{"id":7289,"date":"2016-05-02T13:42:01","date_gmt":"2016-05-02T13:42:01","guid":{"rendered":"http:\/\/www.sbcine.be\/?p=7289"},"modified":"2017-11-25T14:24:25","modified_gmt":"2017-11-25T14:24:25","slug":"interview-of-frederic-noirhomme","status":"publish","type":"post","link":"https:\/\/www.sbcine.be\/?p=7289","title":{"rendered":"Interview of Fr\u00e9d\u00e9ric Noirhomme"},"content":{"rendered":"

For his <\/span>appointment<\/span> as a new SBC member, we have <\/span>invited<\/span> Fr\u00e9d\u00e9ric Noirhomme <\/span>for<\/span> a coffee and <\/span>have asked him <\/span>a few questions..<\/span><\/p>\n

\"prejudice_stills.0001420_01\"Pr\u00e9judice by Antoine Cuypers<\/i><\/p>\n

<\/a> What<\/i><\/span> does it feel like to have been appointed at the SBC ?<\/i><\/span><\/p>\n

FN : <\/b><\/span>There<\/span> are some members of the SBC with whom I get along <\/span>really well <\/span>such as Renaat Lambeets who worked as steady-cam operator on <\/span>Pr\u00e9judice, <\/i><\/span>but also Manu Dacosse who is a friend and <\/span>has been<\/span> my sponsor at the SBC with Alain Marcoen. It gives me the opportunity to talk to peers, to exchange with people I know <\/span>well<\/span> or not <\/span>so well<\/span>. As far as I can gather, <\/span>we meet around <\/span>a drink so it\u2019s not too strict. <\/span>Information is plentiful and varied<\/span>, so it gives me <\/span>an<\/span> opportunity to <\/span>know<\/span> what is going on in <\/span>our<\/span> circle, to see what the other DOP are doing\u2026<\/span><\/p>\n

What led you to become director of photography ?<\/i><\/p>\n

FN: <\/b><\/span>It\u2019s a long <\/span>tale<\/span>. <\/span>I came to it quite<\/span> late. I was born in Namur, but I grew up in a <\/span>remote country village in the province of<\/span> Luxembourg. The only cinema that there was, was precisely in Namur or also small countryside cinemas like the one in Rochefort that had a very restricted programming of <\/span>major<\/span> action movies and blockbusters, because the programmers of these provincial cinemas did not invest in art-house films. It is starting to change today thanks to, among other, some associations, <\/span>but as a child<\/span>, <\/span>I remained quite ignorant of what cinema was about.<\/span> For me, the cinema was Bruce Willis. And it is also Bruce Willis of course, but not just that. I had a formal scientific secondary training. And I was also interested in the plastic arts. <\/span>After secondary education, I spent one <\/span>year in the United States <\/span>on<\/span> an exchange program. I had a television <\/span>set<\/span> in my room and I often spent <\/span>the<\/span> night<\/span> zapping <\/span>from one programme to another<\/span>. One night I <\/span>was stunned by a silent scene from<\/span> The Dreamlife of Angels <\/i><\/span>by Erick Zonka. <\/span>I was amazed at being so surprised<\/span> by this film. I wondered if it was not also because the film was a Belgian coproduction and that I was missing my <\/span>native<\/span> culture. At the end of the year, we had to <\/span>write<\/span> a <\/span>report<\/span> and I <\/span>\u2013 naively \u2013 thought<\/span> that it would be great to work on <\/span>the influence of local peculiarities<\/span> on any given<\/span> cinema<\/span>. I tried to compare <\/span>the<\/span> Belgian and <\/span>the<\/span> American cinemas, to oppose these two completely different modes of production. Besides I did an internship on a set in the United States and for me the cinema was <\/span>shooting a film <\/span>in Imax with 500 technicians, helicopters, <\/span>stunts<\/span> etc.<\/span><\/p>\n

You must have been quite disappointed when you came home!<\/i><\/span><\/p>\n

FN:<\/b><\/span> Laughter.<\/i><\/span> Indeed a little<\/span>! When I returned from the United States, it was too late <\/span>for me <\/span>to join most schools. I was able to register at the last moment <\/span>at<\/span> the IAD, but I missed the entrance examination for directing. They offered me their new multi-media section, but in my post-teenager frustration, I refused. Then I <\/span>enrolled<\/span> at<\/span> Inraci <\/span>with a view to being a<\/span> director but the image <\/span>eventually appealed to me more<\/span> because it mixed scientific and plastic concepts.<\/span><\/p>\n

