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Watch: THR’s First Ever Cinematographers Round Table, with DPs from ‘Inside Llewyn Davis,’ ’12 Years a Slave,’ ‘Nebraska’ and More

Watch: THR's First Ever Cinematographers Round Table, with DPs from 'Inside Llewyn Davis,' '12 Years a Slave,' 'Nebraska' and More

The Hollywood Reporter’s round table series continues with their first-ever Cinematographers panel. Included are Barry Ackroyd (“Captain Phillips”), Sean Bobbitt (“12 Years a Slave”), Bruno Delbonnel (“Inside Llewyn Davis”), Stuart Dryburgh (“The Secret Life of Walter Mitty”) and Phedon Papamichael (“Nebraska”). Quote highlights and full video, below.

On what would surprise people the most about the reality of being a
director of photography:

BRUNO DELBONNEL: We don’t have a clue what we’re doing.

SEAN BOBBITT: Most people really have very little idea of
what we do, so they would be surprised by the breadth of requirements
[inherent] to being a cinematographer. It’s not just cameras, or film or
lenses; it’s the technical side and nontechnical stuff. You’re running a crew,
you know? The interpersonal relationships that you have to develop with the
director, designers, hair, makeup, costumes. The filming is actually the
easiest part.

BARRY ACKROYD: It’s also the thing you can’t put your finger
on, but the thing that’s most interesting. That moment when you switch on the

STUART DRYBURGH: It’s the pen you’re using to write the

Delbonnel on his first time working with the Coens on “Inside Llewyn Davis”:

DELBONNEL: It was great. They do their own shot list, and
it’s then “suggested” to me as they do with [DP] Roger Deakins. It’s
a bit harder working with Tim Burton. I did two movies with Tim, and you never
really knew what he wanted. We’d block the scene with the actors, and we have
to be very fast to react because an hour later you’re supposed to shoot. You
have to be a bit more flexible. I don’t really try to understand the director.

Have directors ever been intimidated by them?

BOBBITT: That’s not unknown, particularly with a first-time
director. But I think part of the job is to not intimidate them; reinforce the
fact that you’re there for them, but it’s their film.

PAPAMICHAEL: And for every movie to look like it’s their

Are monitors on set a good thing?

PAPAMICHAEL: It depends. If you’re working with a director
who’s in sync with you, it’s a good tool. It becomes more complicated when
actors, hair and makeup, wardrobe, production designers are getting involved.
My directors restrict other people from using it. With Alexander Payne, we
didn’t have a typical video village; we had an onboard monitor and that’s it.

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