“The lovely thing about cutting a film is that every frame is linked toa memory of the people that made that frame a reality. Certain frames cause you to curse but I have to say that not a frame goes by of this beautifully dark movie that I don't honor the name of Mike Southon.It was not only a great honor to work with you but also wonderful fun.I learned so much I can't even remember if I knew anything at all walking into this project.”

DAGEN K MERILL :director Beneath.



“This film looks a million dollars. Thank you so very much for your aspirational thinking and clever choices that mark Lifeline as one of the most stylish and sensitive pieces I have seen.

JAMIE PAYNE- director Lifeline.



“Mike, you did an incredible job, shaped these worlds in ways I could never completely articulate. Sometimes i think things have come together so swimmingly because of the little bit of Fred in all of us”

JODIE FOSTER - director Little Man Tate.



I was very lucky as I had a fantastic cinematographer, I had a guy called Mike Southon.

FRANK HARPER director,writer,lead “ST GEORGE’S DAY”

The locations – London, Amsterdam, Berlin, Los Angeles – are well deployed,-- and the film is beautifully lit by veteran TV and film cameraman Mike Southon. Philip French The Observer, Sunday 9 September 2012

“Forget Football Factory and Footsoldier this is an epic ,brutal classic” The cinematography, stylish and smart.


“Harper and cinematographer Mike Southon waste no opportunity to stage a scene by a famous landmark while capturing seamier locations in their best light and capping off the good work with a cool-looking stand-off in a barley field.”

sky movies



“accomplished piece of filmmaking with limited resources” Sarah Putt /film agent

“beautifully shot” Ole Mienert / Lee Lighting



“Mermaid Chair boasts haunting cinematography by Mike Southon” - Variety


RKO 281

Magnificently shot. Very striking” - Sue Armstrong producer

“Lensing by Mike Southon is rich and textured- his shots of San Simeon are downright ethereal”- Laura Fries Variety



Tech credits are excellent particularly Mike Southon's lensing” - Variety



“Mike Southon's widescreen location lensing provides much of the pleasure to be had here” - Variety

“Mike Southon's cinematography is soft and creamy” - Wall Street Journal

“A beautiful looking film” - LA Times

“The Irish countryside as photographed by Mike Southon casts an emerald spell” - Chicago Tribune

“Diffuse cinematography that lends the gorgeous irish landscape a misty glow” - New York Times



Kosminsky's film certainly looks good with some fine interior lighting by Mike Southon” - The Daily Telegraph

“Mike Southon's photography enhances the piece” - Sunday Times

“The film is quite magnificently photographed” - Screen


“The photography will blow you away” View magazine



“Beautifully photographed by Mike Southon” Dilys Powell Punch

“Mike Southon's lighting is simply breathtaking” – William Green Sunday Today

Beyond the carnalia "Gothic" happens to be strikingly shot “The Washington Post”



“The opening sequence is worthy of Visconti or the Taviani brothers – the lighting could have been designed by Zefferelli” - Christopher Tookey Sunday Telegraph.

“Mike Southon's camera work is suffused with a glowing richness that is unusual in a British Movie” - Nick Smurthwaite View

“Queen of hearts is beautifully shot” - Today

“Genuinely charming and visually stylish” - Anne Billington/Sunday Correspondent

“Mike Southon manages to create a rich warm atmosphere of a small community of winding streets seemingly caught in as time bubble” - Variety

“Mike Southon has an imaginative eye and a powerful feel for the interplay between fantasy and reality.” Julie Salmon-Wall Street Journal



“Gorgeous autumnal photography” Toronto Sun



Paperhouse is a film in which every element has been distilled to the point of almost frightening simplicity. It's like a Bergman film in which rthe clarity is almost overwhelming and we realize how cluttered most movies are” Roger Ebert Chicago Times

“The film is exceptionally well made....complimented by Mike Southon's flawless photography” Iain Johnstone Sunday Times



“Highly imaginative lensing from Mike Southon” Variety

“Cinematography with real eloquence” Guardian

“Beautifully shot by Mike Southon” Derek Malcolm Art beat Magazine

“The look of the film, his spectacular use of spotlight and deep focus, the low slung camera and the imposing tracking shot as Rowena wends her way out of the abandoned warehouse that has served as her prison lends Mayersberg's picture much of the visual excitement of Nick Roeg's work”

“Mike Southon has done wonders with the idea that we don't see things in a documentary way anymore” Christine Aziz Stills magazine

Mayersberg's first feature is as richly allusive and as teasingly multi-layered as his scripts for Roeg, The Man Who Fell to Earth and Eureka. A complex weave of parallels and mirror images stunningly shot It's as strange and magical a movie about childhood as Les Enfants Terribles. TIME OUT FILM GUIDE