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[Left] with dir John Hillcoat - "The Proposition" [2004] |
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BENOÎT DELHOMME AFC |
Born: 1961, France.
Education: Film Academy [École Nationale Supérieure Louis Lumière] [graduated in 1982].
Awards: Camerimage 'Golden Frog' nom [1993] for 'Mui du du xanh'; 'César' Award nom [1998] for 'Artemisia'; Chicago IFF Special Jury Prize [2001] for 'Ni neibian jidian'; AFI [Aus] Award [2005] for 'The Proposition'.
Website: Benoît Delhomme
Benoît Delhomme on 'What Time Is It There?': 'When you hold the same frame for more than five minutes, you have to study the image much more than usual. Normally, when you are doing a scene, the director wants a lot of coverage and many angles to try and put the attention of the audience on one specific thing in the shot. By going to a close-up, for example. When you are holding a wide shot you say, "Okay, the audience is going to see the scene only in a wide shot, so I have to give them all the information they need." You have to study the composition a lot. It's like painting in a way. I wanted to compose the lighting and the frame with this idea. I wanted the audience to know exactly where they have to look; to concentrate the light in the most important part of the frame; to make the shot readable without close-ups. I've never had enough time in the past to do my lighting. In this film, it was fantastic. I would spend three hours preparing the shot. If you are covering a scene with 20 shots, you're going to have less time. This director felt it was better to think before shooting. He would come in in the morning and we would talk for a half hour about the meaning of the scene. I never had this luxury on a film before. From there we would try one or two lenses. It was fantastic. Normally you fight for time to light the scene and everybody says, "You have to work faster." Often, the problem is that the director doesn't know which shot is the most important. When they shoot 20 shots, for example, 10 of them may end up in the garbage. On this film, each shot was more precious.' [From interview with Phillip Williams in 'MovieMaker', Vol. #1, Issue #8.]
FILMS |
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1983 |
Trois garçons sur la route [Lakdar Lahcine] 16mm/b&w; short/22m |
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1984 |
Johnny, fais-moi mal! [Franck Landron] 16mm/c; short/3m |
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1984 |
La leçon de cinéma [Franck Landron] 16mm/c; short/4m |
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1985 |
Les perles roses de ton collier [Benoît Delhomme] 16mm/b&w; short/5m; + sound/ed/actor |
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1987 |
80 jeunes chimères [Bénédicte Brunet] c; short/18m |
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1988 |
Movie-palace [Bernard Pavelek] c; doc/7m |
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1988 |
Les bûcherons de l'avenue Foch [Pierre Sigwalt] 16mm/c; doc/6m |
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1989 |
Lors du couchant [Yves Elie] c; short/13m |
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1990 |
Les empreintes [Bernard Pavelek] 16mm/c; doc/14m |
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1990 |
Le p'tit Louis [Philippe Barcouzareaud] c; short/14m |
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1990 |
Le mariage blanc [Christine Carrière] c; short/25m; prod La Fémis |
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1991 |
Le syndrome de Peter Pan [Kaloust Andalian] c; short/21m |
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1991 |
Loin du Brésil/Far from Brazil [Tilly] c |
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1991 |
La malheureuse [Manuel Flèche] b&w; short/6m |
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1991 |
Faux bourdon [Brice Cauvin] c; short/13m |
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1991 |
L'aventure d'une baigneuse [Philippe Donzelot] c; short/14m |
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1992 |
Un dimanche sans ailes [Anthony Souter] b&w; short/14m |
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1992 |
Du poil de la bête [Allan Wisniewski] c; short/4m |
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1992 |
L'amant 2 [Lionel Kopp] c; short/4m |
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1992 |
Comment font les gens? [Pascale Bailly] c; short/48m |
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1992 |
Mùi du du xanh/L'odeur de la papaye verte/The Scent of Green Papaya [Tran Anh Hung] c |
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1992 |
Reste [Marie Vermillard] c; short/20m |
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1992 |
Deux amis (Prélude) [Pierre Schöller] c; short/5m |
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1993 |
Offre d'emploi [Emmanuelle Cuau] c; short/23m |
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1993 |
Grande petite [Sophie Fillières] c |
