In his way, the cinema photographer
is a kind of stationary movie director.
He is, indeed, the privileged witness
of the amazing chemistry that
magically operates between
the multiple talents and jobs
involved in a story that is constantly
in motion.
Photography is not only a means
to supervise and to determine
which takes are best, but it is also
a tool of communication to serve
the various purposes of a film.
Ever since I started on the shooting
of “Amélie from Montmartre”,
I’ve developed a real passion
for this job, now enriched with
a perfect mastery of the different
techniques, digital as argentic.
