#1: From interview [2012]

#2: With wife Unjoo Moon

 

   


DION BEEBE   ACS/ASC

 

Born: 1968, Brisbane, Queensland, Australia. His family moved to Cape Town, South Africa, in 1972.

Education: Pretoria Technikon; Australian Film Television and Radio School [AFTRS] [1988-90].

Career: 'I was born in Australia. When I was five years old, my parents immigrated to South Africa after living in Zimbabwe. We moved to Cape Town after about a year. I did most of my schooling there until I was 18 years old. My father was a dentist, but he had a passion for still photography. When I was a kid, I'd go with him when he was taking pictures. I had my own camera. They didn't have television in Cape Town until the 1970s, so we rented 16mm films and watched them every Sunday night. We'd set up the projector, and one of the kids would spool the film. I treasured those Sunday screenings. My dad ran a practice in town and also out in the townships. He tried to talk me into taking over his practice in dentistry, but I dodged that bullet. I started taking photography courses in high school. They also had a little dark room. I took a lot of still life pictures. I also got interested in fashion photography. That happened because my mother was one of Cape Town's leading makeup artists for fashion photographers. When I finished high school, I did a sort of internship with one of Cape Town's leading photographers. My transition from still photography to cinematography was sort of natural. I went to a film school in Pretoria, South Africa, for a year. It was a very technical school. We studied things like waveforms and how to disassemble cameras. After a year, I decided to apply to the national film school in Sydney. I was accepted and spent the next three years there. I was the only full-time cinematography student, so I probably shot about 30 short films for other students. It was the best education I could have gotten. John Seale, Dean Semler, Russell Boyd and other Australian cinematographers visited and spoke with us. I got out of school in 1990 and joined Worlds End Productions, Sydney, as a director/cinematographer. We mainly shot music videos. The budgets were always small, and the artists were all Australian. Most of them were film school graduates who were trying to get into feature films. It was a means of making a little bit of money while you were trying to get into features. It was mostly 16mm film, and occasionally 35mm. I've shot between 40 and 50 videos. It was a way to experiment. Billy McKinnon was a producer and one of the partners in the music video company. He had worked with Jane Campion on the script for 'The Piano'. Billy introduced me to Alison Maclean who was preparing to direct 'Crush'. I showed her some of my work, which was primarily short films that I'd shot at school. She took a gamble and asked me to shoot her film. I was a 24-year-old Australian shooting my first film in New Zealand. Of course, everyone there was thinking, who the hell is this guy, and why is he shooting one of our movies? It was a little tense on the set at times. […] My wife was running a commercial production company in Australia. We moved to Los Angeles in 1997 because she enrolled in the directing program at the American Film Institute. My first project in the United States was 'My Own Country', a Showtime movie that I did with Mira Nair. She is an inspiring director.' [From the KODAK OnFilm website.]

Ph commercials dir by John Curran, Doug Liman, Scott Hicks, Agnieszka Holland, Harald Zwart, Javier Aguilera [for Ford (2007)], a.o.

Ph music videos dir by Kriv Stenders [1991; 'Rendezvous'; a: Choirboys; s8/b&w-c], Emma-Kate Croghan ['I'm Only Looking', a: INXS], Tracey Moffatt ['The Messenger', a: INXS], Jake Nava [2014; 'Shades of Cool'; a: Lana Del Rey], a.o.

Member of the ACS since 1996.

Married to dir Unjoo Moon.

His brother Anton is a film dir and his brother Damien is a c.op/doph.

Appeared in the doc 'Cinematographer Style' [2005, Jon Fauer; ph: J. Fauer, Jeff Laszlo, Brian Heller & David Morgan].

Awards: AFI [Aus] Award nom [1995] for 'Eternity'; AFI [Aus] Award nom [1996] & Film Critics Circle of Australia Award [1997] for 'What I Have Written'; ACS 'Golden Tripod' Award [1997] for 'Down Rusty Down'; ACS 'Award of Distinction' [2000] & AFI [Aus] Award nom [1999] for 'Praise'; 'Oscar' AA nom [2002] & BAFTA Film Award nom [2003] for 'Chicago'; ACS [NSW State Award] Gold Award [2003] & Camerimage 'Golden Frog' Award nom [2003] for 'In the Cut'; LAFCA Award [2004; shared], BAFTA Film Award [2004; shared] & ASC Film Award nom [2004; shared] for 'Collateral'; 'Oscar' AA [2005], ASC Film Award [2005] & BAFTA Film Award [2005] for 'Memoirs of a Geisha'; ASC Film Award nom [2009] for 'Nine'.