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1993 |
Circuit Carole [Emmanuelle Cuau] c |
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1993 |
L'irrésolu/The Indecisive Guy [Jean-Pierre Ronssin] c |
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1994 |
La trêve [Emmanuel Paulin] b&w; short/15m |
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1994 |
Bête de scène [Bernard Nissile] c; short/18m |
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1994 |
Xich lo/Cyclo [Tran Anh Hung] c |
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1995 |
Chacun cherche son chat/When the Cat's Away... [Cédric Klapisch] c |
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1995 |
Un air de famille/Family Resemblances [Cédric Klapisch] s35/c |
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1995 |
Artemisia [Agnès Merlet] c |
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1996 |
Le secret de polichinelle/Headless Chicken [Franck Landron] c |
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1996 |
Grand combat, la légende de Tapha Gueye [Philippe Bordas] s16/c; doc/54m |
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1997 |
The Loss of Sexual Innocence [Mike Figgis] s16-35bu/c |
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1998 |
The Winslow Boy [David Mamet] c |
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1998 |
With or Without You [Michael Winterbottom] c |
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1998 |
The Talented Mr. Ripley [Anthony Minghella] c; New York ph; ph: John Seale |
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1999 |
Miss Julie [Mike Figgis] c |
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1999 |
Sade [Benoît Jacquot] scope/c |
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2000 |
Mortel transfert/Mortal Transfer [Jean-Jacques Beineix] scope/c |
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2000 |
Play/Comédie [Anthony Minghella] c; short/16m; ep series 'Beckett on Film' |
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2000 |
The Bourne Identity [Doug Liman] scheduled as doph, but replaced by Oliver Wood |
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2000 |
Ni na bian ji dian/Et là-bas, quelle heure est-il?/What Time Is It There? [Tsai Ming-Liang] c |
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2001 |
L'idole/The Idol [Samantha Lang] c |
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2002 |
Adolphe [de Benjamin Constant] [Benoît Jacquot] c |
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2002 |
Rencontre avec le dragon/Dragon rouge/The Red Knight [Hélène Angel] scope/c; 2uc: Xavier Tauveron |
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2003 |
Podium [Yann Moix] scope/c; 2uc: Xavier Tauveron |
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2004 |
The Merchant of Venice [Michael Radford] s35/c; 2uc: Jako Raybaut |
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2004 |
The Proposition [John Hillcoat] s35/c; 2uc: Simon Finney |
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[Right] with dir Anthony Minghella - "Breaking and Entering" |
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2005 |
Breaking and Entering [Anthony Minghella] s35/c; 2uc: Simon Finney |
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2006 |
1408 [Mikael Håfström] s35/c; 2uc: Tim Wooster |
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2006 |
Wilde Salome/Salomaybe? [Al Pacino] c; cph: Robert Leacock & Jeremy Weiss |
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With dir Mark Herman [left] - "The Boy in the Striped Pyjamas" |
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2007 |
The Boy in the Striped Pyjamas [Mark Herman] c |
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2008 |
Shanghai [Mikael Håfström] p/c; 2uc: Tim Wooster; action unit ph: Picha Srisansanee |
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2009 |
Chatroom [Hideo Nakata] c |
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2010 |
Son of No One [Dito Montiel] c |
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2010 |
King Lear [Michael Radford] pre-production |
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2010 |
Kiss, His First [Ilkka Järvi-Laturi] c |
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2011 |
The Wettest County in the World [John Hillcoat] HD (ARRI ALEXA)/c |
FILMS AS CAMERA ASSISTANT |
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1985 |
Le lieu du crime/La mauvaise herbe/Scene of the Crime [André Téchiné] co-c.asst; ph: Pascal Marti |
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1985 |
Jean de Florette [Claude Berri] ph: Bruno Nuytten |
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1985 |
Manon des sources/Manon of the Spring [Claude Berri] co-c.asst; ph: Bruno Nuytten |
FILMS AS DIRECTOR |
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1984 |
Couleurs d'été [16mm/c; 13m] ph: Franck Landron |
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1985 |
Les perles roses de ton collier [+ ph/sound/ed/actor] see Films |