American Cinematographer - April 1989 - 60

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our

first conversation,

although it's a bit of a joke, was
really how not to show the period. I
don't know if we succeed in that
because when I see the film, I can
still see the locations, the walls, the
furniture

everything. But I must
tried not to. Stephen didn't
want to deal with a period; he was
interested in the story and in the
-

say, we

characters.''
If Frears attention

was on

characters, Rousselot's attention
was on

the faces of the characters.

Dangerous Liaisons is a film of closeups and Rousselot had some very
interesting ideas on how they
should be shot. For instance, he
tried to keep the light for each char¬
acter

coming from

tion. "It

single direc¬
feeling I
want to justify it with
reasoning because I

was

had. I don't
intellectual

based

a

on a

don't think it would

ODMAN

mean

any¬

thing,'' he explained. "Ideas I
have for light often are more feel¬
ings rather than well-reasoned
decisions."
Rousselot is a shy man
who takes his work, but not him¬

self, very seriously. Like many

door

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-

cinematographers who
tionists about their

are

own

perfec¬

work, he

quite satisfied with the fi¬
Dangerous Liaisons and
went so far as to say, "I would be
glad to start again. I would proba¬
bly do it very, very differently now."
Luckily, he won't have the time. He
is currently working in Canada on a
remake of the Forties comedy, We're
No Angels.
was

not

nal look of



American Cinematographer - April 1989

Table of Contents for the Digital Edition of American Cinematographer - April 1989

American Cinematographer - April 1989 - 1
American Cinematographer - April 1989 - 2
American Cinematographer - April 1989 - 3
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