 

 FILMS AT THE AFTRS

1987

Clegg Family [Jill Moonie; short/5m] c.asst; ph: Pauline Chan

1987

Glass [Andrew Macneil] v/c; short/7m

1987

One Rose Hill [James Middleton] c; short/8m

1988

Signposts at the Crossroad [Kathryn Brown] v/c; doc/42m; cph: Peter Borosh, Atlanta Francis, a.o.

1988

Rhapsody [James Middleton] c; short/11m

1988

Sound of Wheels [Isao Morimoto] 16mm/c; short/12m

1989

A Parting [James Middleton] c; short/20m

1989

Hang Up [Pauline Chan] c; short/7m

1989

The Space Between the Door and the Floor [Pauline Chan] 16mm/b&w; short/25m

1989

Black Sorrow [Anton Beebe] c; short/12m

1989

Tale of Two Shoes [Jill Moonie] 16mm/b&w; short/10m

1989

The First Valley [Mojgan Khadem] 16mm/c; short/10m

1989

Jimmy Dancer [Liz Crosby] c; short/22m; cph: Peter Borosh & Jonathan Ogilvie

1989

The Calling [Anthony Partos] b&w-c; music video/5m; 2nd cam: Peter Borosh

1989

Victor L [Drago Hari] c; 61m; co-prod DFFB

1990

Azzadine [Unjoo Moon] c; short/7m

 

 FILMS

199?

The Gift [Unjoo Moon] ?; short/?m

199?

Reservoir [Unjoo Moon] ?; short/?m

199?

The Shop [John Hughes] ?; short/?m

1991

Antonio's Angel [Polly Watkins] 16mm/c; short/28m

1991

Come and Get It [Ron Becks] c; addph (+ 2uc); ph: Martin McGrath

1991

Because You Can [John Evan Hughes] 16mm/c; short/14m

1991

Dark Aisle [John Evan Hughes] 16mm/c; short/14m

1991

Crush/Jesus' Son [Alison Maclean] c; 2uc: Allen Guilford

1993

Red Rain [Jim Kaufman] shooting halted after 2 weeks due to lack of finance

1993

Eternity [Lawrence Johnston] 16mm/b&w-c; doc/56m

1993

Vacant Possession [Margot Nash] s16/c

1994

Small Room Confessions/Small Confessions [Belinda Chayko] c; short/15m

1994

What Comes After Why? [Graham Thorburn] c; short/24m

1995

What I Have Written [John Hughes] s16-35bu/c

1995

Floating Life/Fu sheng [Clara Law] c

1995

Trunk [Jonathan Ogilvie] b&w-c; short/10m

1996

Down Rusty Down [John Curran] b&w; short/15m

1996

40,000 Years of Dreaming [: A Century of Australian Cinema]/White Fellas Dreaming [: A Century of Australian Cinema] [George Miller] b&w-c; doc/67m

1997

Memory & Desire [Niki Caro] c

1998

Praise [John Curran] c

1998

Holy Smoke/Holy Smoke! [Jane Campion] c; 2uc: Jackie Farkas

1999

Forever Lulu/Along for the Ride [John Kaye] c

1999

The Goddess of 1967 [Clara Law] c

2000

Equilibrium/Cubic [Kurt Wimmer] s35/c; ph Italy: Harvey Harrison

2001

Charlotte Gray [Gillian Armstrong] c; addph: Chris Plevin & Eddie Collins; aph: Simon Werry

2001

Lily and the Secret Planting [Hettie MacDonald] went into suspension after 2 weeks shooting, then folded in September

2001

Chicago [Rob Marshall] b&w-c; re-shoot ph: James Chressanthis; 2uc: Jens Sturup (add) & Peter Benison; ph Chicago: Michael Kohnhorst; 'How did you get to work on Chicago?' 'It came out of the blue. When I first got the call, I was in London doing a movie that was actually in the process of folding, because the lead actress was injured about a week after we started shooting. The project came to a complete stop while they were trying to recast her role. One of the producers had connections and he managed to get me tickets to see 'Chicago', which was playing in a theater in London. I was on my way to the theater when I got a call from my agent saying that a director wanted to talk with me about filming a musical called 'Chicago'. That sounds like a story, but it's true. I went to the play, and as I watched it, I wondered how they were going to take it to the screen and create the dramatic thread needed to make it work. The script arrived the next day. I read it, and then a day or two later, I had a phone conversation with Rob Marshall. We had never met and I knew nothing about him. He probably knew very little about me aside from a reel of my films that he'd seen. We spoke, and I think he literally made up his mind during that conversation that we were going to do the film together. I remember that one of the things we spoke a lot about was how to make the visual transitions between the dialogue scene and musical numbers work.'

