Benoît Delhomme - Cinematographer

Team Deakins

James Ellis Deakins

Tv & Film, Filmlighting, Deakins, Movies, Filmmaking, Production, Film, Cinematography, Film Interviews

4.8 • 1.4K Ratings

🗓️ 14 March 2021

⏱️ 79 minutes

🔗️ Recording | iTunes | RSS

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Summary

EPISODE 97 - BENOÎT DELHOMME - Cinematographer

Team Deakins has a memorable conversation with cinematographer Benoit Delhomme (AT ETERNITY’S GATE, THE THEORY OF EVERYTHING, THE SCENT OF THE GREEN PAPAYA, THE PROPOSITION). We talk about many things, including working with Julian Schnabel on At Eternity’s Gate. We learn about their working relationship, his dance with Willem Dafoe, and hiding the crew to keep them out of shot. Because Benoit does amazing things with color, we talked a lot about his approach, how he sees colors when he reads a script, and discussing color with Julian. He also tells us about shooting the film The Proposition - the difficulties of working in the Australian Outback, the difficulty of the heat, and the movies that influenced the shoot. We discuss the importance of the DP finding the first shot of the day. Benoit’s wonderful humorous outlook kept us laughing as we covered a lot of ground!

RECOMMENDED EPISODE VIEWING: At Eternity’s Gate, The Proposition

Transcript

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0:00.0	Hi, and welcome to the Team Deakin's podcast. This podcast is a dialogue between Roger and
0:10.5	James Deakin's often joined in the conversation by a guest. It's very informal and we never
0:17.1	know where it will go. We're connecting through Zoom, so bear that in mind when you hear
0:22.2	the audio. If you'd like to submit a question or topic, please do so by emailing, pod,
0:29.9	pod at rogerdeakin.com. This episode is sponsored by Ari. More than just the manufacturer of the
0:38.7	film industry's top camera and lighting equipment, they are also the innovator behind cinematic
0:44.5	lenses, such as the master prime and signature prime lenses. Ari, truly cinematic. This
0:53.2	episode of the Team Deakin's podcast, supported by Company 3, the world's leading post production
0:59.6	group, dedicated to collaborating with both emerging and established filmmakers. Today, we're
1:07.8	pleased to be talking with a cinematographer. His credits are many and include the proposition,
1:12.8	1408, a most wanted man, the theory of everything and lawless. We're happy to welcome Benoit
1:20.2	Deloam with us today. Benoit, thank you. Well, thank you very much. I feel a bit shy to do that,
1:26.6	so thank you. Lovely to see you to talk to, even if it is remotely. We'd like to start.
1:35.8	How did you get to where you are today? Did you always know you wanted to be a cinematographer?
1:40.9	Did you take another road first? Tell us how you got here. Well, I think when I was a teenager,
1:47.4	my first thing was to be a photographer. I was living in Sherbourg, in Normandy, and I didn't
1:54.8	know anybody in the film business. Really nobody at all. My father was a surgeon, you know? So,
2:03.6	I mean, I had no idea I would make a film. My parents loved cinema. They loved cinema,
2:08.3	which was maybe one thing, but my idea was to be a photographer. I wanted to be alone,
2:15.4	taking my photos and take photos of my girlfriend. I wanted to be this kind of photographer going
2:22.1	on the road, a bit like Robert Frank, you know, this kind of guy. It's what I wanted to do. And I
2:29.2	was not raised to direct a crew. I think I was raised to be, I mean, more myself, I think,
	...

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