American Cinematographer - February 2020 - 66

Rhythms of Light

ppp Director Alexander Sokuro (left) and Delbonnel frame a shot on the set of Faust.
pp The cinematographer and crew prep a scene on a prairie for The Ballad of Buster Scruggs.
p Examining the brightest light for Darkest Hour.
66

February 2020

American Cinematographer - 100 Years

sis, even though they're all very different. I want to go towards people who
will dazzle me. Those kinds of encounters are what interest me about cinema
- those human adventures with
artists. That exchange is wonderful:
finding the lighting for the film, finding the mise en scène [and] seeing what
we can do with the camerawork for the
story that we're trying to tell.
Sokurov searches for a kind of
poetry at the heart of a shot. Lighting
for him carries meaning, whereas with
Tim Burton, for example, lighting is
more decorative. With Burton it's an
atmosphere, whereas with Sokurov it's
a dramatization, a narrative element.
You often use the word 'atmosphere' to describe what your cinematography creates.
Delbonnel: I search for the
atmosphere of the film with the director. Atmosphere is the perfect word. I
hate the word 'look.' Atmosphere is as
much density, contrast and color as it is
the frame. It's all of that. Actors carry
the psychology. I try to help them, to
make what they do visible. And I
search for an atmosphere that corresponds to what they want to do - or
possibly contradicts it. In any case, it's
a dialogue between the lighting and
the actor, using both the frame and the
light itself. And each film has its own
atmosphere. Inside Llewyn Davis is a
sad atmosphere, independent of its
wintry light. It's a search for sadness.
What is the next step for your
cinematography?
Delbonnel: What interests me
about the new lighting tools is lighting
in movement. Changing color inside a
shot used to be difficult, but now it's
easy to do. I have experimented with
that recently. In the stagecoach at the
end of Buster Scruggs, the lighting
changes during the entire sequence.
On Macbeth, I will try to do moving
lights and shadows that appear and
disappear inside the shot.
I can't wait to see that.
For more coverage on Delbonnel,
visit ascmag.com/blog/the-film-book. u



http://www.ascmag.com/blog/the-film-book

American Cinematographer - February 2020

Table of Contents for the Digital Edition of American Cinematographer - February 2020

Contents
American Cinematographer - February 2020 - Cover1
American Cinematographer - February 2020 - Cover2
American Cinematographer - February 2020 - 1
American Cinematographer - February 2020 - Contents
American Cinematographer - February 2020 - 3
American Cinematographer - February 2020 - 4
American Cinematographer - February 2020 - 5
American Cinematographer - February 2020 - 6
American Cinematographer - February 2020 - 7
American Cinematographer - February 2020 - 8
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American Cinematographer - February 2020 - 37
American Cinematographer - February 2020 - 38
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American Cinematographer - February 2020 - 50
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American Cinematographer - February 2020 - Cover3
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