Please tell us about your decision to become a filmmaker.

I got into film by way of writing, and then photography. I used to write short stories and I was curious about the fact that, when we read, we see things differently. No one ever reads a book, and sees things the same way. We all have our own imaginations that are made up of the things around us. I remember asking friends what they thought of certain characters, what they thought they were like. For any detail that I didn't include, they had visual assumptions of their own. With film, people have to see it from your perspective. A lot of people would tell me that they wished my stories would be adapted for film. 

I like that you can translate something from your thoughts. The colours, the look, the feel; every aspect of it is up to you. I love film because of that level of control you get as the artist. You feel a lot when you look at photos or listen to music, but the journey is so different with film. I love that I can tell a story in my way and make the audience view it how I decide they should.

Which scene of yours was your favourite to write?

I don't think I have a favourite to be honest. I'm a "favourite right now" kind of person. I do typically lean into stories that show other sides of Blackness and explore queer narratives.

Which scene was your favourite to shoot?

The Absolut Vodka short documentary that I shot with all the drag queens and Toronto poets. It was so Black, so queer, so ‘me’. There's nothing like lending your eye for work centered around things you know so much about.

Another favourite experience is when I went to Jamaica, and I shot a documentary with director, Kelly Fyffe-Marshall, and Donisha Pendergrass. It was more than a travel documentary since they were doing all kinds of amazing grassroots work, like helping to build a school for The Remix Project JA. We also shot Kaya Fest, the Marley family's annual concert.

How autobiographical is your work?

As a cinematographer, I'm often telling other people’s stories but you do get a sense of who I am in everything I shoot. I try to honour people of colour when I shoot them and every freelance project that I've taken on does have pieces of me in it. 

Whether it’s about a queer person, a woman, a Black person, I try to put myself into it. When I come across projects that I have emotions around, I think the viewer can feel my emotions through the way I create intimacy.

What is the hardest lesson you’ve had to learn as a cinematographer?

You’re only as good as your preparation. It's less about ‘talent’ and more about preparation. Growing up, I never really thought that much about preparation and logistics. I learned the hard way that I can’t just show up, wing it and do great work. You really have to prepare and try to think of every little detail, every flag, every logistic. Once you’re on set and you’re facing a fire, you suddenly realize how you could’ve avoided them by preparing well in advance. As the cinematographer you need to speak to all things visual, which makes up a huge part of any film. On the day you're doing a lot and you want to come in with answers and solutions, not questions. I go into every shoot with a lighting plan, and I speak to all my techs prior to make sure we're all on the same page so we can avoid too much discussion that will ultimately eat the day up.

Another lesson I learned is the need to remove my ego from certain situations. Yes, I'm a storyteller of my own, but I’m also here to help tell a visual story for the director, to help them actualize their vision. It's not my story; I'm just here to help them tell it. As a cinematographer, you often have to compromise your own vision to help their vision along. I mean, you can push but no one will want to work with combative DPs.

What is the hardest lesson you’ve had to learn as a director?

One lesson is that other people can have an opinion that can affect my story and you need to be open to that. As a director, you’re essentially there to have your vision executed. However, people are in their department for a reason, and you need to learn to listen to your crew’s feedback. Be open to other people suggesting things. Ego is a thing that can crush filmmakers. You make it all about you and then you miss all of the brilliant and potentially useful feedback around you. Learn to let go and let people do their job. I learned about ego because I’ve been on both sides (as a cinematographer and director).

Whose work is most exciting to you right now? 

Dagmar Weaver-Madsen. I really enjoy her cinematography work. She has a special way of capturing women and making them look empowered even when they’re in a powerless situation. Her work is shot with so much intention and I admire that a lot.

What is your go-to feel-good movie or TV show?

The Fresh Prince of Bel-Air.

In which specific area would you like to see the industry change?

I would like to see more POC producers because producers are the ones that hire everyone. We need POCs in high level roles. Having more gatekeepers who are people of colour, ultimately, would bring more POCs to the table. 

[BLANK] is a f*cking perfect music video/commercial/TV show/movie:

Misfits. (In season two, they got a new D.P. and his cinematography is beautiful.) 

Money Heist, too. (The characters are great: you may not agree with everything they do but you understand why they do it.)

Watch Ashley’s reel below.