Through a collection of Q&A portraits, the Union introduces the members of the association. Today, Pierre Baboin.
Quand et comment t’es-tu intéressé à la prise de vue ?
As a child, whenever I saw “director of photography” in film credits, I didn’t really know what it involved, but I knew I liked it!
I have always been fascinated by the image, the power of its attraction. Beauty makes me feel good. I love the balance of colors, contrasts and shapes. However, I came to cinematography quite late, in the early 2000s with the arrival of the very first digital cameras. That’s when I started experimenting, trying things out, tinkering… my laboratory was born!
Which films have particularly struck you visually, to the point of sparking your specific interest in the work of the image?
“In the Mood for Love and 2046 by Wong Kar Wai, and the films of Jean-Pierre Jeunet.
What was your initial training?
IIIS, Image department.
Photo N&B © Philippe Vaïsse
When and in what context did you start working as a cinematographer?
In 2010, when stereoscopic (3D) filming exploded, I was a camera assistant and got the opportunity to be DP on a 3D short film. Then, as the cinematographer’s work faces specific technical and artistic constraints in 3D (whether in framing or lighting), I was sought after (being experienced in this field) and gained experience as a “3D DP” on projects such as music videos, short films, documentaries, commercials, live recordings, etc.
That’s how I found myself propelled as a young cinematographer.
What types of films have you worked on and what would be the best next project?
Je travaille et j’aime travailler sur tout type de projet (clip, pub, captations, documentaire, téléfilm, long métrage, série TV, etc.). Bien que mon domaine de prédilection reste la fiction, je trouve toujours intéressant de se frotter à d’autres exercices, c’est enrichissant.
Le meilleur prochain projet ? Je vous en parlerai quand je l’aurais fini !
“Balthazar” directed by Vincent Jamain, produced by Beaubourg Stories
What are your artistic sources of inspiration?
The work of Roger Deakins for his apparent simplicity, and his way of integrating light into sets. And the faces are always impeccable!
Chivo (Emmanuel Lubezki) for “Birdman” and “The Revenant” (by Alejandro González Iñárritu). I find the structure of the shots and their wide-angle composition remarkable. The movement and choreography between the actor and the camera… A great lesson!
The atmosphere of Denis Villeneuve’s films transports me.
Painting also nourishes me. I really love the Impressionist painters, and William Turner who moved toward abstraction more than 50 years before anyone else!
Do you remember any regrettable blunders that turned out to be instructive?
Not particularly.
Have you experienced moments of doubt about your work or your professional environment?
I have always known I was made for this job. However, I have had doubts. Not about my professional abilities, but about making it despite the competition, the difficulty of carving out a place for yourself. When you’re at a low point, the waiting makes you question yourself.
And then it always picks up again…
“Jonas” directed by Christophe Charrier, produced by En Compagnie des lamas
Have you ever wanted to move into directing?
No, there are so many things to explore in my craft before exhausting it that I don’t feel the need to look elsewhere, for now.
What do you like and what don’t you like about your job?
I like understanding what a director wants. Imagining, creating, finding the light of a film. Listening to the sets. I love the week before a big shoot. Being on a dolly or in a color grading suite. Finding technical solutions. Managing my teams. Daring. Trying. Making mistakes. Learning.
I like less doing politics on set. False tints. Waiting for sound (just kidding).
“Balthazar” directed by Vincent Jamain, produced by Beaubourg Stories
What advice would you give to an aspiring cinematographer?
Be patient! More seriously, I believe that skills are one thing, but far from enough to get work. Networking is essential.
Pierre Baboin on the United Cinematographers website
> Cover image: commercial “A bord de l’Orient Express” directed by Simon Dubreucq, produced by Sisso
