By: William Jones
Cinematographer Nicolas Tepper is upfront that there are two reasons he chose to pursue a career in movie making, and they are inseparable; he wants to tell unique, unseen stories, and he wants to do it with talented collaborators available. As the DP of All the Words on the Page, those collaborators included (among others) director Hunter Gause, and actors Maximillian Isaacs (of the multiple Oscar Award–nominated Marty Supreme), and Paul Lazar of the iconic multiple Oscar Award–Winning Silence of the Lambs. This black-and-white film takes on the challenge of depicting dyslexia in a struggling young actor’s life. Psychologically potent and anxious in tone, All the Words on the Page is a deep dive into a condition that affects many while never being visible. This is an idyllic example of how filmmaking is not simply about representation but rather about creating experiences. In particular, through cinematography, this film aims to externalize an internal struggle and invite viewers to feel disorientation, vulnerability, and resilience alongside the main character.
Nicolas points to his early discussions with Hunter regarding what enticed him. He recalls, “We talked extensively on how cinematography could externalize an internal experience, sharing images that would allow us to place the audience inside the psychological vulnerability of the character. That challenge immediately motivated me; I like how film can express the unseen and externalize it into an experience, and I felt motivated to tell a story about a disability that many may not be familiar with or rarely see in films. We discussed shooting the film on 16mm black-and-white to strip the image down to its essentials and remove visual distractions. By eliminating color, we could focus attention on performance, texture, and contrast, particularly the stark relationship between black ink and white paper, which could become a powerful visual metaphor for the struggle of reading.” As with films like La Haine and classic noir cinema, All the Words on the Page uses black-and-white as a psychological tool rather than purely stylistic affectation. The overall result is a restrained, performance-driven visual language that remained closely aligned with the protagonist’s inner state, creating an experience that appears to be human and emotionally present for the audience to witness.
Quite possibly the most emotionally profound moment in the film takes place in a staircase, where Arlo is pushed to his physical and mental limits while rehearsing for his audition. This is the defining moment of the film and for Arlo. He can either accept that his disability is getting the better of him or pivot and overcome this anxiety. Arlo frantically travels up and down the stairs, attempting to memorize the text. “As the cinematographer, my goal was to translate that internal collapse into a visceral visual experience. I wanted this moment to feel darker, heavier, and more psychologically intense than anything else in the film,” states Tepper. He reveals, “To achieve this, I chose to shoot the staircase sequence on Tri-X Super 16mm, a stock known for its heightened contrast, deep blacks, and rough texture. Visually, this helped create shadows that consumed much of the frame, creating an oppressive atmosphere that mirrored Arlo’s emotional state. The camera remains handheld and extremely close to Arlo, moving with him as he ascends and descends the stairs. This proximity minimizes any emotional distance and forces the audience to experience the moment alongside him, going up and down the stairs together.” The combination of high contrast, shaky camera movement, and deep shadows turns the staircase into a psychological space rather than a literal one. As if Arlo is confronting his own internal demons. The result is an intense, subjective sequence that places the viewer directly inside his exhaustion, frustration, and self-doubt. Call it psychology of cinematography, the outcome is likely profound. A powerful transference of anxiety is attempted.
Dyslexia is a condition endured by many, but it’s not often the primary focus of a narrative film. All the Words on the Page offers much more than this condition; it describes how it can impact the very lifelong pursuits and dreams of someone. In doing so, the filmmakers have created a bridge for those unaware to offer grace when they interact with others like Arlo. All the Words on the Page premiered at Palm Springs ShortFest with a nomination for Best U.S. Film and was an Official Selection of the Fargo Film Festival, Pendance Film Festival-Canadian Premiere, The Downtown Festival at The Roxy Cinema-New York Premiere, Davey Fest – Utah, and many others.
