American Cinematographer - February 2014 - 58

◗

Serving the Story, with Style
Then, on The Hairdresser's Husband, I
used 400 of them as a skylight instead
of space lights, which was rather a new
idea." For his work on the picture,
Serra was nominated for a César
Award.
The lighting style Serra was
developing attracted the attention of
other cinematographers, with whom
he has always been happy to share his
knowledge and experience. An early
beneficiary of his kindness was Darius
Khondji, ASC, AFC, who recalls, "I
first met Eduardo as a teenager
because he was a good friend of my
sister. I became interested in cameras

"Every change of
country for a movie
can be an enriching
experience for any
member of a
cinema crew."

Top: Robert Alazraki, AFC and Serra confer on the set of The Bridesmaid (2004); Alazraki briefly took
over director of photography duties on the film while Serra traveled to Los Angeles for the Academy
Awards, where he had been nominated for his work on Girl with a Pearl Earring. Bottom: Serra and
director Claude Chabrol.

style] can be set within 10 minutes."
Serra's work with Leconte was a
crucial step toward his lifelong preference for single soft sources, and led
him to become one of the first cinematographers to work with fluorescent
fixtures. He explains, "I became interested in fluorescents because they are a
58

February 2014

light that has a shape. If you change
their orientation from vertical to horizontal, they change the look of a nose
- they change the face. I first used
them on Les Spécialistes, in 1983. I
had to import the lights from the
United States because I couldn't find
any good fluorescent tubes in France.
American Cinematographer

and film, and went to study at New
York University. When I came back to
France, Eduardo was the first person
to help me work in the film industry; I
visited some of his sets when he was
just starting as a cinematographer. He
was very generous and taught me a few
things when I really didn't know
anything.
"Then I started to see his work,
which had a wonderful softness to it,"
Khondji continues. "At a time when
everybody was going for sharp and
contrasty images, he was maybe the
only one, except for Philippe
Rousselot [ASC, AFC], to go for
something softer. When I look back
now, I think what he was doing was
quite groundbreaking."
Having already worked on



American Cinematographer - February 2014

Table of Contents for the Digital Edition of American Cinematographer - February 2014

Table of Contents
American Cinematographer - February 2014 - Cover1
American Cinematographer - February 2014 - Cover2
American Cinematographer - February 2014 - 1
American Cinematographer - February 2014 - 2
American Cinematographer - February 2014 - Table of Contents
American Cinematographer - February 2014 - 4
American Cinematographer - February 2014 - 5
American Cinematographer - February 2014 - 6
American Cinematographer - February 2014 - 7
American Cinematographer - February 2014 - 8
American Cinematographer - February 2014 - 9
American Cinematographer - February 2014 - 10
American Cinematographer - February 2014 - 11
American Cinematographer - February 2014 - 12
American Cinematographer - February 2014 - 13
American Cinematographer - February 2014 - 14
American Cinematographer - February 2014 - 15
American Cinematographer - February 2014 - 16
American Cinematographer - February 2014 - 17
American Cinematographer - February 2014 - 18
American Cinematographer - February 2014 - 19
American Cinematographer - February 2014 - 20
American Cinematographer - February 2014 - 21
American Cinematographer - February 2014 - 22
American Cinematographer - February 2014 - 23
American Cinematographer - February 2014 - 24
American Cinematographer - February 2014 - 25
American Cinematographer - February 2014 - 26
American Cinematographer - February 2014 - 27
American Cinematographer - February 2014 - 28
American Cinematographer - February 2014 - 29
American Cinematographer - February 2014 - 30
American Cinematographer - February 2014 - 31
American Cinematographer - February 2014 - 32
American Cinematographer - February 2014 - 33
American Cinematographer - February 2014 - 34
American Cinematographer - February 2014 - 35
American Cinematographer - February 2014 - 36
American Cinematographer - February 2014 - 37
American Cinematographer - February 2014 - 38
American Cinematographer - February 2014 - 39
American Cinematographer - February 2014 - 40
American Cinematographer - February 2014 - 41
American Cinematographer - February 2014 - 42
American Cinematographer - February 2014 - 43
American Cinematographer - February 2014 - 44
American Cinematographer - February 2014 - 45
American Cinematographer - February 2014 - 46
American Cinematographer - February 2014 - 47
American Cinematographer - February 2014 - 48
American Cinematographer - February 2014 - 49
American Cinematographer - February 2014 - 50
American Cinematographer - February 2014 - 51
American Cinematographer - February 2014 - 52
American Cinematographer - February 2014 - 53
American Cinematographer - February 2014 - 54
American Cinematographer - February 2014 - 55
American Cinematographer - February 2014 - 56
American Cinematographer - February 2014 - 57
American Cinematographer - February 2014 - 58
American Cinematographer - February 2014 - 59
American Cinematographer - February 2014 - 60
American Cinematographer - February 2014 - 61
American Cinematographer - February 2014 - 62
American Cinematographer - February 2014 - 63
American Cinematographer - February 2014 - 64
American Cinematographer - February 2014 - 65
American Cinematographer - February 2014 - 66
American Cinematographer - February 2014 - 67
American Cinematographer - February 2014 - 68
American Cinematographer - February 2014 - 69
American Cinematographer - February 2014 - 70
American Cinematographer - February 2014 - 71
American Cinematographer - February 2014 - 72
American Cinematographer - February 2014 - 73
American Cinematographer - February 2014 - 74
American Cinematographer - February 2014 - 75
American Cinematographer - February 2014 - 76
American Cinematographer - February 2014 - 77
American Cinematographer - February 2014 - 78
American Cinematographer - February 2014 - 79
American Cinematographer - February 2014 - 80
American Cinematographer - February 2014 - 81
American Cinematographer - February 2014 - 82
American Cinematographer - February 2014 - 83
American Cinematographer - February 2014 - 84
American Cinematographer - February 2014 - 85
American Cinematographer - February 2014 - 86
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American Cinematographer - February 2014 - 88
American Cinematographer - February 2014 - 89
American Cinematographer - February 2014 - 90
American Cinematographer - February 2014 - 91
American Cinematographer - February 2014 - 92
American Cinematographer - February 2014 - Cover3
American Cinematographer - February 2014 - Cover4
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