{"id":14527,"date":"2021-11-22T02:41:33","date_gmt":"2021-11-21T23:11:33","guid":{"rendered":"https:\/\/blue-subtitle.com\/blog\/?p=14527"},"modified":"2021-11-22T02:41:33","modified_gmt":"2021-11-21T23:11:33","slug":"philippe-rousselot-and-anastas-n-michos-discuss-the-relationship-between-cinematographer-and-operator","status":"publish","type":"post","link":"https:\/\/blue-subtitle.com\/blog\/philippe-rousselot-and-anastas-n-michos-discuss-the-relationship-between-cinematographer-and-operator\/","title":{"rendered":"Philippe Rousselot and Anastas N. Michos Discuss the Relationship Between Cinematographer and Operator"},"content":{"rendered":"<p style=\"text-align: left;\">During a seminar at\u00a0EnergaCamerimage Film Festival\u00a0on Friday, described as \u201cthe best event of the festival\u201d by one of the participants, Oscar-winning French cinematographer\u00a0Philippe Rousselot\u00a0shared his thoughts on working alongside a camera operator.<\/p>\n<p style=\"text-align: left;\">\u201cPhilosophically, I hate the idea of power, command, obedience. It\u2019s not in my DNA. But when I think of my attitude on set, I have to remind myself that I have been very dictatorial, almost tyrannical. This contradiction is the origin of this conversation,\u201d he said.<\/p>\n<p style=\"text-align: left;\">Rousselot, who also celebrated a retrospective at the Polish event, shot seven films with operator-turned-cinematographer Anastas N. Michos, including \u201cThe People vs. Larry Flynt\u201d and \u201cInterview With the Vampire.\u201d<\/p>\n<p style=\"text-align: left;\">\u201cI remember being in a confessional with Brad Pitt, and every time they would say \u2018cut,\u2019 Philippe kept on asking: \u2018Can you see anything?\u2019 \u2018Hmm, maybe his right eye.\u2019 What that speaks to is the level of trust we have with the people we collaborate with,\u201d said Michos, also recalling one of their first interactions.<\/p>\n<p style=\"text-align: left;\">\n<div class=\"widget widget_cxense\">\n<section class=\"cxense-widget \/\/ \">\n<div id=\"cx-mid-article\" class=\"cxense-widget-div lrv-u-width-100p lrv-u-height-100p\" data-widget_id=\"8a00c858b5dc9bbc6730de1cd462cba7848c347c\">\n<div id=\"cx-in-article\">\n<p style=\"text-align: left;\">\u201cHe was fixing the light and asked if it was going to be in the frame. I said: \u2018Let me go back to the camera and check.\u2019 He stopped me: \u2018Use your knowledge of optics and tell me if my light will be in your frame.\u2019 It made me understand the level of professional expertise I was expected to bring and that a part of this collaboration is about having a support system.\u201d<\/p>\n<p style=\"text-align: left;\">Noting that camera operators, unlike most DPs, hold an instrument in their hands, Michos underlined the importance of technical skills, as well as \u201ccreative camaraderie\u201d on set.<\/p>\n<p style=\"text-align: left;\">\u201cWe had many occasions to giggle, mostly at the expense of other people,\u201d agreed Rousselot. Admitting that as technical tools get more complicated, it\u2019s up to the operator to know what they can do.<\/p>\n<p style=\"text-align: left;\">\u201cWhat I look for in an operator is basically a clone of myself. An idealized clone. Somebody who will be able to do exactly what I want, but better.\u201d<\/p>\n<p style=\"text-align: left;\">As a camera operator you don\u2019t have the luxury of prep with the director, but you have the spontaneity of the moment, added Michos.<\/p>\n<p style=\"text-align: left;\">\u201cAll you have to worry about is that one particular shot. You don\u2019t think about whether the sun is going down or the director has changed his or her mind.\u201d However, a good operator has to focus on what\u2019s best for the film, not for the shot.<\/p>\n<p style=\"text-align: left;\">\u201cAt the first screening of \u2018Interview With the Vampire,\u2019 I was mortified. One of Philippe\u2019s Chinese lanterns was in the shot. I called the editor, and he went: \u2018Oh yes, it\u2019s there. But it\u2019s staying, so get over it.\u2019 You have to be able to take criticism, because a shot doesn\u2019t have ownership, it\u2019s either working or not,\u201d he said, with Rousselot opening up about a particularly unsuccessful partnership in the past.<\/p>\n<p style=\"text-align: left;\">\u201cHe wasn\u2019t listening, he was contradicting me, he wasn\u2019t good with his assistants. But I refused to replace him because I hate firing people. John Boorman had that problem with an actor once. He said to him: \u2018Don\u2019t be sorry. I should be sorry; I made the mistake of hiring you!\u2019\u201d<\/p>\n<p style=\"text-align: left;\">\n<div id=\"adm-inline-article-ad-2\" class=\"admz\">\n<div class=\"adma boomerang\" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\">\n<div id=\"gpt-dsk-tab-mid-article2-uid1\" class=\"adw-300 adh-250\" data-is-adhesion-ad=\"\" data-google-query-id=\"CMyEvuXJqvQCFYmaJwIdT7YFRg\">\n<p style=\"text-align: left;\">Admitting he used to talk to the talent more as an operator than as a DP, Michos praised Rousselot for helping him make the transition.<\/p>\n<p style=\"text-align: left;\">\u201cI asked him once if he was going to do Milo\u0161 Forman\u2019s next movie. \u2018No, I am going back to France. Tell him you will shoot it.\u2019 I have always acknowledged his mentorship. That\u2019s when I got rid of my Steadicam. From then on, I had to define myself as a DP,\u201d he said, admitting there is no \u201cperfect path.\u201d<\/p>\n<p style=\"text-align: left;\">\u201cWe want to support ourselves using our craft, so shoot anything you can. That\u2019s the key. One of the things I feel lucky about is that as an operator I worked with some of the most amazing DPs. I learnt problem-solving by watching them, because that\u2019s what we do as DPs: we solve problems.\u201d<\/p>\n<div class=\"article-tags \/\/ a-children-icon-bullet lrv-u-font-family-primary u-letter-spacing-012 lrv-u-line-height-large lrv-u-color-brand-primary\" style=\"text-align: left;\">Source:variety<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>During a seminar at\u00a0EnergaCamerimage Film Festival\u00a0on Friday, described as \u201cthe best event of the festival\u201d by one of the participants, Oscar-winning French cinematographer\u00a0Philippe Rousselot\u00a0shared his thoughts on working alongside a camera operator. \u201cPhilosophically, I hate the idea of power, command, obedience. It\u2019s not in my DNA. But when I think of my attitude on set, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":14528,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7036],"tags":[8881,8880,8882],"class_list":["post-14527","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-anastas-n-michos-discuss","tag-philippe-rousselot","tag-relationship-between-cinematographer"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Philippe Rousselot and Anastas N. 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