Articles


First ROBBY MÜLLER AWARD goes to Diego García

Rotterdam, 2019-10-30 - IFFR / NSC

The Robby Müller Award honours an ‘image maker’ who, in the spirit of the late Robby Müller, has created an authentic, credible and emotionally striking visual language throughout their oeuvre. The first award goes to Diego García and will be presented at the 49th International Film Festival Rotterdam.


The Circle of Film

Amsterdam, 2019-10-02 - Jean van de Velde

"Wil de Nederlandse filmcultuur overleven, dan zal de filmketen een filmketting moeten worden! Dan moet het einde van die keten (de filmexploitatie) aan het begin (de filmproductie) geklonken worden. Dan moeten de baten aan het einde de 'boost' voor een nieuw begin zijn."


Regisseurs naar de achterbank

Amsterdam, 2019-08-24 - Jos van der Burg & Karin Wolfs

“Doreen krijgt heel veel power.” Aldus waarnemend Filmfonds-directeur Ger Bouma tien jaar geleden over de benoeming van Doreen Boonekamp tot directeur. Anders dan haar voorgangers kreeg Boonekamp bij haar aantreden twee petten: ze werd zowel directeur als bestuurder van het Filmfonds.


New Deal NSC

Amsterdam, 2019-04-17 - NSC

Uit een NSC-enquête die in mei 2018 onder de leden is gehouden, was de belangrijkste conclusie dat het de DP’s frustreert dat ze hun werk niet optimaal kunnen uitvoeren. Daarom dit manifest met suggesties om het werkproces te veranderen.


Living the Light, at 75th Venice International Film Festival

Amsterdam, 2018-11-18 - Vincent Visser

Living the Light – Robby Müller, made by Claire Pijman NSC, will have its world premiere at the 75th Venice International Film Festival and is selected for the Venice Classics competition


Time Layers Come Together

Amsterdam, 2018-11-17 - Vincent Visser

'Paolo Ventura, Vanishing Man,’ shows how an Italian artist creates his own timeless melancholic world in a barn on an abandoned mountaintop in Italy. With paint, cardboard, and relics of a human life, he resonates his childhood’s memories and isolation by giving himself and found objects a new magical life.   


Frank van den Eeden about Waldstille

Amsterdam, - Vincent Visser

Dutch cinematographer Frank van den Eeden (May 14, 1971), resident of Antwerp is best known for his work with directors such as Fien Troch, Nanouk Leopold and Jan Verheyen. Besides many nominations he has won several awards for his work as cinematographer.  One of his later productions is ‘Waldstille’ from writer and director Martijn Maria Smits, a feature film that got its world-premiere during the San Sebastian Film Festival in 2016. The NSC talked with Frank about this film.


NSC Investigates Film Making Process in The Netherlands

Amsterdam, 2019-05-01 - NSC

The Netherlands Society of Cinematographers (NSC) conducted a survey among its members as a response to the Netherlands Film Production Incentive 2014-2017 evaluation.


The Cinematographer as Co-Author

Amsterdam, 2019-05-09 - Hans Beerekamp

While cleaning up his archive, film journalist Hans Beerekamp found several editions of the (small-scale published) Dutch film magazine Cineécri.


Emotional Shapes and Textures - Daniël Bouquet

Amsterdam, 2018-07-15 - Vincent Visser

Immediately after his graduation from the Dutch Film Academy in 2006, Daniël Bouquet made a flying start as Director of Photography. For his second feature length production “Nothing Personal” (2008) he won the Golden Calf award for best Cinematography during the Netherlands Film Festival in 2009. Nowadays he works mainly on a variety of international projects, amongst commercials for major brands like Adidas, Gillette and Vogue. The NSC talked with him about his career, interests and more.  


Beerified Scope

Amsterdam, 2018-11-16 - Vincent Visser

Joris Kerbosch (Culemborg, 1980) is best known for his work as cinematographer for directing duo Steffen Haars and Flip van der Kuil, for whom he shot the movies ‘New Kids Turbo’ (2010), ‘New Kids Nitro’ (2011) and ‘BROs BEFORE HOs’ (2013). ‘Ron Goossens, Low-Budget Stuntman,’ is their fourth feature film collaboration. Together those comedies where amongst the highest grossing films in The Netherlands and acclaimed international recognition. NSC spoke with cinematographer Joris Kerbosch about the film.

