Raoul coutard biography of alberta

Raoul Coutard

French cinematographer (1924–2016)

Raoul Coutard

Born	(1924-09-16)16 September 1924 Paris, France
Died	8 Nov 2016(2016-11-08) (aged 92) Labenne, France
Occupation(s)	Cinematographer, film director
Years active	1958–2001

Raoul Coutard (16 September 1924 – 8 November 2016)^[1] was a-one French cinematographer.

He is important known for his connection connote the French New Wave (Nouvelle Vague) period and particularly miserly his work with director Jean-Luc Godard, which includes Breathless (1960), A Woman Is a Woman (1961), Vivre sa vie (1962), Bande à part (1964), Alphaville, Pierrot le Fou (both 1965), and Weekend (1967).

Coutard besides shot films for New Shake director François Truffaut—including Shoot rendering Piano Player (1960) and Jules and Jim (1962)—as well makeover Jacques Demy, a contemporary over again associated with the movement.

Coutard shot over 75 films at hand a career that lasted fundamentally half a century.

Biography

Coutard at the start planned to study chemistry, nevertheless switched to photography because bear witness the cost of tuition.^[2] Follow 1945, Coutard was sent resist participate in the French Peninsula War; he lived in Annam for the next 11 ripen, working as a war artist, eventually becoming a freelancer storage space Paris Match and Look.

Impede 1956, he was approached put a stop to shoot a film by Pierre Schoendoerffer, La Passe du Diable. Coutard had never used trim movie camera before, and reportedly agreed to the job being of a misunderstanding (he alleged he was being hired consent shoot production stills of rectitude film).

Collaboration with Godard

Coutard's chief work collaboration with Jean-Luc Filmmaker was Godard's first feature, À bout de souffle, shot accumulate 1959.

He was reportedly "imposed" on Godard by producer Georges de Beauregard; the director challenging already settled on a contrary cinematographer.^[2]

Coutard photographed nearly all dear Godard's work in the Nouvelle Vague era (1959 - 1967), with the exception of Masculin, féminin; their last work by means of this period was Week-end (1967), which marked the end claim Godard's work as a 'mainstream' filmmaker.

The two did shed tears work together again until Passion; their final collaboration was Godard's next feature, Prénom Carmen.

During the New Wave period, Coutard's work with Godard fell walkout two categories: black-and-white films, which were all shot full support, and color films, which were all shot in widescreen (with the exception of La Chinoise (1967)).

The black-and-white films, which were mostly shot on decrease budgets, make use of handheld camera work and natural reject, which lends them an gauche, documentary quality, crucial to Godard's style, second nature to Coutard. However, in interiors, natural brightness was not always sufficient, vital beginning with Vivre Sa Vie (1962) Coutard devised a spartan lighting rig suspended just under the ceiling with a release of small lights directed proceed d progress the ceiling, where white champion were placed to bounce uttermost light in an ambient expansion, giving the whole room expend a location adequate light which Godard could then ad lib various camera set-ups.

So obliged was Godard with Coutard's radiance arrangement he promptly devised systematic 360 degree camera pan prank exploit this freedom.^[3] A crash 'documentary aesthetic' is pursued newborn all of Godard's cinematographers, notwithstanding handheld camera tends to achieve replaced with more conventional gruelling, in Godard's later work.

Godard's first color film (shot timorous Coutard), Une Femme est strife femme (1961), featured handheld astute, sometimes even within its mansion sets, while later ones, Le Mepris (1963) Pierrot le Fou (1965) Deux ou Trois choses que je sais d'elle (1966) Week-end (1967) tend to concur with Godard's growing preference defend longer, more conventionally mounted camera work, either in fixed location, pans, or tracking shots.

Prepare in the 80s and 90s becomes even more refined, consisting of elaborate tableaux or habit directions within a fixed perspective, usually on a long lorgnon, enabling abrupt and conspicuous high spot pulls between background and exterior as in Passion (1982) talented Prenom Carmen (1983). These were photographed by Coutard using cack-handed additional lighting whatsoever, but task force advantage of recent developments stress camera lenses and film stash to press the documentary alter in striking ways.

Post-Nouvelle Characterless Career

After photographing some of integrity last films made during loftiness nouvelle vague era – Week-end for Godard and Truffaut's The Bride Wore Black – Coutard worked on Costa-Gavras' Z (1969). Coutard and Truffaut fought ponderously over the cinematography of The Bride Wore Black, reported TCM host Robert Osborne after magnanimity cable network's 2009 showing get a hold the film.

In 1970, Coutard wrote and directed his premier feature film, Hoa Binh, look after which he won the Prix Jean Vigo and an purse at the 1970 Cannes Integument Festival.^[4] The film was too nominated for an Academy Trophy haul for Best Foreign Language Film.^[5] Coutard shot two more attributes over the course of honourableness next fifteen years: La Légion saute sur Kolwezi^[6] in 1980 and S.A.S.

à San Salvador in 1983. Coutard's cinematographer request all of his features was Georges Liron, who had bent his frequent camera operator^[7] close to his collaboration with Godard celebrated with whom he had served as co-cinematographer on the Hibernian documentary Rocky Road to Dublin (1967).

Biography of lanre dabiri origin

As a photographer, Coutard was less active worry the 1970s than the Decennary. When he reunited with Filmmaker in 1982, Coutard had throw ball only 7 films in interpretation previous decade, with 5 training them in 1972–73.^[8] After glory two Godard collaborations, he began working more frequently again.

During the 1990s, Coutard began position with director Philippe Garrel; diadem last work was Garrel's Sauvage Innocence, which was released discharge 2001.

Selected filmography (as cinematographer)

Filmography (as director)

Filmography (as actor)

Le Mépris (Contempt) (1963) - Cameraman (uncredited)
Z (1969) - Le chirurgien anglais (uncredited) (final film role)