you could often tell by the style who had probably shot a particular film. Today, with digital it is not the case.
Do you read scripts?
Very much so, as an operator you need to know it as well as the director. It is hugely important because when you are with the director and DP, talking about how to construct a sequence you need to know what is going to pick up with what and what it was like when you left it for example three months before. So it is picking up where you left off. So knowing the script is very important.
Filmography
Quatermass and the Pit (1967, Roy Ward Baker); clapper loader
Casino Royale (1967, Ken Hughes as Kenneth Hughes, John Huston, Joseph McGrath, Robert Parrish, Richard Talmadge); clapper loader
Battle of Britain (1969, Guy Hamilton); clapper loader
Ryan’s Daughter (1970, David Lean); clapper loader
And Now the Screaming Starts! (1973, Roy Ward Baker); focus puller
The Tamarind Seed (1974, Blake Edwards)
The Blue Bird (1976, George Cukor); assistant camera
Superman (1978, Richard Donner); assistant camera
Bloodline (1979, Terence Young); focus puller
Rough Cut (1980, Don Siegel, Peter R. Hunt, uncredited); assistant camera
The Lonely Lady (1983, Peter Sasdy)
Sword of the Valiant: The Legend of Sir Gawain and the Green Knight (1984, Stephen Weeks); 2nd unit camera operator
Arthur’s Hallowed Ground, TV movie (1984, Freddie Young)
Amadeus (1984, Milos Forman)
The Shooting Party (1985, Alan Bridges)
Santa Claus (1985, Jeannot Szwarc)
Claudia (1985, Anwar Kawadri)
Harem, TV movie (1986, William Hale as Billy Hale)
Car Trouble (1986, David Green)
Out on a Limb, TV series (1987)
American Gothic (1988, John Hough)
Howling IV: The Original Nightmare (video) (1988, John Hough)
Tears in the Rain (1988, Don Sharp)
Dealers (1989, Colin Bucksey)
Henry V (1989, Kenneth Branagh)
Ending Up, TV movie (1989, Peter Sasdy)
Hands of a Murderer, TV movie (1990, Stuart Orme)
The Gravy Train, TV mini series (1990)
Press Gang, TV series, 19 episodes (1990/1992)
The Young Indiana Jones Chronicles, TV series, 25 episodes (1992/1993)
Pie in the Sky, TV series, 8 episodes (1994)
Frankenstein (1994, Kenneth Brannagh)
The Madness of King George (1994, Nicholas Hytner); 2nd unit
In the Bleak Midwinter (1995, Kenneth Brannagh)
The Adventures of Young Indiana Jones: Attack of the Hawkmen, TV movie (1995, Ben Burtt)
Feast of July (1995, Christopher Menaul)
Silent Witness, TV series, 2 episodes (1996)
The Adventures of Young Indiana Jones: Travels with Father, TV movie (1996, Michael Schultz, Deepa Mehta)
The Wind in the Willows (1996, Terry Jones)
Noah’s Ark, TV series (1997)
Amy Foster (1997, Beeban Kidron)
The Man Who Knew Too Little (1997, Jon Amiel)
Les Misérables (1998, Bille August)
Ballykissangel, TV series, 4 episodes (1998)
Star Wars; Episode I—The Phantom Menace (1999, George Lucas)
The Adventures of Young Indiana Jones: Daredevils of the Desert (video) (1999, Simon Wincer)
Anna and the King (1999, Andy Tennant)
The Adventures of Young Indiana Jones: The Trenches of Hell (video) (1999, Simon Wincer)
The Adventures of Young Indiana Jones: The Phantom Train of Doom (video) (1999, Peter Macdonald)
The Adventures of Young Indiana Jones: Tales of Innocence (1999, Bille August, Michael Schultz)
The Adventures of Young Indiana Jones: Spring Break Adventure (video) (1999, Joe Johnston, Carl Schultz)
The Adventures of Young Indiana Jones: Oganga, the Giver and Taker of Life (video) (1999, Simon Wincer)
Deceit, TV movie (2000, Stuart Orme)
Happy Birthday Shakespeare, TV movie (2000, Nick Hurran)
Best (2000, Mary McGuckian)
The Adventures of Young Indiana Jones: My First Adventure, TV movie (2000, Jim O’Brien, Michael Schultz)
The Adventures of Young Indiana Jones: Masks of Evil (video) (2000, Dick Maas, Mike Newell)
The Adventures of Young Indiana Jones: Passion for Life, TV movie (2000, Rene Manzor, Carl Schultz)
Ghosthunter, short (2000, Simon Corris)
The Adventures of Young Indiana Jones: Adventures in the Secret Service (video) (2000, Vic Armstrong, Simon Wincer)
Chocolat (2000, Lasse Hallstrom)
The Sleeper, TV movie (2000, Stuart Orme)
Enigma (2001, Michael Apted); additional photography
Wit, TV movie (2001, Mike Nichols)
Conspiracy, TV movie (2001, Frank Pierson)
No Tears, TV mini series (2002); additional camera
Plotz with a View (2002, Nick Hurran)
Harry Potter and the Chamber of Secrets (2002, Chris Columbus); B camera
Death in Holy Orders, TV mini series (2003)
Angels in America, TV mini series (2003)
Troy (2004, Wolfgang Peterson); additional cinematographer/ B camera operator
Closer (2004, Mike Nichols)
Harry Potter and the Goblet of Fire (2005, Mike Newell); B camera
Walk Away and I Stumble, TV movie (2005, Nick Hurran)
Highlander: The Source (2007, Brett Leonard); 2nd unit DP
The Last Detective, TV series, 5 episodes (2007)
Save Angel Hope (2007, Lukas Erni)
The Adventures of Young Indiana Jones: Love’s Sweet Song (video) (2007, Gillies Mackinnon, Carl Schultz)
The Adventures of Young Indiana Jones: Journey of Radiance (video) (2007, Deepa Mehta, Gavin Millar)
Charlie Wilson’s War (2007, Mike Nichols); DP second unit Morocco
The Adventures of Young Indiana Jones: Espionage Escapades (video) (2007, Terry Jones, Robert Young)
The Adventures of Young Indiana Jones: Demons of Deception (video) (2007, Rene Manzor, Nicolas Roeg)
The Adventures of Young Indiana Jones: The Perils of Cupid, TV movie (2007, Bille August, Mike Newell)
Incendiary (2008, Sharon Maguire); 2nd unit
The Adventures of Young Indiana Jones: Winds of Change (video) (2008, David Hare, Michael Shultz)
Julie & Julia (2009, Nora Ephron); camera operator Paris
Love at First Sight, short (2010, Michael Davies)
Gulliver’s Travels (2010, Rob Letterman); additional camera
Euphoria (2011, Jon Howe); cinematographer
A Little Bit Country, short (2012, Amy Coop); cinematographer
Epitaph, short (2013, Amy Coop); cinematographer
The Treehouse, short (2014, Amy Coop); camera operator/executive producer
Awards
The British Television Advertising Craft Award 1997 for Best Camera Operator
Closer (2004) 2004: BSC/Panavision Best Camera Operator Award