Mannat Shukla
Professor Candace Rose
Cinema 100
5 November 2015 Director of Photography, Beniot Delhamme “Cinematography is infinite in its possibilities….much more so than so than music or language” – Conrad Hall

Beniot Delhomme, born in 1967, is a French film cinematographer who also works in British and American movies. Delhomme has a great passion for cinematography. His journey in films is nothing short of a great accomplishment. Delhomme has been a DOP (Cinematographer) or over 50 films over the span of 22 years of his career. His some of the most popular work is the cinematography of The Theory of Everything, The Boy in the Striped Pajamas, The Proposition, Cyclo, etc. He has been a DOP of many different …show more content…
This was a gangster movie set in 1931, in Franklin County, Virginia. The cinematography had a different feel to it. Unfortunately, this work of his in this films cinematography did not bring any awards to Delhomme, but his previous works helped shape Delhomme’s career a little better. An already, Oscar winner director, James Marsh, Director of ‘The Theory of Everything’, was really impressed by some of Benoit Delhomme’s work. In an interview with Edward Douglas, James Marsh said, “Yes. I had seen a film he made years ago called ‘Cyclone’. It’s an amazing film. He made it in the early 90s. It’s just an extraordinary piece of camerawork. I tracked his career. He worked with John Hillcoat on ‘The Proposition,’ which is again, a pretty interesting film. So when I met Benoit, he just had some very interesting questions immediately about the story.” (Marsh). So, in some ways, his previous work has led him to a really critically successful film like ‘The Theory of Every …show more content…
But the lighting used in Lawless was a little different than in ‘The Proposition’. In Lawless, Delhomme, did not really use the violent lights that were so prominent in ‘The Proposition’. In an interview with Francois Reumont on behalf of ACF, Delhomme says, “This is a rural film about a gang of bootleggers during the Great Depression. We’re not in Chicago…we’re in the sticks! The violence of the country is less primitive than in Australia, and there wasn’t the violent light that was so useful in filming The Proposition…here, we had to come up with something else.” And also, in the same interview Delhomme says that it was his first film that he filmed