Lensing films like “Dallas Buyers Club” (2013) and “Wild” (2014), cinematographer Yves Belanger strived to create a naturalistic style that fit with their thematic material. However, as he tells us durnig our recent conversation (listen below), when it came to shooting “Brooklyn,” the story of a young woman’s journey from Ireland to America in the early 1950s, the DP had to adapt a slightly different aesthetic.
“We wanted to look modern, but respect the period at the same time. So basically, I used modern techniques, but we wanted to stay classic, very soft, like the good old films. Very actor oriented.”
Through it all, he maintains that his focus was “on the human face, and on the eyes, because there was so much emotion carrying through the movie.” This influenced every decision made in the visual approach to the film, from the color scheme to the choice of lenses, all of which Belanger explained in great detail.
Belanger won the Canadian Society of Cinematographers prize for “Wildflowers” (2003) and racked up up additional bids for “Killing Time” (2001) and “Cheech” (2006). And his work on “Laurence Anyways” (2012) and “Wild” (2014) brought him notices from Camerimage.
He was recently nominated by the Washington DC Area Critics for “Brooklyn.” Listen to our full interview below to learn more about his work on “Brooklyn.”
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“Broolyn” photo credit: Fox Searchlight