LOS ANGELES, California—PJ Raval, a Filipino-American filmmaker, shot the acclaimed "Trouble the Water," which is vying for the Best Documentary Feature in Sunday's (Monday morning in the Philippines) Academy Awards.

“Trouble the Water,” a powerful firsthand account of Hurricane Katrina and its aftermath as seen through the eyes of a couple, won the 2008 Sundance Film Festival Grand Jury Prize for Best Documentary and was ranked as one of the 10 best films of 2008 by such critics as the Chicago Sun-Times’ Roger Ebert, The New Yorker’s David Denby and Entertainment Weekly’s Lisa Schwarzbaum.

Carl Deal and Tia Lessin directed the documentary that was co-produced by actor Danny Glover.

Together with Carl and Tia, PJ, an award-winning cinematographer who also directs films, followed the couple, Kimberly and Scott Roberts, for almost a year and a half in the devastating aftermath of Katrina. Kimberly’s footage of her family’s harrowing experience when the hurricane struck, which she recorded with her video camera, is included in “Trouble the Water.” She is listed as a co-cinematographer.

As a cinematographer, PJ, who was born in New Jersey, raised in California and is now based in Austin, Texas, earned the American Society of Cinematographers Charles B. Lang Jr. Heritage Award and the Haskell Wexler Award for Best Cinematography. He shot director Kyle Henry’s “Room,” which premiered in the Directors’ Fortnight of the 2005 Cannes Film Festival.

PJ’s directing credits include “Trinidad,” a feature documentary (in which he also served as the cinematographer) on a group of transgender women in a small Colorado town that has been named as the sex change capital of the world. Dubbed as a “cinematic superbeing,” PJ occasionally lectures at the University of Texas. He recently shot a punk rock show for a video art installation.

Below are excerpts from our interview via e-mail.

When you were shooting “Trouble the Water,” did you get a sense that maybe you were on to something extraordinary?

I knew Kim and Scott had an incredible story to tell. Most Katrina stories had been told from the media perspective, from outsiders looking in. Kim and Scott’s story was from the insider’s perspective—a personal firsthand account of their experience during Hurricane Katrina and their ongoing struggle to survive. But as we continued filming, I think we all realized it wasn’t just about their experience during the hurricane, but their struggles during their entire lives.

At that moment, I knew we were filming something the world needed to experience and learn from. And here we are nominated for an Academy Award! Honored and excited as I am for all this recognition, I also hope this encourages more people to see the film and also inspires filmmakers to continue telling stories that need to be told.

What themes fascinate you?

I think film is one of the most powerful story tellers—it has the ability to place a viewer in another person’s experience. It can make one feel another’s struggle or allow one to witness a life very different from his own. It has the ability to bring us together in a common experience, educate, sympathize and empathize. There are so many stories that have not been told and so many people who could learn from other people’s life experiences. These are the films I’m interested in working on and making whether they be documentary or non-fiction, dramatic or comedic. Film can make us cry together, laugh together, grow together. It’s incredible.

How Filipino was your upbringing? And what elements of your Filipino heritage helped shape what you are today?

Though I consider myself a Californian, I was actually born in New Jersey. Both my parents emigrated from the Philippines at different times and first met in New York. Soon after my sister and I were born, we moved to a small town in California called Clovis. Unlike some towns in California during the ’80s, Clovis did not have a large Filipino population. I grew up very much being mistaken for Mexican, Japanese, Chinese, Indian or a combination of any of them! My friends were always fascinated by my parents’ accents or enjoyed seeing my mother’s take on spaghetti.

But even though I was different from most kids I knew, I was thankful for this experience. It made me comfortable being an individual and understanding the importance of knowing your cultural background in a larger society. My parents are proud of their culture and so am I. And thank God my parents cooked Filipino food for us every day or I would have never eaten it! Eventually, I moved to San Diego and lived there for a number of years and studied both art and biology and eventually discovered film.

Are you familiar with Filipino cinema?

I’m actually quite terrible when it comes to watching films in the theater. My friends always joke and say that for a filmmaker, I sure don’t watch anything! But I’m trying to be better about this—though I’d like to think I have a little bit of an excuse since I’ve been so busy making films!

If you had to choose between being a cinematographer and a director, which one would you pick?

