Animation powerhouse Pixar is a global household name and this month they release their surefire blockbuster Toy Story 3. We sat down with Pixar’s Hong Kong-born Director of Photography (DP) Patrick Lin, who at the age of 12 decided what he wanted to do and never stopped chasing that dream.

Tell us about that pivotal moment in your life when you decided film was your goal.

When I was 12 I decided that film making is what I wanted to do. Two movies really changed my life – Star Wars and Close Encounters of the Third Kind. Those two films were the best I had ever seen. Afterwards I read an article in the paper on Spielberg and Lucas, about how they went to film school and studied films together and that was when it dawned on me that film making is a legitimate subject that can be studied in a university. I went to Canada after Form 3 to finish high school and then to Los Angeles for university.

What were your biggest influences whilst in Hong Kong?

This has to be Jackie Chan and Japanese pop culture. Growing up in Hong Kong, you just can’t help it. All of their sci-fi children’s shows like Ultraman and Karmen Rider, in fact to this day I still watch the new Karmen Rider. It inspires me. Most people only see a superhero. For me, it takes me to my childhood and helps keep my juices going.

What about Hong Kong films?

I grew up with HK films. I have always found them to be inspiring, to have a type of energy that films from other countries just don’t have. That’s why I always enjoy watching films here, especially John Woo films.

You are the Director of Photography – what exactly is your role?

My team and I are responsible for photographing and staging each shot. Beyond that, I help the director make correct artistic and technical decisions to realise their vision.

What does it take to be good at what you do?

It is about knowing your story and character, about using your camera to support the story. The story is always in mind when you are framing your shots. You also have to be a fan of the film. You have to care enough to actually make good work. If you are not a fan, I don’t think you can create good work.

Was your path to becoming DP at Pixar a direct one?

I graduated in 1989. I’ve had so many jobs not related to film; I’ve worked in theatres, I’ve worked making coffee, I’ve worked making copies…the road to what you want to do is never straight.

The local animation community is both budding and youthful. Do you see promise?

I’ve seen animation studios in HK that are up to international standards. You have to invest in local talents and train them when they are young, give them an opportunity to thrive, and it’ll have a great future.

What would you tell those young hopefuls, in light of you chasing down your dream?

Though the road is never straight, you have to keep the faith. The first thing, though, is to know that it is what you really want to do. Then don’t be afraid to fail because I can guarantee you that on your first project, you will fail. Failing is part of success. That is actually part of Pixar’s philosophy. Trust the creative process. If you don’t make mistakes, you’ll never evolve. Lastly, never give up.

Ok, one last question: what have been your best and worse film experiences?

Let’s start with the worst. James and the Giant Peach. Creatively, it was hard because I was the Camera Assistant. Creatively, you want to feel a part of the process. Unfortunately, the way that system worked, you don’t get to really interact with the director. He basically directed from the editing room. He seldom talked to us. The best was Up. It had a lot of heart and everyone got along so well working on that film from the producer to the director to my team. It was really a very, very great working experience.

Words: Henry Mullins

Posted in Features