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BERLIN • LOSANGELES • MILAN • FOYER • CANNES • TOKYO • LONDON DIARY
No matter what the season, its seems to be always busy here in the city of light. Despite a rather cold, dark winter with downpours that caused la Seine to flood her banks, there were hardy film crews all around Paris shooting day and night.
In February, DP Agnés Godard was awarded the César for Best Cinematography on Claire Denis’ Beau Travail. In March, the Association of French Cinematographers held a micro salon at Le Femis with displays of camera and lighting equipment, demonstra- tions of the latest film stocks offered by Fuji and others, sample reels of special FX and visual effects now dig- itally rendered, and digital blow-ups from super 16 and 35 from different laboratories.
Veteran DP Willy Kurant, who, as a very young cameraman was cata-
pulted into stardom by Jean Luc Godard and Orson Welles, flew in from Los Angeles to photograph a movie with his long time collaborator, director Charlotte Brandstrom called From One Woman To Another - A Model Couple for TF1.
Said Kurant: “Members of the crew asked me why I would accept a TV movie. Well, I’ve done at least four features with Charlotte and I don’t really think about the format - televi- sion or film. It’s our working relation- ship that’s important. As soon as we wrap, I’ll be getting back to LA to squeeze in as much work as possible before the dreaded strike hits”.
Robert Alazraki returned from the Imago meeting in Brussels to watch his latest film La Verité Si Je Mens 2 hit number one at the box office, while Born Romantic, directed by David Kane, which closed the London
Film Festival, opened recently on London screens. Filling in the time before his next picture, he is working on his computer with Photoshop...“in order to return to my original love- stills photography.”
Francois Catonné (Indochine) was filming at Bulgari in the Place Vendôme where his Joanna Lumley lookalike was scooping out some baubles for a French film version of Absolutely Fabulous. Interiors were shot in a studio outside Paris, where I watched Francois shoot a still with his Finepix digital camera before the first take of each set up.
“I don’t see rushes anymore. On the entire production, I haven’t
VIVE LE CINE VIVE LE CINE
MADELYN MOST REPORTS ON
Photos from left: Laurent Dailland, Robert Alazraki and Eduardo Serra