Philippe le sourd biography of donald
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Philippe Le Sourd attended film school at the Sorbonne Nouvelle University in Paris, but with the intention of becoming a photographer. It was there that his world was suddenly opened up by the power of cinema, and he found himself dreaming of working as a cinematographer and being a part of the film industry.
"Of course, you want to be part of it! But you don't know how to do it," Le Sourd says. He got a gig as assistant cameraman to Oscar-nominated cinematographer Darius Khondji on Jean-Pierre Jeunet's art-house dark comedy, Delicatessen (1991). He was a focus puller on Bernardo Bertolucci's Stealing Beauty (1996). Finally, his big break came in 2006 when he was tapped to shoot Ridley Scott's A Good Year. "You have to be patient."
At the 86th Academy Awards, Le Sourd as nominated for Best Cinematography for his work on Wong Kar-wai's martial arts epic, The Grandmaster. "Wong Kar-wai opened the door to the fact that everything is possible," he reflects. "That experience was like making 50 movies! Everything I learned before that, I could put it in the garbage. It was something completely new for me."
In recent years, Le Sourd is best known for his collaborations with Sofia Coppola; he has lensed three
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Welcome!
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Cinematographer Philippe Le Sourd reunited with writer-director Sofia Coppola for On the Rocks, which is Coppola’s first film set in New York City and her first film featuring a car chase. Here’s Le Sourd describing how he collaborated with Coppola in the development phase.
The first thing Sofia Coppola told me about On the Rocks, the story of the relationship between a father and daughter played by Bill Murray and Rashida Jones, is that she wanted an elegant aesthetic. She was looking for something very natural, and she really believed in her story.
Elegant doesn’t mean fancy and ornate, as some people believe — it means beautifully simple.
Sofia Coppola truly understands the characters she writes, and she’s very logical in her approach to directing. But there are always challenges in a screenplay, and you rapidly start encountering questions, She usually likes to see the actors speak their dialogue on set, then starts blocking, and we explore the shot list together. Actors like Bill Murray also bring a lot of ideas to a scene. Sofia likes to be close to a character’s feelings, and not to disturb actors with overly technical camera movements.
One of our biggest questions was how to shoot in New York City. A lot of scenes in the film are linked to Sofia’s me