Cinematographer John Guleserian studied cinematography in undergrad at Columbia College, then moved on to Graduate school at the American Film Institute. He has worked on television shows like ‘Tim and Eric Awesome Show, Great Job!’, ‘The Juice Box’, and ‘My Alibi,’ as well as movie ‘Spooner, ‘Like Crazy’ and the recent released movie “Breathe In.’

Two of his most recently films, that are currently in the stages of being completed and released, are ‘About Time’ (starring Bill Nighy and Rachel McAdams) and ‘Parts Per Billion’ (starring Teresa Palmer, Josh Hartnett, Rosario Dawson, Alexis Bledel, and Penn Badgley).

Describe your path to becoming a cinematographer. (How did working in film come about? Was working in film something you always knew you wanted to do?)

I knew I wanted to be a filmmaker when I was very young. My path was film school. I studied cinematography in undergrad at Columbia College, as well as Graduate school at the American Film Institute, but the way I really learned was by doing it. I spent all of my free time in film school shooting short films for any Director that would let me, and continued to shoot as much as I could after. At some point I started getting paid to do it.

One of the recent films you worked on ‘Breathe In’ just premiered at the Sundance 2013 Film Festival.  How did the premier go? How do you think the audience reaction was?

The reviews have been great. I get very nervous at premieres. You never can know what the reaction will be. The big screen at the Eccles Theater in Park City is like putting your work under a microscope. People seem to like it, and I think we made the movie we intended to make.

For ‘Breathe In’ you reunited with Director Drake Doremus, actress Felicity Jones and cowriter Ben York Jones. How was working together again?

Those are 3 of my favorite people in the world. Wish I could work with them every day.

One of the main differences in shooting ‘Breathe In’ compared to Like Crazy was that the camera , for the most part, stayed steady and still. It also has a dreary and serene color tone which meshes with the emotional pull going on throughout. Can you tell us a little bit more about ‘Breathe In’ and what went into the filming process?

The first conversation I had with Drake about the look of the movie, he said he thought it was the darker cousin to Like Crazy. Drake, Katie Byron (production designer), and I spent a lot of prep looking at references in order to figure out what that look was and how we would achieve it. We shot digitally with an Arri Alexa and Hawk 1.3x Anamorphic Lenses, and mostly very minimal lighting.  I worked with our colorist Aaron Peak ahead of time to build a look that felt right for the movie. Aaron then worked with us again to do the final Grade. There isn’t one broad stroke that defines the look of any movie. If we are doing our jobs well, everyone’s choices should add up to something unique every time out.

Director Drake Doremus has a unique approach to filmmaking encouraging the actors to improvise while being guided by extensive outlines; just as in his Sundance Grand Jury Prize Winner of 2011 “Like Crazy.’ Along with his keen eye for capturing intimate performances, do you think this is what makes his movies stand apart from the rest?

Yes. Drake has a unique style of directing, and his methods produce very intimate performances.

How is it for you, doing the cinematography, to be involved in these improvised movies? What are some of the challenges with them?

It is challenging for the camera team as well as the lighting team. Generally the takes are over 10 minutes long with a handheld camera and no focus marks. We need to be ready for anything to happen. I don’t ever want a great performance to be unusable because the camera is in the wrong place, or it’s out of focus, or there’s a light stand in the shot. Those things do happen occasionally, but having a great team that are all on the same page diminishes the chances.

You and Director Drake Doremus have known each other for a while, since you went to film school together. Has your longtime collaboration with Drake Doremus created a sort of ESP between the two of you?

We do have a short hand from working together so much. We plan as much as we can before we shoot, so we can try to always be on the same page. The less we have to talk about on set, the more productive we are probably being at our respective jobs.

For someone who has gone to film festivals, can you tell us what the vibe is like during them? What has been your favorite one so far?

Festivals are always a good time, but Sundance 2011 was the most exciting for me. The reception of Like Crazy really exceeded all of our expectations.

What 2013 Sundance films should everyone be on the lookout for?

Any movie with the Sundance seal on it is most likely a movie you should see.

Who are some Cinematographers/ Film Industry professionals you look up to?

I am inspired by anyone that is passionate about what they do. I have so many filmmaking heroes it would be impossible to just name a few.

One of the films you worked on was Like Crazy, although it has a lot of technical drawbacks to it, you decided to go with shooting with the Canon 7D camera. How was that process? What did you learn from shooting this movie?

It was a very liberating experience to work with such a small camera, and to be able to move around very quickly with limited lighting. I think this really helped us find the heart of the story and the characters.

What’s the biggest surprise about working in this field? Was it what you thought it would be like?

I didn’t realize that I would travel as much as I do. I always thought when I moved to Los Angeles that I could work primarily on movies there, but not many movies are made here anymore.  Also, you never know where and when your next job will be. That makes planning other things in life very difficult.

Have you ever thought of getting involved in other aspects of film making besides Cinematography?

Not really. I have always had a passion for images. I would love to work as a visual consultant for animated movies someday.

What do you think is the biggest misconception about being a Cinematographer?

We are not just the camera man. We are all very different, but a cinematographer has many responsibilities and should be equal parts Artist, Manager, and Technician.

What projects are you currently working on? Can you tell us a little bit about those?

I recently shot a movie with Richard Curtis in the UK about a man who comes from a family of time travelers called About Time, and a movie in Detroit called Parts Per Billion which is essentially 3 intertwined love stories at the end of the world.

What would you tell other people who want to work in the film industry?

Just Do It! Nobody just becomes what they want to be. The only way to get good at something is to fail at it first, but you have to keep trying, and learning from your mistakes.