Cinematographer Blake Horn shares insights about the visual style of A Cursed Man - Exclusive Interview

      Upon reviewing Blake Horn’s extensive resume, it’s clear that his versatility as a cinematographer stands out. Whether traveling the globe for a travel show (The World Your Way) or capturing a scripted feature film (Mind Body Spirit), his passion for filmmaking is evident through his lens. His latest project, the documentary A Cursed Man, follows filmmaker Liam Le Guillou as he delves into witchcraft and the occult, seeking to answer the question: “Is magic real?”

      When talking about his documentary experience, Blake notes, “The key lesson I’ve learned from filming documentaries is to trust your instincts. Additionally, take your time. Let scenes unfold within your frame.” That approach is what he applied to A Cursed Man, resulting in an innovative social experiment with a horror element. Blake elaborates on his documentary work and A Cursed Man in the interview below, and you can watch A Cursed Man here...

      Do you find anything particularly surprising or unexpected when joining a new production with a different director and team?

      Absolutely, every aspect is surprising. Not only do you need to understand how others work, but you also have to navigate various personalities. It’s fascinating that each time you join a set, everyone collaborates towards a shared goal. You’re not just working with one other person; you’re working with many others who are all interacting. It’s crucial to maintain flexibility and practice active listening. It’s important to genuinely hear others, offer your input, yet be adaptable with your own expectations and ideas. I find the notion of “picking your battles” somewhat unsettling since it implies conflict. Instead, I prefer to stay flexible while keeping a clear vision. It’s vital to discern whether you’re advocating for something out of personal pride or if you genuinely believe it serves the project’s best interests. Quite often, it’s necessary to let go of your ego, even though sometimes the best for the project still needs to be articulated.

      Entering a new project means everything is unfamiliar, and having sufficient time to align with everyone involved is crucial. This is why many collaborators tend to work together repeatedly—to establish a shorthand and feel supported by mutual trust.

      Is there a significant difference between working on narrative films versus documentaries?

      Typically, yes. Documentaries are often dictated by what you’re capturing; you want to be as unobtrusive as possible, aiming for authenticity. In contrast, narrative films involve molding reality to fit your vision and process. You strive to make your film world come alive while managing real-world constraints such as changing light, budget limits, or interpersonal conflicts on set.

      What I appreciate about documentaries is that they continuously challenge me to be present in reality—to observe, listen, and learn from what’s unfolding. I enjoy bringing that lesson into narrative projects, especially when challenges arise, like locations falling through or various stresses. Staying grounded on the day of shooting and allowing the magic of filmmaking to fuel your energy provides additional inspiration when it comes to capturing scenes.

      What attracted you to A Cursed Man?

      I was drawn to A Cursed Man because of Liam’s vision—his approach to the subject was one of curiosity and respect for those featured on screen. He aimed to explore and understand why people embrace those beliefs rather than mock them. Furthermore, I have a great deal of trust in Liam as a filmmaker; I’ve always enjoyed collaborating with him. The chance to work together again and integrate horror elements into a documentary was enticing. I didn’t expect an opportunity like that to arise, and blending my favorite genre with real-world footage presented an exciting prospect for me.

      Did the final version of A Cursed Man differ significantly from what you initially proposed to the director in terms of cinematography?

      Actually, no. It closely matched our initial vision. Both Liam and I were thrilled as we watched the film come together, realizing it did have the aesthetic of a horror movie. That felt like a significant achievement. I hope that everyone we filmed shares the sentiment that we achieved our desired look without compromising the authenticity of reality.

      Were there any particular locations that posed more challenges than others during filming?

      It would be easier to answer if the question was reversed: were there locations that were simpler to film? Because in documentaries, every location presents challenges. It’s like building an airplane mid-flight. Often, you walk into a space filled with furniture, and the question becomes, how do we manage this?

      The most challenging location was definitely during the therapist session when Liam met with his therapist or life coach. Upon entering, we found ourselves in someone’s apartment filled with beautiful but large couches, leaving little room for lighting or camera setups. My crew and I had to move a lot of furniture that day to create a workable space. Thankfully, she had a large window that became our primary light source. We added a bit of fill, and it resulted in a wonderfully natural key light. Using the Sun Seeker app to track the sunlight's angle helped us determine we had a few hours of consistent