At the age of 21, Maurice-Jones visited a film set and became interested in cinematography, subsequently moving into camera work. He began his career assisting on documentaries, travelling internationally before progressing to directing and lighting music videos. During the following decade, he worked extensively in music video production, developing his experience in lighting, camera movement and visual composition before becoming a director of photography.
His music video credits include collaborations with Michel Gondry on projects for Björk, Massive Attack and other artists. He also photographed Blur’s Parklife, alongside videos for Madonna, The Prodigy and Fatboy Slim. His work in advertising included campaigns for Levi’s, Polaroid, Heinz and Smirnoff, receiving awards for cinematography from organisations including D&AD and the Creative Circle.
Maurice-Jones moved into feature filmmaking in the late 1990s, working with director Guy Ritchie on Lock, Stock and Two Smoking Barrels (1998) and Snatch (2000). He subsequently served as director of photography on Human Nature (2001), directed by Michel Gondry, and Revolver (2005), directed by Ritchie. His cinematography on White Lightnin’ (2009), directed by Dominic Murphy, received the Hitchcock d’Or for Best Cinematography at the Dinard British Film Festival.
His later feature credits include The Woman in Black (2012), Kick-Ass 2 (2013) and Bastille Day (2016). He also worked on the television series Black Mirror, photographing the episode “Shut Up and Dance” (2016), directed by James Watkins. Maurice-Jones subsequently collaborated with Watkins on The Take (2016), starring Idris Elba and Richard Madden.
In 2022, he served as director of photography on The 355, directed by Simon Kinberg, an international action thriller filmed across several countries. He also photographed The Ipcress File (2022), the television adaptation of Len Deighton’s novel, using period-inspired lenses and lighting techniques to establish its 1960s setting.