{"id":6277,"date":"2015-05-23T13:36:56","date_gmt":"2015-05-23T13:36:56","guid":{"rendered":"http:\/\/www.sbcine.be\/?p=6277"},"modified":"2017-11-25T14:24:38","modified_gmt":"2017-11-25T14:24:38","slug":"the-brand-new-testament","status":"publish","type":"post","link":"https:\/\/www.sbcine.be\/?p=6277","title":{"rendered":"the brand new testament"},"content":{"rendered":"

Christophe Beaucarne, AFC, SBC, works with loyal directors who call upon his talent to make most of their films. The list of these directors, from very different worlds \u2013 including the Larrieu brothers, Anne Fontaine, Bruno Podalyd\u00e8s, Mathieu Amalric \u2013, recently grew with the addition of the name of Christophe Gans. The work of Christophe Beaucarne on Beauty and the Beast was nominated for the 2015 C\u00e9sar awards. After Mr. Nobody, The Brand New Testament, a film by Jaco Van Dormael, was selected for the Directors\u2019 Fortnight at Cannes, the opportunity for Christophe Beaucarne to make his second film with his Belgian compatriot.
\n\u201cGod Exists. He lives in Brussels. He\u2019s a bastard. He\u2019s horrible to his wife and his daughter. There\u2019s been a lot of talk about his son, but not much about his daughter. I am his daughter. My name is Eva, and I am twelve years old. In order to take my revenge, I\u2019ve uploaded the date of everyone\u2019s death to the Internet\u2026\u201d
\nStarring Beno\u00eet Poelvoorde, Catherine Deneuve, Yolande Moreau, and Fran\u00e7ois Damiens.<\/p>\n

\"the-brand-new-testament-2015-jaco-van-dormael-locandina\"<\/p>\n

 <\/p>\n

Can you explain to us how what you describe as Vandormael\u2019s \u201cnatural\u201d tendencies came to the surface again in The Brand New Testament?<\/p>\n

Christophe Beaucarne: Jaco mentioned to me during our preparation work that he wanted soft and natural lighting. He wanted the film to look realistic, because the story is pretty mad. But he only held out for two days, and in the end his \u201cnatural\u201d tendencies took over and his desire for realism quickly disappeared! In some scenes, the light changes during the take, the actors are on a dolly, the camera and the light on another dolly\u2026 We did the opposite of what he had wanted in the beginning! God\u2019s apartment is pretty creepy, pretty ugly, and the lighting is very simple.<\/p>\n

On the other hand, each apostle was very stylized by the lighting and camera choices\u2026<\/p>\n

CB: We imagined a colour for each apostle, but Jaco wanted to film them simply, except that as we went forward, it got crazier and crazier\u2026 For example, for the one who doesn\u2019t speak to his family anymore, Fran\u00e7ois Damiens, we were filming the family behind big half-opaque sheets of glass. So he was clear and the actors playing the family member were out of focus and a bit evanescent. Another talks directly into the camera and then when he meets a girl on the beach, it\u2019s not realistic at all: the girl is lit as though she were a model in a 1980s advert, and he\u2019s lit with lots of reflectors, he is very brightly lit even though the set isn\u2019t.<\/p>\n

Fran\u00e7ois Damiens is fascinated by the act of killing people off, fascinated by blood, and accidents. We created an effect with a photograph: the camera starts off by focusing on a bloodstain on a photograph and then draws back on a dolly. I was filming at 120 i\/s and the characters in the shot couldn\u2019t move at all. Because the camera moves back very quickly and it\u2019s a movement in perspective between the people who aren\u2019t moving, it gives the impression of being a subjective shot from the point of view of the apostle in the photo, a sort of travelling inside of the photograph.<\/p>\n

I used a lot of half-dioptres, sometimes we would superimpose three of them in order to film three shots in different sharpnesses.<\/p>\n

\"le_tout_nouveau_testament_2_c_kris_dewitte\"<\/p>\n

What were the spots you used for the stylized effects?<\/p>\n

CB: The lighting was highly mobile, some of the scenes were lit with pocket torches or spots on dollies. These choices are indirect consequences of the theatrical production Jaco Van Doermal created, entitled \u201cKiss and Cry\u201d. In that show, there are lots of interactions between cinema and live theatre. He loved the stage sets, the cotton fake clouds, the pocket torch lighting\u2026 Thanks to the sensitivity of the Sony F65 camera, I was able to light using a pocket torch. I used lots of Source Fours in indirect lighting as well as Twins, and buckets with fluorescent lights that Bruno Verstraete, the gaffer, created. He can wire together as many as he wants at once and they\u2019re dimmable. On location, I used Arrimax spots for their power and their directability. In
\nStudio, I did everything in tungsten or with large-filament incandescent Aric tubes.<\/p>\n

(Interview conducted by Brigitte Barbier for the AFC)<\/p>\n

\"laura_verlinden_c_fabrizio_maltese\" \"le_tout_nouveau_testament_7336_c_climax_films\" \"francois_damiens_c_christophe_beaucarne\" \"le_tout_nouveau_testament_7471_c_climax_films\"<\/p>\n

Crew
\nFocus-puller: Luc Pallet
\nKey Grip: St\u00e9phane Thiry
\nGaffer: Bruno Verstraete
\n\u201cData manager\u201d: Benjamin Dewalque
\nDIT: Benjamin Dewalque<\/p>\n

Technical Data
\nCamera and lighting equipment: Eye Lite (Sony F65 \u2013 2:2.39 aspect ratio \u2013 and for the Stab One and shoulder cam shots, Sony F55, Leica Summilux spherical lenses \u2013 often 29 mm in order to have close proximity with each character without distorting his or her face)
\nRig: KGS
\nWorkflow: on set, S-Log 2; for the dailies, Da Vinci
\nPostproduction: Juliette Films (Luxemburg)
\nDailies colour timing: Benjamin Dewalque
\nColour timing: Peter Bernaers, on Base light<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Christophe Beaucarne, AFC, SBC, works with loyal directors who call upon his talent to make most of their films. The list of these directors, from very different worlds \u2013 including the Larrieu brothers, Anne Fontaine, Bruno Podalyd\u00e8s, Mathieu Amalric \u2013, recently grew with the addition of the name of Christophe…<\/p>\n","protected":false},"author":89,"featured_media":6282,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[42],"tags":[87,249,324,248],"class_list":["post-6277","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-productions","tag-christophe-beaucarne","tag-jaco-van-dormael","tag-le-tout-nouveau-testament","tag-the-brand-new-testament"],"_links":{"self":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/6277","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/users\/89"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6277"}],"version-history":[{"count":3,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/6277\/revisions"}],"predecessor-version":[{"id":6286,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/6277\/revisions\/6286"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/media\/6282"}],"wp:attachment":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6277"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6277"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}