The Cinematographer as Co-Author


Amsterdam, 2019-05-09 - Hans Beerekamp

While cleaning up his archive film journalist Hans Beerekamp found several editions of the (small-scale published) Dutch film magazine Cineécri. In the third publication from 1965 he found a contribution by the late Robby Müller NSC, BVK (1940-2018). Just graduated from the Dutch Film Academy in 1964 he writes about the collaboration with directors. Given the still actual content we have translated the article for a wide audience.

 

Robby Müller in front of the camera of the Dutch Film Academy short film

Robby Müller in front of the camera for a student short film 1962-'64 

 

Cineécri: Publications about Film 3

The good or not so good cooperation between director and cinematographer, is variable and depends, for example, on the extent which the director acts in a controlled or dictatorial manner. 

But whether it is an ideal collaboration, the cinematographer contributes in a direct, independent manner from the director to the final film.

 

Apart from this direct, constant contribution from the cinematographer, they always continue to influence all aspects of filmmaking.

As far as it concerns photography, the director has to rely almost entirely on the cinematographer: there is no time to discuss gray tones and lighting set-ups. The cinematographer does this based on their own intuition; not only the exposure but also the choice of the lens.

The most useful staging description seems to me: a director determines which actors appear in a scene and LIMIT their actions, till only the most essential remains. The cinematographer who naturally knows each part by heart, places them in the frame. It is therefore necessary that they know exactly what will happen. During rehearsals they do not have to 'rehearse' through the camera constantly, but step aside next to the camera and pay attention to what kind of actors they have to deal with, their tempo, and so on. They know what to expect because they do not remain 'isolated' from the cast who were accidently out of the frame and also had their contribution. So they can come up with suggestions for placement and movement of the actors.

Their participation is therefore so imminent that they exactly know/feel what they can afford when it is shot and recognize THEIR understanding of camera movement and framing, even if something unexpected happens, so it does not result in 'useless' movements.

In case there is not so good team play between director and cinematographer, too much thought is going out during principal photography that editing is there for fixing. That is what you often see: the inability to reproduce the essence in a shot.

Using the zoom lens gives more or less the same problem of 'useless' movements. The advantage is that one can isolate a detail from a long shot in a more easy way. Moreover, the scene does not have to be interrupted, which is necessary for making an intermediate shot. If someone chooses a zoom movement or an intermediate shot depends on the character of the film. However, in my view a zoom lens can form a more concentrated point of attention, if made on the rhythm of the acting performance (contrary to the editing rhythm) since then it confines it in the biological rhythm of the scene.

This may cause complications for the director during editing because they may have preferred to see a completely different detail; a good cinematographer or at least one who got a clear idea through the director of what is happening on a dramatic level, must have seen that essential moment. The cinematographer always remain to keep certain freedom of action with which they can put their trademark on the scene and so later on in the editing.

In Voce it is important that the cinematographer does not just work from start to finish, but they remain on a constant level, so you always have editing possibilities WITHIN a shot or scene. Given the influence a cinematographer can have, it is not enough to inform them per individual scene, but the director has to go through the entire film with them so they know the script/screenplay on forehand. In this way they can discuss expected shortcomings of the scenario.

In order to achieve good interaction, the director should not choose a cinematographer only based on craftsmanship (proper exposure, smooth movements, etc.), but if their mentality suits them; someone from whom they can expect a creative contribution; a kind of co-author.

 

"Cineécri was a film magazine founded by former Dutch Film Academy student Frans van de Staak around 1961-‘62. This magazine was more philosophical oriented, aimed at an audience that had more interest in Husserl, Heidegger and Merlau-Ponty than in film. Van de Staak would later exchange the academy for studies in psychology."

source: Tee, E (2002). Passion and Profession: The History of the Dutch Film and Television Academy. Amsterdam, The Netherlands: Dutch Film Academy.

 

Original Ciné-Ecri publication by Robby Müller about the collaboration with directors

Original Ciné-Ecri publication by Robby Müller about the collaboration with directors

Original Ciné-Ecri publication by Robby Müller about the collaboration with directors

Pictures by courtesy of Hans Beerekamp and family Müller

English translation by Vincent Visser & Herman Verschuur

Special thanks to Hans Beerekamp