杜可风获摄影成就奖

Cinematographer Christopher Doyle Won “Pierre Angénieux ExcelLens in Cinematography” Award
Every year the “Pierre Angénieux ExcelLens in Cinematography” award ceremony pays tribute to a director of cinematography whose work has marked the history of world cinema. 
After Philippe Rousselot (2013), Vilmos Zsigmond (2014), Roger A. Deakins (2015) and Peter Suschitzky (2016), cinematographer Christopher Doyle has seen his entire career recognised during an exceptional ceremony at the 70th Cannes Film Festival.
Of Australian origin and also known under his Chinese name, Du Ke Feng, Christopher Doyle has collaborated with many international directors (Alejandro Jodorowsky, Gus Van Sant, Barry Levinson, Jim Jarmusch…) and is renowned for his considerable contribution to Chinese language cinema. His love for saturated colours and vibrant contrasts has left unique marks on more than 60 films by prestigious directors such as Zhang Yimou, Edward Yang, Stan Lai and Zhang Yuan. 
His longstanding collaboration with Wong Kar-Wai (Chungking Express, Fallen Angels, In The Mood For Love, Happy Together, 2046) has made a deep impact by the aesthetics, the style, and an indomitable energy that became the hallmarks of Hong Kong’s young filmmakers.
Doyle’s way of shooting is very dynamic and most of the time hand-held in order to put the audience closest to the action. “The function of the cinematographer is to be the bridge, the conduit between the audience and what’s in front of the camera. To me, there are only three people in cinema: the person in front of the camera, the audience, and the person who is the real passage between them—the cinematographer. Of course, director and producer facilitate the interface. But for the engagement to be direct and compelling, I really believe we have to be transparent and remove ourselves enough so that the passage between the actors and audience is direct”, said Christopher Doyle.
Doyle overcame constraints of low budgets and tight spaces by finding rhythm and energy in his shots: a unique style that he adapted to bigger budget movies. Extreme angles of views even for close-ups, unusual color palettes and unique lighting are Doyle’s cinematography signature.
To serve this kind of images, the zoom lens is an ideal tool. It is always a part of Doyle’s equipment list, especially the Angénieux Optimo 15-40. Doyle used Angénieux zoom lenses on American Dreams in China (2013) by Peter Chan, Love for life (2011) by Changwei Gu, Ocean Heaven by Xialu Xue, Ondine (2009) by Neil Jordan, Downloading Nancy (2008) by Johan Renck, Lady in the Water (2006) by Night Shyamalan, The White Countess(2005) by James Ivory, Hero (2002) de Yimou Zhang and many other movies.
Christopher Doyle’s work has been awarded an incredible number of times in the most prestigious film festivals. Port of Call (2015) directed by Philip Yung won last year’s Hong Kong Film Best Cinematography Award.
On Friday 26 May 2017, at the Buñuel Theatre in the Palais des Festivals, Christopher Doyle, was awarded the “Pierre Angénieux ExcelLens in Cinematography” tribute.
Tribute to Christopher Doyle!
Created by Thales Angénieux and Orbis Media, the 5th “Pierre Angénieux ExcelLens in Cinematography” award is supported by Weying (online ticketing platform on Wechat) and Movie View (Chinese movie magazine and PR company), and produced by Orbis Media.

 

每年Pierre Angénieux ExcelLens摄影成就奖的颁奖仪式上,都会表彰一位名垂世界影史的摄影指导。

 

在第70届戛纳国际电影节的华丽颁奖典礼上,知名摄影指导杜可风将成为继Philippe Rousselot(2013年)、Vilmos Zsigmond(2014年)、Roger A. Deakins(2015年)和 Peter Suschitzky(2016年)之后整个职业生涯受到认可的又一人。这让人们将关注的目光投向亚洲电影业。

 

 

杜可风是澳大利亚人,曾与多位国际知名导演(Alejandro Jodorowsky、Gus Van Sant、Barry Levinson、Jim Jarmusch等)合作,以其对华语电影作出的卓越贡献而闻名。他喜欢使用饱满的色彩和强烈对比,给张艺谋、杨德昌、赖声川、张元等知名导演的60多部电影赋予了独特印记。

 

杜可风与王家卫的长期合作(《重庆森林》、《堕落天使》、《花样年华》、《春光乍泄》、《2046》)对其摄影作品产生了深刻影响。一种美学,一种风格,一种不屈不挠的能量,成为新一代香港电影人的特色。

 

 

杜可风的拍摄手法非常直觉化、动态化,他往往是采用手持摄影机拍摄,以便让观众无限接近电影中的场景。

 

电影摄影师起到的是桥梁作用,沟通观众与镜头前的情景。我认为电影行业里只有三个人:镜头前的演员、观众以及这两者之间真正的沟通渠道——电影摄影师。当然,导演和制片人也促进演员与观众的沟通。但为了让两者的互动直接而引人入胜,我认为我们电影摄影师应该是透明的,应该抹杀掉摄影技巧的痕迹,这样才能在演员和观众之间建立直接的沟通。

 

面对预算不足、空间局促的情况时,杜可风往往能化不利为有利,利用这些制约因素找到拍摄节奏、发掘影像表现力,他还把这种独特的拍摄风格活用到了大成本影片中。极端角度视野(甚至在特写镜头里也会使用)、不同寻常的色调、独特的灯光——这些都是杜可风的标志性摄影风格。

 

变焦镜头是拍摄这种画面的理想工具,也一直是杜可风必备的设备之一,尤其是安琴Optimo 15-40毫米镜头。他在拍摄陈可辛执导的《中国合伙人》(2013年)、顾长卫执导的《最爱》(2011年)、薛晓路执导的《海洋天堂》、尼尔·乔丹执导的《水中仙》(2009年)、约翰·瑞克执导的《下载南茜》(2008年)、奈特·沙马兰执导的《水中女妖》(2006年)、詹姆斯·伊沃里执导的《伯爵夫人》(2005年)、张艺谋执导的《英雄》(2002年)等影片时都使用了安琴变焦镜头。

 

 

 

杜可风拍摄的作品屡次在顶级电影节上获奖。翁子光执导的《踏血寻梅》(2015年)去年荣获香港电影金像奖最佳摄影奖。

 

2017年5月26日,杜可风将在重量级导演、制片人和演员的簇拥下,在戛纳电影节Buñuel厅荣获“Pierre Angénieux ExcelLens“摄影成就奖!

 

向杜可风致敬!

 

第五届“Pierre Angénieux ExcelLens摄影成就奖”由安琴公司(Thales Angénieux)和Orbis Media主创,由微影(微信在线票务平台)和看电影(中国电影杂志和公关公司)协办,并由Orbis Media摄制。


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