Interview with Eric Tuxen

James Barberousse: How did you get interested in cinematography and film editing?

Eric Tuxen: My lifelong love for films and filmmaking is really what compelled me to get into this business. From an early age I was watching movies and trying to learn all I could about them. The magicians who made these films come to life quickly became my heroes, and I've been a good steward of their teachings ever since.

JB: What are some examples of great camerawork and editing in movies that have inspired you and been an influence in your own work?

ET: Some of my favorite camera work comes from low budget films. You have to make the most with what you've got on a low/no budget production, and that forces the creative juices to flow all the more. I love Dean Cundey's camerawork in the early John Carpenter films. The camerawork by Owen Roizman in the seventies was amazing; see IMDB for more. Stuart Baird is one of favorite editors, so is Walter Murch. Gerald Greenburg is equally great. For info on the aforementioned, see IMDB immediately.

JB: Do you have a "philosophy" when it comes to shooting a scene or editing video?

ET: There are so many variables to juggle when shooting a scene. It all comes down to what type of scene it is. What is the mood? What is happening? My "philosophy" is to pay attention and don't be lazy. Be open to input from those around you but never ignore that little voice inside your head. Editing is a different animal because the conditions are different, but the same philosophy applies. The best thing you can do to prepare for shooting or editing is to study. Watch as many films as possible and study your craft.

JB: What was the most challenging aspect of producing Ray of Sunshine?

ET: The script went through a number of changes over the course of production, and it was a challenge at times to keep everything in perspective. This was our first production using our new HD camera, and that carried with it a number of challenges. Through this adversity, however, I believe this is the best work the BPCC Film Institute has done to date.

JB: I understand you have your own production company. What projects have you done in the past and what do you have going on now?

ET: My production company is called Tivoli Productions, and I produce videos for weddings, events, and non-profit organizations. I have done The Nutcracker for the Shreveport Metropolitan Ballet, promos for Sci-Port Discovery Center, and the Arc of Caddo Bossier to name a few. I have just completed a fundraising video for Great Results, a program which provided equine assisted therapy. My dream is to direct a film, and hopefully I will get that opportunity in the future.

JB: The BPCC Film Institute is an exciting program. What's your perspective on its future?

ET: The BPCC Film Institute is a unique program, and we (the faculty & staff of BPCC) must continue to keep abreast of the newest technologies and techniques of filmmaking. That being said, I see students being the ones to generate the scripts. The pre-production, production, and post-production of these projects will be completed by the students. We want to give students the opportunity to become proficient and job ready for the world of filmmaking.