Yuito Kimura knows that being a cinematographer is not just knowing the equipment or having skills to handle camera and lighting; being a cinematographer is being a storyteller. The moment he takes on a new project, he doesn’t just read the script, he studies it. He makes sure to know exactly what motivates the characters, as he knows that will affect how he shoots each scene. He notes how his vision can help tell the story, and that is what makes him so formidable at what he does.
Both in his home country of Japan and abroad, Kimura is an in-demand leader of his industry. His work on projects such as the music video “We are Stars” for pop band Snow Angels, the web and television commercial for Townfrost, and the films Dropping the S Bomb and Star Wars: Amulet of Urlon show just what he is capable of. He was also recently nominated for Best Director of Photography at the World Music and Independent Film Festival 2019 for the music video “Syrup” for singer/songwriter Jaklyn, which he also directed. It also has been nominated for Best Director and Best Creative Music Video.
Back in 2015, Kimura had the chance to pay tribute to one of his favorite film series, Back to the Future. Creating the film Back to the Future? gave the cinematographer the opportunity to explore the franchise that introduced him to American culture during his childhood, and it was an unforgettable experience. In this new film, Marty and Doc Brown go back to 2015 and find that one detail has changed the future as they knew it.
“I’m a big fan of the Back to the Future movies, and so is everyone that worked on this project. The writer, Logan, had a passion that made me, and the entire crew, really motivated,” said Kimura.
While shooting, Kimura focused fully on following the director’s vision, and made suggestions that greatly added to the film. Knowing the original films so well, he proposed mimicking camera framing and movement from Back To The Future II when shooting B-Roll and inserts of the props such as DeLorean and its interior. This recommendation made it to the final cut, and truly adds the right touch of a throwback while still making a unique film.
The film went on to be recognized at several international film festivals, including the Wendy’s Shorts Awards, WILDsound FEEDBACK Film Festival, Sutter Creek International Film Festival, and more. It won Best Film at Fan Fiction Short Film 2016 and Best of Comedy Short at the Direct Short Online Film Festival that same year.
“When we realized on day one of shooting for Back to the Future? that we would be without a cinematographer, I found Yuito’s website and reached out to him directly. He arrived promptly with his equipment and was kind and respectful to everyone on set. He moved quickly through the shot list provided by the director and even offered his own insights that improved the finished product. He is efficient and knows how to get the shots we needed. He provided our production information about lenses and suggested cameras that proved to be important in our later work. I would be happy to work with him again anytime,” said Jen Floor Mathews, Producer.
On set, Kimura made sure to focus on achieving high-quality shots. He used simple camera framing, movement, and lighting. His biggest priority was delivering the story without any distractions, ensuring continuity in lighting and camera work. Such discrepancies, he knows, can cause major distractions for audiences when they watch the film, taking away from a captivating story.
“I believe that not making any distractions is actually another level of filmmaking. For example, when I watch a movie, I can be distracted by small thing such as unnatural lighting on actress’s face or continuity. I fully commit myself to not frame those things and fix anything that would would be a distraction,” he said.
Overall, the shoot went very smooth and was quite fun for Kimura. They even had a key prop from the original films, inspiring everyone on set.
“The best part was that they used the actual DeLorean that was used in the original movies. I couldn’t believe I had the opportunity to shoot with such an iconic prop. I still remember that everybody started taking photos with the DeLorean and stopped working. At first, it was putting us behind schedule, but then I realized it was just because everyone was excited to be honoring the movies. It was such a funny moment. That was the highlight,” Kimura concluded.
By Annabelle Lee