Interview: James Hastings

Today we’re joined by James Hastings. James is a phenomenal filmmaker who also dabbles a bit in music and comedy. He’s a freelance cinematographer, though he has a wide range of interests (and also happens to be a fellow fan of the great Buster Keaton). James is also working on writing a feature. It’s always fantastic to see aces in film. My thanks to him for taking the time to participate in this interview.



Please, tell us about your art.

Oh man, I do all kinds of stuff. My main bag is my work as a freelance cinematographer, but I also do covers and write comedy music for fun. I run a sketch-comedy YouTube channel called Cinema Wagon on which I do videos with my improv and industry friends, and in addition to all of that stuff, I’m currently in the writing phase of a feature film that I hope to produce independently in 2018.

Bagman, Production Shot 1, photo by Chris Ertman

What inspires you?

A lot of my sketch-comedy work comes from the mildly obsessive way my brain works. An idea or an interaction that I had will get stuck in my head for a while, and I’ll replay the situation that created those ideas over and over again in my mind, but with something going differently each time, and it either becomes really entertaining or I just stop thinking about it until it pops up as part of another cycle of that process. That, or I’ll see a cool shot or think of a visual, then knock out a story to fit around that shot so I have an excuse to try it out. The people that I’m friends with also bring really good, creative stuff to the table all of the time as well.

Bagman, Production Shot 2, photo by Chris Ertman

My visual style is really informed by the works of Julian Smith, Edgar Wright, Ciaran O’Brien, the Kids In The Hall, The Coen Brothers, Charlie Chaplain, and Buster Keaton. I think the Edgar Wright and Julian Smith influences come through a bit more in my visuals than others. I’ve also been trying to look at and learn more from renaissance art and how the visual composition of those pieces worked.

Bagman, production shot 3, photo by Chris Ertman

What got you interested in your field?  Have you always wanted to be an artist?

I initially wanted to be an animator. I grew up watching cartoons from the 50’s-90s, and I thought that it would be super cool to make things like them. As time went on, I got more into the theatre world, and that lead me to an interest in special effects makeup. Because of this, I found the Indie Mogul YouTube channel back when they were doing Backyard FX, and as I learned more about the rest of the filmmaking process, I went from wanting to be a special effects artist to wanting to direct my own films. Around that time, my dad gave me his old Mamiya ZE Quartz film SLR, and I started learning to take pictures with old photographic lenses, and I realized that I really love the process of working with a camera. I also finally accepted that I’m a terrible animator around that time, and my career trajectory was pretty well set.

Bagman, production shot 4, steadicam, photo by Christina Estillore

Do you have any kind of special or unique signature, symbol, or feature you include in your work that you’d be willing to reveal?

I have a prop zombie head named Thomas that I made in my time learning FX makeup that I like to hide in the background of the occasional shot. It’s not a consistent gag, but it pops up in most of my indie projects. There’s also a running joke amongst my peers about my propensity for shooting with wide-angle lenses. (12mm and 28mm are two of my favourites.)

On the post-production end of things, I have a set of “woosh” sounds that I recorded at the age of 14 in my bedroom that I have used in almost every project on which I have been in charge of the sound mix. Sometimes, it’s subtle, sometimes it’s very noticeable.

Bagman, still 1

What advice would you give young aspiring artists?

This one is tough since I’m still pretty young myself, but I have two pieces of advice that really helped me.

The first one is specific to cinematographers. It is not your job to make the images of a project look the way that you want them to. It is your job to help the director get what’s in their head onto the camera’s image sensor. You’ll be bringing ideas of your own to the table for sure, but at the end of the day, unless you’re also the director of a project, you don’t get the final say. The sooner you can learn to collaborate effectively, the sooner you’ll start to get called back to work on more projects.

The second one is a little more general, but it was important for me to hear. If you’re just starting out, you probably suck at what you do. That’s okay. Everybody sucks at first. The important thing is to power through that sucking and never stop trying to learn how to be better. As long as you’re trying to improve, you will. It may take a long damn time, but it will happen, and you won’t even notice until you look back at your old work and see your progression.

Contract Killer, frame grab


Where on the spectrum do you identify?

I am a grey-romantic, sex-repulsed asexual.

Dead End Town, 2012

Have you encountered any kind of ace prejudice or ignorance in your field?  If so, how do you handle it?

It really depends on the crew that I’m working with.

Some of the older, more established people in the industry aren’t really familiar with the concept of asexuality, but it also never really comes up when I’m working with them. If it does, I tend to blow it off by saying something like, “I care more about my craft than relationships.”

Relentless, on set, photo by Dan Chomistek

Younger crews that have been coming up at the same time as me have been far easier to explain asexuality to if it comes up, but again, it’s pretty rare. People hire me because of the way I make things look, not the way that I feel (or don’t feel) about other people.

It’s probably easier for me as a white, cisgendered man in the industry to deal with it than other groups of people, though.

Pee Break, frame grab

What’s the most common misconception about asexuality that you’ve encountered?

I think the most common one that I’ve encountered has to be the idea that asexuality is just a lack of maturity. I’ve also heard a lot about it, “going against human nature” as well. Standard stuff. It got old fast.

Realistic Musicals, frame grab

What advice would you give to any asexual individuals out there who might be struggling with their orientation?

I actually had a pretty easy time coming to terms with my asexuality, so I don’t have much advice specific to asexuality.

I was a bit of a social outcast when I was younger, though, and when I finally did develop a group of friends in my high-school, it turned out that I had a lot of other stuff to work through. It really helped me to talk to them about those things. If you can find an outlet like that in real life, great! If not, there are all kinds of resources about asexuality for you to check out.

If all else fails, just know that you’re not broken. You’re valid, and there’s a veritable crapload of people like you. We’ve got your back. Take care of yourself.

Recalculating, frame grab

Finally, where can people find out more about your work?

I take set-photos on Instagram,

I tweet about all of my finished projects, as well as the occasional BTS schennanigans,

And I release all of my comedy sketches on the Cinema Wagon YouTube channel.

Thanks for checking out this interview, and I hope you enjoy my work if you do check it out.

Bagman, still 2

Thank you, James, for participating in this interview and this project. It’s very much appreciated.

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