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Emmanuel Soyer – Cinematographer
We have established a certain style with Hani from the beginning, but the truth is we have been working together for a long time. A long collaboration which is at the same time too tight, we know each other pretty well, there is such a complicity between us. Words mean the same thing for both of us, and so do images, which helps us a great deal to work together. The film is shot on Super 16 mm, and is destined to get a blow up on 35 mm for the theatrical release. The idea is to have a character that evolves in the light throughout the film, so the light retraces the story of this person and the way he develops. At first, he appears to be a depressed guy, and we decided to shoot him pretty much in silhouette, or in the darkness, sometimes from the back. Slowly, we have built a system which makes the light shine on his face. That made him glow gradually as Lebanon and the meetings he is having throughout his journey give him back his key reason to live, which is singing; a new encounter between his past and his present life. I think what is most important is that we are able to find the accurate emotion and that light can be a good way to convey the emotion in a film, was it through the image, the text, or even through the comedians, and sometimes through all three at the same time, which could be interesting and passionate. It does not have to be placing the projectors in cameras and lenses since that is the medium and not the finality.
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