Erik Wilson

Erik Wilson, man, this guy’s got a knack for making movies look absolutely stunning. You’ve probably caught his work without even realizing it—he’s the wizard behind the camera for films like “Better Man” (2024), “Paddington 2” (2017), and “The Double” (2013). Each one’s got its own flavor, but Wilson’s style kinda sneaks up on you. There’s this softness to his lighting, a way he frames scenes that makes even the weirdest moments feel strangely real. In “Paddington 2,” he basically made a movie about a talking bear look like a Wes Anderson fever dream—so colorful, so full of heart, you almost forget you’re watching a CGI marmalade lover running around London. Then you’ve got “The Double,” which is a whole different beast. That movie’s weird, honestly. Dark, moody, almost claustrophobic, like you’re stuck in someone else’s nightmare. Wilson goes wild with shadows and angles, making everything feel off-kilter and a bit surreal. It’s the kind of cinematography that sticks in your brain way after the credits roll. And “Better Man,” well, that’s more recent, but the buzz is all about how he captures emotion—big, sweeping shots mixed with these intimate close-ups that pull you right into the story. Dude’s got range. You can’t pin him down to a single style, and maybe that’s why directors keep calling him up for their wildest ideas. He’s not just pointing a camera, he’s painting with it.