Page 31 - FOYER_Cannes 2001

DIARY BERLIN • LOSANGELES • MILAN • FOYER • CANNES • TOKYO • LONDON PAGE29
E MAFRANCAIS E MA FRANCAIS
FILMMAKING IN FRANCE
seen one foot of printed film. Dailies are sent on Beta cassettes that I view on a monitor. Just before Igointogradethefilm,Iwillseea sample print of each scene for the first time ever. I use this camera as a notebook.
“At home, I download this into my computer and I can refer to it any time, but where it will really help me is several months from now when I have to grade the film. It will give me a reference for the lighting texture, mood and atmosphere I cre- ated, which otherwise I probably will have forgotten because I will be con- centrating on another film then,” said Catonné.
Dominique Le Rigoleur, member of the jury at this year’s Cannes Film Festival, was completing photography on Scratching The Inner Fields with choreographer Wim Vandekeybus. Dominique spent her formative years working with Francois Truffaut and later on, Nestor Almendros, her men- tor, who had the greatest impact on her photographic style and her love of cinema.
Just released in Paris movie the- atres is Tout Près Des Etoiles, first- ever look at the ballet dancers of the Paris Opera, one of the most impene- trable institutions in France.
Directed by Nils Tavernier, Dominique photographed this docu- mentary on super 16mm mixed with scenes shot by Tavernier on a mini DV cam. Black and white photo- graphs by Vincent Tessier, which freeze the dancers movement and motion, add a poetic dimension to moments of tension and grace.
Working in the same family is Alain Choquart, who began his career as camera assistant on the elder Tavernier’s films. As DP he has pho- tographed many of Bertrand Tavernier’s most celebrated films including Captain Conan, It All Starts Today, and L-627. He was completing photography in Macon and Tour on their latest collaboration, Laissez- Passer to return to Paris for the open- ing of two films he lit now showcas- ing at the Paris Film Festival: John Berry’s Boesman And Lena and José Jiovanni’s Mon Pere.
Eduardo Serra returned to France after Unbreakable to work again with director Patrice Leconte on Rue des Plaisirs. Their relationship dates over 11 years during which time he pho- tographed The Hairdresser’s Husband, Yvonne’s Perfume, Les Grands Ducs, and The Widow of Saint Pierre.
Leconte not only writes the script and directs the actors, he operates the camera, often throwing it over his shoulder - handheld. Said Serra: “It is always interesting because Patrice does what no normal operator would do. He is always changing, moving, discovering new things which keeps it original and fresh... and keeps me on my toes”.
Photos main: Dominique Le Rigoleur; François Catonné and Willy Kurant
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