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"You can translate an emotion into something that other people can then read again. And that's what art should always be about: communicating certain ideas and emotions through work without having to explain them."

Liam Cunnigham and Michael, Dolphin Pub, Hackney

Bruno Martins (electrics) and Michael, Woodmills, Bermondsey

Pitch Black Heist is a new short film directed by John Maclean about a robbery gone wrong. Two strangers meet on a job to empty an office safe of its contents. Their biggest challenge is to outsmart the light-activated alarm system that protect it...

Woodmills, Bermondsey, location

Liam and Michael, Dolphin pub, Hackney

With rare behind-the-scenes stills that reveal an ultimate side to filmmaking and the interaction between cast crew, photographer (and fine artist) Eva Vermandel tells Port what inspired the shoot – and shares a unique photographer's perspective of being on set...

Robbie Ryan (on camera), director John Maclean, Liam and Michael, Dolphin pub

Director John Maclean and Michael on location, Bank

I've never been on a film set before but I could tell it was exceptional, how well things were going.

When you're shooting on film, there's so much money involved. You really have to be so focused. But often mistakes or accidents bring an extra quality to film – it makes it more alive.

I didn't want to push anything.

Especially at the beginning, I kept my distance. I wanted to look at how things and eat the atmosphere.

One of the things I love about watching and talking to actors is that there are so many links with photography.

It's about observing, re-digesting, then spitting out again – the same with acting.

You can translate an emotion into something that other people can then read again.

And that's what art should always be about: communicating certain ideas and emotions through work without having to explain them.

I'm not interesting in anecdotes, or someone pulling a silly face. I wasn't interested in slip-ups or arguments.

I was interested in the flow and the organic things happening between people and their environment, feeling how a thing like this develops.

I do find that actors are incredibly shy about being photographed.

And you see them in the role and they're totally not shy. They're hiding. Acting is a way of hiding. And when they need to be photographed as themselves, it's themselves. Some of them just go back into character again.

If you want to be an actor, it's doesn't mean you want to explore yourself.

And that's where a lot of portrait photographers go wrong I think. Real artist don't necessarily want to be famous. I love people who hate being photographed. I'm interested in people who are really good at what they do.

It had never sunk in what a huge influence the cinematographer has on a film.

How you shoot a scene can completely influence how you tell the story. That's why I like DH Lawrence. The way he describes a room and the elements in the room. He can build up such an atmosphere that you immediately know the relationship between the protagonists in that room. And that's what I want to do in my photographs. It's really odd but some things and a certain exposure time you can charged, and by choosing a certain angle and a certain exposure time you can charge it even more – amplify it.

I only shoot a moment in time – but I want the photo I create to stand for a much longer period in time.

Making a film is quite dangerous, I realize now.

The stories I heard from some of the crew – you hear about Steadicam cameramen breaking ribs because it's such heavy work. Physically it demands so much from everybody involved, the hours of sleep you get and then you have to work 18 hours again the next day.

I wouldn't want to be a cinematographer because I'd rather create the work itself.

I'm too headstrong. If I were a cinematographer I'd just take over from the director.
Pitch Black Heist is now showing at selected international film festival and will be on general release in 2012.