News > Andrew Wonder > Shots Rising Stars 2016

Station director Andrew Wonder selected as one of Shots Rising Stars 2016

Known for his distinctive, immersive, emotive filmmaking, director/cinematographer Andrew Wonder has shot commercials for such top clients as Prudential (Droga5), Philips (O&M), Microsoft (Omelet), GE (The Barbarian Group), and AT&T (BBDO). He also directed the 2011 short film and viral sensation “Undercity,” in which he and urban historian, explorer and TEDx presenter Steve Duncan broke into New York subway tunnels and sewers and climbed the Williamsburg Bridge to deliver a visceral, white-knuckle experience for viewers.
Wonder grew up in New York and says: “I always wanted to be a gender studies/cultural anthropologist, but when I was 17, MTV gave me a camera and put me on the road to produce an episode of its series Made.”
Dropped in at the deep end, it was sink or swim. “I had no money, no crew, and had to shoot, produce, sound mix, and edit,” he says. “Getting that camera was like finding my paintbrush. I learned that you don’t need money or toys as long as you have a strong story and an emotional way of telling it.” He won an Emmy for directing the series’ 200th episode.
Wonder quickly worked his way up the filmmaking ranks as a cinematographer, shooting his first feature film, Michael Almereyda’s New Orleans Mon Amour, which premiered at SXSW in 2008, before his 21st birthday. Since then, he’s been taped by filmmakers including Antoine Fuqua, the late, great Garris Savides, Paul Schrader and Pulitzer Prize-winning photographer David Turnley to implement his unique style of humanizing digital cameras. His viral hit for GE, “Juice Train,” was featured in American Cinematographer for its innovative way of capturing a 48-hour anamorphic time lapse on the front of a locomotive.
As the forefront of the new technology as both a director and technical supervisor for VR shoots, including AT&T’s “#StrongCan” film featuring student racer Ben Albano, and Brendan Gibbon’s VR short “Red Velvet,” he’s spent a year consulting on VR project, “And now I’m back to broadcast spots.”
He notes: “Today’s challenge is the ever-changing sea of formats and content. With these new tools and delivery systems, it’s easy to forget that we’re still teaching people through narrative. We get stuck in the past, obsess over film grain and movies from the 70s, but forget that we are the luckiest group of filmmakers in history. For the first time, we have the ability to create images no one has ever seen before and deliver them in whatever way makes most sense for the story. I really do believe if you could go back and tell Kubrick or Welles about the tools we have today, they would be right here with us, working to find a new, better way to tell stories.”

Check out Andrew’s work HERE.

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