Today we’d like to introduce you to Trevor Turpin.
Hi Trevor, please kick things off for us with an introduction to yourself and your story.
Movies (films) have always been a crucial piece of my life. Some of my earliest memories revolve around movies. My aunt was an avid movie lover and had a whole basement dedicated to the experience. I recall browsing her VHS collection every single time I went over there. VHS slip cases like Monster Squad, Dr. Giggles, Killer Clowns From Outer Space, and the Texas Chainsaw Massacre will forever be burnt into my head. I recall David Lynch’s The Elephant Man being one of the first movies I watched as a child, and I most definitely remember it being the first time a movie hit me emotionally. The “I am not an animal! I am a human being!” just crumbled me.
However, it wasn’t until I was in my early 20’s that I realized I wanted to make movies for a living. I mean, I would make silly movies or skateboarding videos on my parent’s tape recorder as a kid, but I never thought I would go as far as to make my own legitimate films. Then I saw There Will Be Blood in the theater and something just clicked. PTA makes films about characters and their experiences, story structure isn’t what’s important and that intrigued me. Story is great, but what was fasinating to me was the complexity of his characters and how they navigated life in the world PTA created. This was what I loved about films. It all made sense. This is what I wanted to do! So, I quit my great paying job, moved back in with my parents and decided to go to film school. I wouldn’t say this is always the best idea, or the right route to take, but I do know that I met a lot of my current collaborators going to school and I am thankful for that! After I finished school, I decided I wanted to try doing this for a pay check, so I hopped on a few low budget productions as a PA, and it was NOT it. Getting coffees, lunch, supplies, etc. was not what I imagined doing, so my career as a PA ended pretty quickly and I got a “normal job”. I found that I would work on my own films, friend’s passion projects, etc. while juggling my day job. Having the day job allowed me to fund projects I wanted to work on. Projects I had control over creativly. After years of this, the office life burned me out. I knew that this was not sustainable long term. So, I saved a chunk of money, gathered eight years of my work, and created a portfolio. Then I quit my job (again) to do this for real, I have never looked back. It has been quite the journey. It has had its ups and downs, but It was the best decision I have ever made!
We all face challenges, but looking back would you describe it as a relatively smooth road?
Working in this industry is not for everyone, and you will find out pretty fast if you are built for it. It’s a world where you truly have to love what you do or else it will wipe you out. Yes, I can say I have more flexibility with my schedule, and more free time when compared to a 9-5 office gig, but when you are busy, you are BUSY! Six days a week, 12 hour+ days, for weeks at a time can run you ragged. The schedule can also impact relationships. A lot of people in this industry struggle keeping them. This is arguably the most difficult thing to navigate. You just have to find that person that understands and supports what you’re doing. It also requires so much extra work from your end to show that person that they are in fact a priority. Lastly, I would say that financial uncertainty is quite the roller coaster ride in this line of work. One moment you will find yourself so busy that you are literally turning down work, and the next moment you are wondering if you are ever going to work again. Imposter syndrome is real, and really takes hold during these luls. And keep in mind, this isn’t just those trying to make it, this is an issue for the most successful people out there. The industry is volatile. It is a constant grind, and boy, does it require a ton of discipline, dedication, and mental health check ins. It truly is a hell of a ride, but I wouldn’t trade it for anything.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I am a Cinematographer based out of Salt Lake City, Utah. I specialize in narrative work. I’ve shot documentaries, and feature length films. I would say that I am known more for my still photography work at the moment. I spend a lot of time shooting stills. It’s a lot cheaper telling stories with stills, so when I have had ideas, still photography has been an outlet. Cinematography has always been the goal, and still photrography has been there to stay sharp, test lighting, lenses, films stocks, etc. When I wanted to test something out, I would just make sure that I was able to also make something fun while testing.
The end of 2023 and the start of 2024, I shot two feature films. Lead Belly was my first, written and directed by Stephen Simmons. The second was By His Hand, directed by Taylor Paur. I am extremely proud of both these films and the crews that worked on them. You don’t realize how long it takes to make a movie. Two years in the making, both Lead Belly and By His Hand are barely starting to see movie screens. Lead Belly recently had its premier at the Night of Horror International Film Festival where it won the Independent Spirit Award. Leady Belly also had a fantastic run at Panic Fest. By His Hand is taking a different approach, but we will have many more annoucements common up. I am just so excited to see people finally getting the opportunity to see the movies.
With my still work, I think I like to shoot things that interest me. Most of the time I have been able to focus on my ideas over finding an audience or appeasing a client. I’ve just explored ideas and people liked the work. With movies, I have also been extremely lucky working with the collaborators I have had! I feel we all have the same taste in movies, music, art, and our styles have meshed well together. There are more rules shooting films, as my job is to take the director’s vision and ideas and help transform them into a living thing. I think I have been lucky to work on narrative projects that align with my taste and style. Not only with the look, but the story and themes as well. My portfolio represents what I have wanted to do wrather than what I have had to do. Don’t get me wrong, I take the gigs that pay the bills and I love those jobs too, but my favorite work, the work that I feel represents my most creative self, has been the narrative projects, and I am extremely lucky for that.
Networking and finding a mentor can have such a positive impact on one’s life and career. Any advice?
Landing gigs in this industry is 10% skillset 90% networking, especially when you are first starting out. I found internships to be a big way to network and meet new crew. It also will get you out on set / location more.
Some best practices for me have been keeping in touch with the people I like working with. I don’t mean clients, I mean the department heads / crew from productions I have worked on. If you are good at your job and you are fun to work with, you will find yourself working often with the same crews. If you are looking to work with a new crew, reach out, try to offer something that will make their job easier or the production better. No one owes you an opportunity. You may also find yourself working for a discount, or even for free just to get in and show your competence and skill set. Be a problem solver, and be fun to work with. These two things alone will go a long way!
Contact Info:
- Website: https://www.trevorturpin.com
- Instagram: https://www.instagram.com/trevorturpin
- Facebook: https://www.facebook.com/profile.php?id=100080247126281
- Other: https://vimeo.com/user11034662
