Working with pop trio the Jonas Brothers is probably a dream millions of tween girls would die to partake in. But for cinematographer and visiting UCLA professor John Simmons, it’s just another day at work.
“When my agent told me I was working on the Jonas Brothers project, I said, “˜That’s great,'” Simmons said. “She said, “˜That’s all you have to say? It’s the Jonas Brothers. … I think you’d better look them up.'”
Having just shot “Jonas,” Disney’s new television series about the Jonas Brothers, cinematographer John Simmons has to balance being a working professional and a visiting professor in the UCLA School of Theater, Film and Television.
Having been honored four years ago by the American Society of Cinematographers, Simmons shares advice on working, networking and staying humble in Hollywood in his classes at UCLA.
Initially influenced by street photographers such as Henri Cartier-Bresson and Gordon Parks, Simmons took his first step in his career with a photography scholarship to Fisk University and later earned a cinematography degree from USC. (Simmons pledged that his heart is in Westwood.)
After taking a class with documentarian, mentor and friend Carlton Moss on “Image of the Black Man in American Films,” Simmons still attributes the success of his career to the defining moment Moss labeled him a cinematographer.
“In cinematography, there’s this continuity in story,” Simmons said. “I’ve just always been in love with the idea of putting a frame around something.”
His first feature film as a cinematographer ““ and favorite project to date ““ is the low-budget collaboration with director Tim Reid, “Once Upon A Time When We Were Coloured.”
The film documents a boy’s upbringing in the South and the influence of his family and community.
Part of what made the project significant to his career was the dedication and research put into the film.
“Everyone involved in the process was moved with such passion; no one was making any money,” Simmons said.
“We did so much research, studying painters for the period piece from Caravaggio to Hopper and Rembrandt.”
Simmons believes that in an artistic profession, money can’t be the only motivation ““ you have to work with what you have and do it for passion.
“Cinematography, photography, art, music, any of these are passion-based professions,” Simmons said.
“If you’re involved in them on the outset to make money, then you’re in the wrong profession, so whenever you start on an endeavor like this, you’re moved to do it.”
In his lighting and tech classes, Simmons, who has been teaching at UCLA since 1992, said he helps students learn to work on a budget with resourcefulness, teaching a lighting course that focuses on technical and economic efficiency, using equipment from Home Depot and things you can make or buy.
“I show them how it’s done in the professional world and how you can substitute it yourself by being innovative.”
Professionally, Simmons has been well-received, with quite a bit of luck working in cinematography.
His latest endeavor involved working with musicians-turned-Disney-stars Kevin, Nick and Joe Jonas.
On working with the young celebs, Simmons admitted he had no prior knowledge of the stars before taking on the project.
Through referral from a friend, Simmons landed “Jonas.”
In “Jonas,” Simmons incorporated parts of his demo reel’s “moody” style with Disney’s brighter, fast-moving, hipper style to cater to the short attention spans of a younger Disney audience.
A typical day on set with the boys, Simmons said, is a lot like how the series is shot: a race. He described it as a two-camera show shot as an episode with plenty of on-site gags, including indoor rain, lighting tricks and music videos.
“Disney doesn’t believe in overtime, so we’re on a real tight schedule of 10 hours a day. Sometimes we have up to 56 setups. The brothers get there at 6 a.m., we get there at 7. All day long, the camera’s moving,” Simmons said.
Simmons continues to share his experience with students, bringing his classes on set to his projects for a hands-on look at his career and craft.
The set of “Jonas” remains private, but as a cinematographer, Simmons can assure an energetic and edgy visual outcome.