Bruno Delbonnel - Cinematographer

Team Deakins

James Ellis Deakins

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

4.8 • 1.4K Ratings

🗓️ 15 August 2021

⏱️ 76 minutes

🔗️ Recording | iTunes | RSS

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Summary

EPISODE 141 - BRUNO DELBONNEL - Cinematographer

Team Deakins has a great conversation with cinematographer, Bruno Delbonnel. He speaks about his experiences working with Jean-Pierre Jeunet and Marc Caro, on Amelie and Delicatessen, respectively. We learn about how he achieved the look on Amelie and how, in France, it was the first film to involve a DI, and how the digital workflow has changed. When he chooses a project, he is not looking for the challenges as much as discovering the director’s vision and figuring out how to implement that. He also shares his experiences with working director Tim Burton. We speak of how he prepares his lighting and the importance of determining what you really need on a shoot and hearing what it is that production needs. It’s not about compromise but about finding the right method. And, of course, we speak about The Darkest Hour and the look. Not an episode to miss!

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
0:09.9	James Deakin's often joined in the conversation by a guest. It's very informal and we never
0:16.5	know where it will go. We're connecting through Zoom so bear that in mind when you hear
0:21.6	the audio.
0:23.6	If you'd like to submit a question or topic, please do so by emailing podpod.cod at rogerdeakin's.com.
0:31.8	This episode is sponsored by Ari. More than just the manufacturer of the film industry's top
0:40.5	camera and lighting equipment, they are also the innovator behind cinematic lenses such
0:45.9	as the master prime and signature prime lenses. Ari, truly cinematic.
0:54.0	Today we have the pleasure of speaking with a cinematographer. His credits are many and include
0:59.4	Emily, infamous, Harry Potter and the Half Blood, Inside Lewellen Davis and Darkest Hour. We're happy
1:07.3	to welcome Bruno Del Bonel with us today. Bruno, thank you for doing this. Thank you for
1:13.3	inviting me. Yes, good to see you, Bruno. Good to see you as well. I think we'd like to start with
1:21.8	the question of how you got to where you are today. Did you always think you'd want to be a cinematographer
1:29.4	or anything to do with visual? Did you take another path and then find this path? Let us know what
1:36.4	you did. I wanted to be a painter in fact. That's what I really wanted to do to be. But I was really
1:45.8	interested in movie making, not cinematography. I didn't know what it was. So it's kind of a long story.
1:58.6	That's all right. We have time. There's a lot of problem with my family and so my father,
2:07.4	when I said I want to go to the school of art, it's a no way. And then I said what about that
2:15.7	in school? I said on my dead body. So it was really? No, it was. He wanted my brother, me,
2:26.9	and my sister. He wanted us to be lawyers or doctors, just like because that's what he couldn't
2:35.3	be. It was kind of a very poor background of poor family and so anyway. So I went to
2:44.6	university and I studied philosophy, which was okay with my father. And then I went to another
	...

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