American Cinematographer - August 2017 - 51

Miss Martha
(Nicole Kidman,
this page, left)
runs a girls'
boarding school in
Virginia during the
Civil War in
director Sofia
Coppola's
atmospheric
thriller The
Beguiled. Below:
Cinematographer
Philippe Le Sourd,
AFC operates the
camera for the
scene in which
Amy (Oona
Laurence) finds
wounded Union
soldier John
McBurney (Colin
Farrell).

Unit photography by Ben Rothstein, courtesy of Focus Features.

Cannes Film Festival. Asked how he
had first met Coppola, Le Sourd tells
AC, "About 15 years ago I was in Paris
with Harris Savides [ASC], and we
took a picture together. He kept this
picture in his office, and later, after he
got very sick, Sofia came to him with a
commercial project and asked whom
she should work with. At the time, he
couldn't remember my name, but he had
that picture, and through the picture she
found me."
American
Cinematographer:
What were those early collaborations
with Coppola?
Philippe Le Sourd, AFC: We
did a few Dior commercials together,
and I later filmed a stage production of
La Traviata that she directed. Finally,
she sent me the script for The Beguiled,
and of course I was delighted. Sofia
wanted to take a more feminine
approach than the previous adaptation
[from 1971, directed by Don Siegel],
which was told more from the soldier's
perspective. The fact that it was a
woman director telling this story
completely transformed the mood and
feeling, and brought a new essence to

the film.
How would you describe the
film's mood and feeling?
Le Sourd: Sofia wanted something very specific with the tone and the
emotions. A film is not only about the
story or dialogue, but also about the
hidden meanings that are translated
between the lines. We looked at references from the Civil War era, the
photographers who were working in the
medium of tintypes, like Julia Margaret
www.ascmag.com

Cameron. And even though I knew
they came later, I was looking at the
work of [Alfred] Stieglitz, [Edward]
Steichen, and the Pictorialists, whose
works manifest a painterly approach to
light and darkness, using strong shadow
and unusual angles to highlight their
subjects.
Did you have any other references? Film references?
Le Sourd: Sofia had researched
the time period extensively. She sent me
August 2017

51


http://www.ascmag.com

Table of Contents for the Digital Edition of American Cinematographer - August 2017

Contents
American Cinematographer - August 2017 - Intro
American Cinematographer - August 2017 - Cover1
American Cinematographer - August 2017 - Cover2
American Cinematographer - August 2017 - 1
American Cinematographer - August 2017 - 2
American Cinematographer - August 2017 - Contents
American Cinematographer - August 2017 - 4
American Cinematographer - August 2017 - 5
American Cinematographer - August 2017 - 6
American Cinematographer - August 2017 - 7
American Cinematographer - August 2017 - 8
American Cinematographer - August 2017 - 9
American Cinematographer - August 2017 - 10
American Cinematographer - August 2017 - 11
American Cinematographer - August 2017 - 12
American Cinematographer - August 2017 - 13
American Cinematographer - August 2017 - 14
American Cinematographer - August 2017 - 15
American Cinematographer - August 2017 - 16
American Cinematographer - August 2017 - 17
American Cinematographer - August 2017 - 18
American Cinematographer - August 2017 - 19
American Cinematographer - August 2017 - 20
American Cinematographer - August 2017 - 21
American Cinematographer - August 2017 - 22
American Cinematographer - August 2017 - 23
American Cinematographer - August 2017 - 24
American Cinematographer - August 2017 - 25
American Cinematographer - August 2017 - 26
American Cinematographer - August 2017 - 27
American Cinematographer - August 2017 - 28
American Cinematographer - August 2017 - 29
American Cinematographer - August 2017 - 30
American Cinematographer - August 2017 - 31
American Cinematographer - August 2017 - 32
American Cinematographer - August 2017 - 32a
American Cinematographer - August 2017 - 32b
American Cinematographer - August 2017 - 32c
American Cinematographer - August 2017 - 32d
American Cinematographer - August 2017 - 33
American Cinematographer - August 2017 - 34
American Cinematographer - August 2017 - 35
American Cinematographer - August 2017 - 36
American Cinematographer - August 2017 - 37
American Cinematographer - August 2017 - 38
American Cinematographer - August 2017 - 39
American Cinematographer - August 2017 - 40
American Cinematographer - August 2017 - 41
American Cinematographer - August 2017 - 42
American Cinematographer - August 2017 - 43
American Cinematographer - August 2017 - 44
American Cinematographer - August 2017 - 45
American Cinematographer - August 2017 - 46
American Cinematographer - August 2017 - 47
American Cinematographer - August 2017 - 48
American Cinematographer - August 2017 - 49
American Cinematographer - August 2017 - 50
American Cinematographer - August 2017 - 51
American Cinematographer - August 2017 - 52
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American Cinematographer - August 2017 - 80
American Cinematographer - August 2017 - Cover3
American Cinematographer - August 2017 - Cover4
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