Meet Eythan Maidhof

Today we’d like to introduce you to Eythan Maidhof.

Hi Eythan, so excited to have you with us today. What can you tell us about your story?
Thank you, so excited to talk to you? I was a shy kid, always hiding behind my mother and letting her do the speaking up for me. I didn’t use my words early on to express myself with anyone except her. I would go on walks around the suburbs of Central Islip, New York with my father and his camera. We’d break into old abandoned psych wards together and take photos and hardly speak to each other, but that was okay. I learned early on photography was about connection.. 

In high school I became a class clown and was always in character, performing stand up comedy when I was 17-years old. It was a way to rebel against my shyness, but this was incredibly bifurcating and set me back developmentally. I was either performing on stage or hiding behind the lens of a camera. 

Through photography I learned to express myself. One of my first jobs was as a bar/bat mitzvah photographer when I was 21-years old. I learned that I could become the most important person in the room without having any social obligations. I was still terribly shy. 

When I was 28 I got lucky and purchased one of the first RED cameras, serial number 747. I teched with it and worked as an assistant colorist at a boutique color house in Manhattan. Over the years I worked my way up as a director of photography, eventually shooting a show for the Oxygen Network. I also worked at Condé Nast, Ogilvy & Mather, and Pier 59 Studios. I worked within the documentary and fashion world. I felt stuck creatively and personally even though I was successful. I also had a case of imposter syndrome. I still felt like I was still performing to some extent. 

At 38 I applied to The American Film Institute and was accepted there. AFI helped me find my voice –I lived like a film monk throughout the pandemic and graduated last year. I took a deeper look inside, really exploring why I make artistic choices and the process became very healing to me.  

Making the  choice to be a cinematographer has challenged me to lean into my fears and grow beyond my comfort zones. To become a better cinematographer I had to become a better person. A good cinematographer can’t hide. You have to be seen, heard, and make your ideas stand out. I really think your art can only go as deep as your heart will allow. That art and self-discovery go hand in hand. 

In the year since graduation I’ve raised 45K for a semi-autobiographical short film I wrote while at AFI called, “Class Clown”. I also just purchased an Arri 35 camera kit, which I’m excited to take out for future collaborations. 

Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
When I was just starting out I was a total people pleaser and said yes to everything. I bragged about how many hours I was working and how many roles I was filling on set without asking for help on a project. I wore career burnout as a badge, but I thought that’s what I had to do to get ahead. Now, I have to speak up and voice concerns early on when taking a project so that never happens again. If they don’t hire me then I dodged a bullet. 

I’ve also learned it’s not true that you’re only as good as the project you took on last. Just like in everyday life you don’t base your value off of how you lived the day before. You’re kind of an average. This kind of thinking becomes toxic because it leaves no room for error. You should allow yourself to make mistakes because how else are you going to learn? Don’t beat yourself up for the mistakes you’ve made as long as they are honest mistakes and you take accountability for them. 

Appreciate you sharing that. What else should we know about what you do?
I learned to be a better screenwriter so that I could speak the language of a director better. I never want to direct, but I feel knowing the shape of a story in a script is really useful when pitching visual ideas to someone. Also, if you’re in a pinch you can make up for that missed beat at a different location and improvise better so that the responsibility doesn’t always fall onto the shoulders of the director. 

Right now I’m working alongside my director, Paul Cadenhead casting for the film I wrote called, “Class Clown” so if anyone knows of a kid that looks like the kid in the Diane Arbus photo “Child holding a hand grenade in Central Park” please reach out. This is a story about a boy finding his voice and learning to speak up. It’s a coming of age story set against the backdrop of the day Kurt Cobain killed himself. Here’s more info on the film at this site: eythanmaidhof.com/class-clown

Can you talk to us a bit about happiness and what makes you happy?
Right now just having conversations without any kind of agenda brings me joy. Living in LA for the last three-years everything feels like a pitch. I love talking about just about anything but work while exploring new places to eat with friends. I’m trying to enjoy my time more off set and not live for the next gig. Still haven’t mastered it though. I love cannol’s! Also, taking up horseback riding because it’s fun! 

Contact information:

• Website : www.eythanmaidhof.com 

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