American Cinematographer - May 2006 - 53
Opposite: Arthur
Burns and two
members of his
gang enjoy one
last sunset
before
riding into
town to rescue
Arthur's youngest
brother, Mike.
This page, left:
Mike (Richard
Wilson) is
flogged by
townspeople
thirsting for
justice. Below:
Director of
photography
Benoit
Delhomme, AFC
(left) and
director John
Artemisia,
Family Resemblances,
L'Idole and Sade. Although he has
always enjoyed the control a studio
affords, he also hankered to shoot
outside. "I love
being able to
wake up and say, 'I'm going to make
it a sunny day inside this place,"' says
Delhomme, "but I'm a big fan of cin¬
ematographers who can just love nat¬
ural light, like Bruno Nuytten, whom
more
I assisted
on
Jean de Florette and
of the Spring. Natural light is
difficult because you can't fight
it, you can't go against it."
That's certainly true in the out¬
back under a blinding summer sun.
Hillcoat knew The Proposition would
be a grueling shoot, but so, too, were
his previous films, Ghosts ...of the
Manon
very
Civil Dead (shot in a maximum-
security prison) and To Have and to
Hold (shot in the jungles of Papua
New Guinea). "I love working in real
away," says Hillcoat, and he
was also intrigued by the fact that
Delhomme always operates his own
camera, in part to establish a rap¬
port with the actors. "When he said
that, suddenly a penny dropped and
I knew I had someone really spe¬
with those kinds of
cial," adds the director.
For Delhomme, shooting a
nology at the time almost, to give it
a feel that you're going back in
blew
me
Western
was
a
childhood dream
When
prepping, he
rescreened such favorites as Forty
Guns, Unforgiven and Pale Rider,
paying close attention to framing.
For The Proposition, he says, "I liked
the idea of people lost in a land¬
scape, [but] I didn't think of this as
a Western or put it firmly in a genre.
That's always tricky because there
are rules to respect. And I don't
come
true.
think John [Hillcoat] came to me
ideas." Hillcoat's
was
the
that there be
Hillcoat discuss
premeditated
only stipulation
no
their
approach.
aerial shots of
landscape - "nothing higher or
faster
than
a
horse," he says.
"[Camera placement and move¬
ment] were based within the tech¬
time." Delhomme adds, "This is
a
film about Australia first, and I
wanted to show the country. I want¬
ed it to inspire me." While scouting
the outback, he found
plenty of
inspiration. "I took a lot of
stills with my digital camera because
the country was so strange to me. It
novel
took
me
time to understand how to
frame it, how to find power
and
beauty in the emptiness of the land¬
scapes."
locations and difficult locations," says
the director. When
choosing a cine¬
matographer for The Proposition,
Hillcoat first sought an Australian or
British
cameraman
countries
PLFicoiotcurrseuksfrtt.esy
Images
because those
co-producing the
project. When his initial choices were
unavailable, "I just started thinking
about my favorite cinematographers
and who would bring a fresh eye to
Australia," he says. "I knew I wanted
to give a different look to the out¬
were
back." Delhomme's work in The
Scent
of Green Papaya and Cyclo "just
American
Cinematographer 49
American Cinematographer - May 2006
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