Ideally, I’ll always be both a director and cinematographer. I love that my job either way is to be creative. As a cinematographer, I get to be part of the creative process but ultimately someone else has to answer for all the decisions at the end of the day. I love being behind the camera, knowing I’m capturing an amazing performance or an un-reproducible moment in time and that someone else will take this footage and take it to another level.

But there are also projects where I want to be the main creative driving force—the vision behind the whole film, and that is why I love directing as well. I also appreciate how film can be a collaborative medium.

Looking back at your Cannes 2005 experience, what were the highlights that stand out in your memory to this day?

My trip to the Cannes Film Festival back in May 2005 was an eye-opening experience. It was my first real experience witnessing the film industry at an international level. There were filmmakers from almost every country walking the streets and enjoying the festival and sunshine. It was also great to be in a place where audiences seemed to truly celebrate the filmmakers and the films, not just the celebrities in them.

I remember walking the red carpet and being amazed at all the photo flashes blazing and equally amazed when audiences stood up and applauded the directors of each film. The trip was a festival highlight of my career thus far, for sure. Plus, you can’t beat the French Riviera in May! Beautiful.

How much of your filmmaking sensibility and aesthetics were formed in Austin?

Austin is a really great place for creativity. People are still genuinely excited about filmmaking and audiences appreciate, support and go see the films. It’s a town filled with artists of all sorts and everyone is encouraged to be creative in their own ways. Since it’s not New York or Los Angeles, there’s a sense of the film industry but not an overwhelming presence that would stifle someone’s creative process. You’re allowed to create work on your own terms. Of course, Austin not being one of the coasts, it has its own set of challenges. But for me, Austin has allowed me to explore my creativity without the pressure of being in one of the film industry capitals. I’ve been able to play and explore creatively.

Can you tell us about your experience shooting punk shows for a video art installation by British artist and filmmaker Matt Stokes?

Shooting British artist Matt Stokes’ punk rock art installation “These Are The Days” was quite an experience. Though familiar with the punk rock scene, I can’t claim firsthand to have jumped into a mosh pit or have been at the front of a stage with fans and punk rockers packed so tightly together they flow and sway like a sea of water. Even the experience of shooting the band recording an original song inspired by the crowd footage was a new experience.

Being around a subculture filled with people who represent the raw anti-establishment DIY (do it yourself) movement was incredibly inspiring. As one of the posters in Matt’s show states, “You can keep your overpriced, chrome-plated, garbage can of a society. We will not participate.” I love that. Live by your own rules.

If money and resources were not a hindrance, is there one film project you would like to do?

A little known fact is that I’d actually love to make an animated film or claymation piece. It’s not really a question of money but one more about time and the fact that I have no real animation skills! But for now, I’ll stick to films with people in front of the camera. I’d love to make a film outside the US—The Philippines perhaps?

What are your next projects?

Right now, I have a narrative script about a coming of age story between a young single mother and her estranged teenage son that I’d love to make. I’m also developing a new documentary about LGBTQ (lesbian, gay, bisexual, transgender and queer) retirees that I want to spread out over time, similar to how I made my last documentary, “Trinidad.”

In the meantime, I’ve been keeping busy making short films and music videos with friends for fun. I’m trying to take advantage of these small pieces and focus on being creative and taking risks—a chance to expand my artistic visions.

When do you rest and what do you do to relax?

I rest on the plane! No really, I try to make an effort to take time for myself and relax, though lately it has become harder to set any “personal” time aside. I’m a fan of catching up with friends and loved ones over good food and drinks. To be honest, I really enjoy my work so I don’t think I ever view it strictly as work. Even when I’m technically off the clock, I’m still working. I’m always thinking of something to make, see, read or listen to. Lately, I’ve been really into public radio shows like “This American Life.” I’m also rediscovering my love for photography and how I miss taking photos for fun.

What are your thoughts as Oscar day approaches?

I know it sounds cliché but it truly is an honor just to be nominated. To be recognized for doing something I love, for a project I am so proud of and really believe in is an achievement on its own. This experience has been completely amazing and unexpected. I think the only thing that could make it more surreal is if we win an Oscar! Fingers crossed…

E-mail the columnist at rvnepales_5585@yahoo.com and read his blog, “The Nepales Report,” on http://blogs.inquirer.net/nepalesreport