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| 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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