2002

In the Cut [Jane Campion] c; 2uc: Nils Benson

 

[Left] with dir Michael Mann - "Collateral" - photo by Frank Connor

 

2003

Collateral [Michael Mann] HD (Sony F900 + Thomson Viper)+s35-to-35mm scope/c; cph: Paul Cameron (first 3 weeks); aph: David B. Nowell

2004

Memoirs of a Geisha [Rob Marshall] p/c; 2uc: Sion Michel; filmed 2004-05

2005

Miami Vice [Michael Mann] HD (Sony F900 + Thomson Viper)+s35-to-35mm scope (+ D-Cinema)/c; 2uc: James Muro & Duane Manwiller

2006

Rendition [Gavin Hood] s35 (+ D-Cinema)/c

2008

Land of the Lost [Brad Silberling] 35mm (+ D-Cinema)/c; 2uc: Sion Michel; aph: Hans Bjerno

2008

Frankie Machine [Michael Mann] announced; in development

 

[Left] with dir Rob Marshall - "Nine" - photo by David James

 

2008

Nine [Rob Marshall] s35 (+ D-Cinema)/c; 2uc UK: Damien Beebe

2009

Fujifilm Eterna Vivid 160 & 500 Product Demo [prod: Sneak Preview Entertainment] s16+35mm/c; ph scenes #54-68 (5m - incl titles); ph scenes #1-29 (9m - incl titles): Phedon Papamichael; ph scenes #30-53 (9m - incl titles): Kramer Morgenthau

2010

Green Lantern [Martin Campbell] s35 (also 3-D version) (+ D-Cinema [also 3-D version])/c; 2uc: Brad Shield; addph: Sion Michel; aph: Phil Pastuhov & David B. Nowell

2011

The Zen of Bennett [Unjoo Moon] RED+HD (Canon EOS 5D & 7D)/c; mus doc/84m

2011

Gangster Squad [Ruben Fleischer] HD (ARRI ALEXA Studio/p + Phantom Flex)-to-35mm scope (+ D-Cinema)/c; addph: Sion Michel; addph (reshoots 2012; D. Beebe was unavailable because he was prepping 'All You Need Is Kill'): Caleb Deschanel; 2uc: Paul Hughen

2012

Edge of Tomorrow/All You Need Is Kill [Doug Liman] p+s35-to-35mm scope (+ D-Cinema [also 3-D version])/c; 2uc: Fraser Taggart; addph: Robert Eberlein; ph splinter unit: Peter Talbot; ph TV unit: Jim Jolliffe; aph UK: Adam Dale; uwph: Tim Wooster & Pete Romano; vfx ph: Steven Hall; filmed 2012-13

2013

Into the Woods [Rob Marshall] HD (ARRI ALEXA XT/p)-to-35mm scope (+ D-Cinema)/c; 2uc: Alan Stewart; aph: Jeremy Braben; vfx ph: Aviv Yaron

2015

13 Hours/13 Hours: The Secret Soldiers of Benghazi [Michael Bay] RED Epic Dragon/p-to-35mm scope (+ D-Cinema)/c; aph: Steven Desbrow

2016

The Snowman [Tomas Alfredson (replaced attached dir Martin Scorsese)] HD/c; 2uc: John Andreas Andersen

2017

Mary Poppins Returns [Rob Marshall] HD (ARRI ALEXA SXT/p & Mini/p)-to-D-Cinema (scope)/c; 2uc: Alan Stewart

 

 TELEVISION

1992

The Journey [Christopher Tuckfield] doc/53m/16mm

1997

My Own Country [Mira Nair] tvm; add 8mm ph: Phillip Barker

2006

Tony Bennett: An American Classic [Rob Marshall] tvm/42m/HD; 2uc: Sion Michel