Things I’ve Learned As A Moviemaker

by Benoît Delhomme | Published February 3, 2007

Benoit Delhomme at work

Benoît Delhomme at the camera (with assistant Xavier Tauveron) on a Taipei bridge.

On Inspiration

When I was starting a new film at the beginning of my career, each time I would watch this documentary about the making of Fanny and Alexander. You see Bergman and Sven Nykvist working together; they are so simple, so fantastic and even a bit terrified to shoot at the beginning. These guys are what, 70 years old, and they are still a bit afraid. I would watch this film just to feel this spirit before I began to shoot.

On the Power of Insecurity

I like to feel a bit insecure when I start of film; I think I get better ideas in this state. In America they usually hold a lot of pre-production meetings, but I've never seen a single good idea come out of them. The important thing is to feel free on the set to say 'I have no idea.'

On the Group Dynamic

I really believe in the importance of the atmosphere on the set. Everyone working together-this pressure is important. Everyone is important. Sometimes a grip or a trainee will say something that gives an idea to the director.

On Developing a Style

I would say that some very famous DPs stick to one style, like a very famous cook will always use the same kind of sauce-'people come to my restaurant to get the kind of food they expect.' I'm not like this. The way I work is like an actor: each time is a new part, a new period, a new country.

On Schooling Young Moviemakers

It's dangerous to say to young filmmakers that they should learn film grammar. They should just watch films and analyze them.

On Getting What You Want

On What Time Is It Over There? I had the time to do what I wanted to, but it's the first time in my career where I can say that what is in the frame is what I wanted. I had the time to look at my work and redo it if I wasn't happy.

On Having Too Much Freedom

Some DPs would never stop if you let them keep going. There's always someone on a film set to stop you; to say, 'Okay, that's enough.' But I do feel that sometimes we don't think enough about what we are doing; there's not enough reflection.

On Working With Ming-liang Tsai on What Time Is It Over There?

This was like a spiritual adventure for me. Asian people have a different relationship with images; there is a lot of poetry and symbolism given to many of their images. Their religion goes in this direction.

On Shooting Tests in Pre-Production

I think the first tests are very important because you are showing the first images to the director. Everyone has dreamed and talked a lot and they're expecting many things; if you wait to see the first images when you are shooting there is too much pressure on your shoulders.

On Knowing the Director

You really only start to know the director the first day you are watching dailies with him.

On Establishing Your Identity

In cinema, you work with so many images so quickly and, especially if you are the DP, you are not the author of your work because you work for someone. This is good in many aspects, but if you want to develop your own personality it's good to develop your own work-I paint in the downtime between feature films.

On Reference

Cinema is a lively image and everything moves. It's so real that sometimes you have to go back to something that's less real. I'm creating my own scenario; sometimes it means nothing to the director, but for me it gives me a palette of colors or an impression of the feeling I want to use.

On Letting the Director Make the Rules

When I meet the director, I first like to start with his or her ideas. I think if the DP or production designer come and say 'this is the way we should do the film,' it's a mistake. Start with the director's ideas; then you can enrich them.

On the Benefits of Trust

When you trust people you work with, they will always bring something fresh and unexpected.

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