DIRECTOR of PHOTOGRAPHY
ASC CLOSE-UP in the June issue of American Cinematographer magazine.
American Cinematographer 6-1-2020
"Markus Förderer The German-born cinematographer is the youngest ASC member, with “I Origins” and the pilot for George R.R. Martin’s sci-fi/horror series, “Nightflyers,” among his credits. “Film is the closest medium to dreaming,” he says. “Creating a dream-like visual experience for an audience, with the tool set of cinematography, is a powerful way to convey complex ideas and emotions.”.”
"Growing up in Buehl, Germany, Markus Förderer, ASC, BVK first felt the spark toward filmmaking while watching pictures like 2001: A Space Odyssey, Seven and Independence Day. It was the “artistic use of light, colors and composition” that most interested him, and he quickly learned those were the responsibilities of the director of photography.”
"For German DP Markus Förderer, BVK, quickly developed an impressive resume of visually unique and critically acclaimed feature films. His feature film debut, Hell, earned Förderer a number of awards. He went on to shoot Mike Cahill‘s sci-fi drama, I Origins, which was awarded the Alfred P. Sloan Feature Film Prize at the 2014 Sundance Film Festival. He followed that with I Remember, which premiered at the 2015 Berlin Film Festival and won the 2016 German Camera Award for Best Cinematography.”
Post Perspective 12-19-2018
"The pic’s cinematographer had just come off the biggest project of his young career, a behemoth visual effects disaster film directed by Roland Emmerich, the master of that genre, and was looking to perhaps do something smaller and more intimate.”
"Questioning Reality" article by Michael Goldman about the production of MERIDIAN for NETFLIX in the October issue of American Cinematographer magazine.
American Cinematographer 10-1-2016
"The Aliens Strike Back" article by Jay Holben about the shoot of INDEPENDENCE DAY: RESURGENCE in the July issue of American Cinematographer magazine.
American Cinematographer 7-1-2016
"I think Markus plays the shadows very well,” he says. “He is not afraid at all to use backlight. The movie has a dark sci-fi look, bold, but there’s still plenty of cinematic imagery to look at.” ..."
"Windows to the soul" article by Jay Holben about the shoot of I Origins in the September issue of American Cinematographer magazine.
American Cinematographer 9-1-2014
"Craft and technical qualities are outstanding, from the exceptionally luminous work of German cinematographer Markus Forderer"
Hollywood Reporter 1-18-2014
"The German d.p.’s feature debut was 2011 sci-fi thriller “Hell,” which won him multiple awards, including a Camerimage cinematography debut nom. Forderer recently shot sci-fi drama “I Origins,” and “Stonewall” for Roland Emmerich. “I admire his style for telling stories on a grand scale,” he says. “I prepared some stills for the look (of ‘Stonewall’). We talked about lighting and camerawork. When I left his office ..."
"Germany looks eternally sunny and lovely in Markus Forderer’s beautiful cinematography, lending the proceedingsanother surreal edge and a clear contrast to what’s discussed and shown."
Hollywood Reporter 8-31-13
"the cinematography by Markus Förderer is simply stunning."
"Cinematographer Markus Forderer (whose frightening high contrast images were the best thing about the German thriller "Hell") captures the shadowycityscape to illustrate the impression of Ian's quest getting lost in a much larger puzzle of the monolithic forces around him."
"The camera work by Markus Forderer and director Fehlbaum manages to create the perfect ugly mood for almost any scene. Their decision to expose the camera to more light than usual for the sunny scenes but not to light shadowy moments at all, might, work well in a modern cinema but may necessitate some digital re-mastering for home-entertainment."
Hollywood Reporter 7-5-2011
"Markus Förderer won Best Cinematography for Hell at Sitges last year and I can see why. The
sun-bleached world devastated by solar flares takes lens blow-outs and flaring to a whole new
level and the intense style totally pays off during a particularly terrifying chase at the end."
"The film is beautiful, the visuals earning its cinematographer top honors at the Stiges Film Festival in 2011."
"Markus Forderer’s almost-blinding approach to sunlight would be an instant eyesore in most movies, but presented as part of this film’s particular style and setting, it’s really rather cool. - a visual presentation that’s both a workout for the eyeballs, but also strangely beautiful to look at."
Interview Süddeutsche Zeitung (German) 8-29-2014