Press and video interviews

Summer day 2022, hardly anyone on Parc aux Lièvres Square in Evry. These projects were supposed to be pulled down 5 years ago already, and the residents are leaving progressively. Some satellite dishes and bicycles on the balconies are signs that some indomitable locals persist, though they will soon be dispelled by bulldozers.

Jean-François Hensgens is a SBC and AFC member. For instance, he has shot movies like Victor, by Philippe Martinez (2014), Turk’s Head, by Pascal Elbé (2010), District 13: Ultimatum, by Patrick Alessandrin (2009), Dikkenek, by Olivier Van Hoofstadt (2006), and Dark Tide, by John Stockwell (2012). The White Knights is his third collaboration with director Joachim Lafosse. They worked together in 2010 on Entre les mots (a short film) and in 2012 on Our Children.

Following Oceans with around 7.5 million tickets sold worldwide, including 2.9M in France, and Winged Migration with 4.6 million tickets sold worldwide, including 2.7M in France, Seasons is the latest nature documentary from Jacques Perrin and Jacques Cluzaud.

I met Kheiron at the begining of 2014. I had already read his script and we ran into each other in Simon Istolainen’s office at Adame Pictures. I was instantly excited about the adventure. The script based on Kheiron’s parents life was a mix of strong emotions that I immediately wanted to see on screen.

Starring Mathieu Kassovitz, Céline Sallette, David Gastou, French release: 29 October 2014.
Vie Sauvage was filmed over a 9-week period, between the summer of 2013 and the winter of 2014, mostly between Carcassonne and the Cevennes. The film was entirely shot using two shoulder cameras and all-natural lighting.

After Cannes in May and Camerimage in November, Alexander Payne’s Nebraska, photographed by Phedon Papamichael, ASC, GSC, was honored at the American Society of Cinematographers Awards in February where many attending delighted in the rumor that Nebraska would upset Gravity and steal the top prize. Afterall, cinematographers were voting for what they recognize to be the year’s greatest achievement in lighting and photography, not visual effects. The rich black and white imagery has a raw and simple beauty that is unique today; it defiantly counterpoints the glossy, artificial, commercial-advertising look found in most other Hollywood Studio movies.

Libération, 26 November 2013
Meeting with James Gray and his cinematographer Darius Khondji, two complicit aesthetes. Although The Immigrant, fifth feature-length film by American director James Gray, received a lukewarm reception at the Cannes Festival, at least everyone agrees on its magnificent cinematography.

During 21^th Plus Camerimage Festival, K5600 Lighting and Transvideo, with Thales Angénieux, AFC’s Associate Members, invited twleve French cinema schools students – six of La Fémis, six of Louis-Lumière – to stay in Bydgoszcz. Two of them interviewed DoP Sean Bobbit, BSC. He speaks about the shooting of 12 Years a Slave, by Steve McQueen.

For the occasion of the selection of Providence, a film directed by Alain Resnais, in the “Venezia Classici” secion at the 70^th Mostra of Venice, Ricardo Aronovich, AFC, ADF, discusses the restoration work he participated in, in order to prepare the film to be screened at Venice, published on DVD, and the re-release of the film in DCP.

Written, directed, and co-produced by Paul Thomas Anderson, The Master tells a story set in 1945 of a WWII veteran played by Joaquin Phoenix, who, while struggling to adjust to life in post war America, comes under the control of the leader, played by Phillip Seymour Hoffman, of a cult-like religious movement called "The Cause".

The discussion is far from over. Two of the AFC’s most distinguished Cinematographers have added their observations to the digital debate following the compilations of interviews by the British journalist Madelyn Most.
Bruno Delbonnel, AFC, ASC, has contributed, with Philippe Rousselot, AFC, ASC, to the “We need to talk about the Future” article which appears on the Imago.org web site.

The discussion is far from over. According to Philippe Rousselot, AFC, ASC, it has yet to begin in France. Two of the AFC’s most distinguished Cinematographers have added their observations to the digital debate following the compilations of interviews by the British journalist Madelyn Most. Philippe Rousselot, AFC, ASC, and Bruno Delbonnel, AFC, ASC, have contributed to the “We need to talk about the Future” article which appears on the Imago web site.

In it’s edition dated 23 March 2012, weekly magazine Le film français published an interview with director of photography Philippe Rousselot, AFC, ASC, on the occasion of the retrospective of his films that was organized by the Cinemathèque Française and the AFC from 28 March to 3 May 2012.

“Alain Derobe was one of my teacher at IDHEC Cinema School in the begining of the seventies. He was a fantastic teacher and a passionate person mad about image... Yes a great Monsieur has departed this world.” (Richard Andry)
An interview of late FrenchCinematographer and Stereographer Alain Derobe conducted by Nigel Walters, BSC, President of Imago, and filmed by Richard Andry, AFC.

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Richard Andry, AFC, from eDIT "The Filmaker’s Festival" in Francfort 28-IX-2010. About the cinematography of Lebanon by Gioria Bejach, DoP

“At the very first moment of the movie, you enter the inside of a tank where you will spend the next 90 minutes. This leads me to my first big challenge - making you feel you were actually there, inside the tank.”

Having shot two commercials and a promotional film with Alexa, cinematographer Darius Khondji, AFC, ASC, has used Arri’s latest digital camera in a number of different environments. All three productions were designed to be viewed on both the small and the big screen; the promotional film was a 3D project for Mercedes while the commercials were a Dior spot directed by Jean Jacques Annaud and a Gautier spot directed by Jean-Baptiste Mondino.

Director of photography, doing long feature film since twelve years, Laurent Brunet has been rewarded in 2009 by a Cesar award. United States, Africa or middle-east, this cinema traveller reveals here his passion for image and his vision of cinema. Confidences of a professionnal attached to his freedom and opened to new adventures.

Film & Video, January 25, 2007

Benoît Delhomme on Shooting the City at Night.

No Big Lamps, No Zoom Lenses, and a Near-Documentary Style For Anthony Minghella’s Breaking and Entering