And after school ?<\/i><\/span><\/p>\n

FN :<\/b><\/span> I quickly agreed to work on documentaries as camera operator. The films were <\/span>low budget <\/span>so I worked for free, but thanks to my parents, I could afford it. I immediately <\/span>did<\/span> cameraman, I was never electrician, grip or assistant, which <\/span>was a disadvantage<\/span> at<\/span> the <\/span>beginning<\/span> of my career. It is still one of my peculiarities today. When I work with my gaffers and key <\/span>grips<\/span>, we often laugh when I ask them to do very unusual things. Sometimes, they <\/span>suggest<\/span> an alternative which I sometimes turn down<\/span>, <\/span>but in either case it turns out well.<\/span><\/p>\n

How about today ?<\/i><\/span><\/p>\n

FN : <\/b><\/span>Today, <\/span>I have realised that I like the cinema rather than the image: I enjoy the language and helping a director build his narrative <\/span>through the image.<\/span><\/p>\n

\"Hedi_grab036_0181633\"Hedi by Mohamed Ben Attia<\/em><\/p>\n

You mentioned earlier your essay about the identity of cinemas. Do you think there is an identity of Belgian lighting or image ?<\/i><\/span><\/p>\n

FN : <\/b><\/span>I don\u2019t think so. I think we first build the pictorial identity of a film <\/span>from<\/span> the script and the director\u2019s intentions <\/span>even if we may<\/span> imagine a romantic theory that must be <\/span>partly <\/span>true : we often shoot in Belgium <\/span>and<\/span> the lighting <\/span>atmosphere<\/span> varies according to the climate, the latitude, or the place where we are. The outsides are immediately singular and <\/span>permeate<\/span> our creative mind. But I am sure that a Belgian cinematographer when shooting in Holland will have a totally different light because he is in Holland near an <\/span>inland<\/span> sea and it is very nice and inspiring. If one shoots a film in Portugal, <\/span>one<\/span> will also have a very specific light. The identity of the Belgian image may also come from the fact that we have a long history of documentary cinema, it is also more <\/span>home made<\/span>, it has <\/span>fewer financial <\/span>means than <\/span>other more productive <\/span>countries.<\/span><\/p>\n

I beg to differ with what you said about the climate, I find that there is a major difference between the image in Flemish Belgian films and that in Walloon ones. But maybe it is because they don\u2019t have the same means\u2026<\/i><\/span><\/p>\n

FN:<\/b><\/span> I don\u2019t know if they have different means, the <\/span>co-productions <\/span>are complex and frequent between our two communities. Flanders is a linguistic minority which is culturally more <\/span>open<\/span> and <\/span>closer to the Anglo-Saxon due to its Germanic nature<\/span>. For instance, in their theatres, the movies are always <\/span>in the original soundtracks <\/span>and subtitled, whereas <\/span>they are all<\/span> dubbed <\/span>in<\/span> Wallonia<\/span>. In French-speaking Belgium, we are perhaps more <\/span>open<\/span> to the French cinema, and a little less curious. It must be reflected in our respective <\/span>productions<\/span>. But it is true that the image in the Flemish cinema is often very beautiful. There are very important cinematographers <\/span>such as<\/span> Karakatsanis, Ruben Impens, etc.<\/span><\/p>\n

\"prejudice_stills.0026320\"Pr\u00e9judice by Antoine Cuypers<\/i><\/p>\n

There are also very beautiful things in the French-speaking Belgian cinema. For example your work, let\u2019s talk about it. Which films have been landmarks in your career? Did any directors launch your career?<\/i><\/span><\/p>\n

FN:<\/b><\/span> Two people really helped me, Olias Barco, the director go Kill me please and<\/span>\u00a0Vincent Tavier, his producer. They both trusted me to do the lighting of Kill me please<\/em>\u00a0since I started as a cinematographer. <\/span>The film had a rather consequent casting but <\/span>quite a low budget and we had to use<\/span> small cameras<\/span>, which I think is why <\/span>he offered me the job. We had to use cheap HD cameras and try to <\/span>get<\/span> a black-and-white film look. I owned one of <\/span>those<\/span> cameras and I <\/span>had done<\/span> a good job on <\/span>other<\/span> films. The film was received <\/span>coolly<\/span> in Belgium, maybe because it referred too much to the monument of Belgian cinema: <\/span>It Happened in Your Neighborhood<\/i><\/span>, but it did well aboard. It was <\/span>awarded<\/span> several<\/span> prizes<\/span> in <\/span>famous<\/span> festivals, because it was a rather original film just like Olias Barco who is a bit crazy and very nice.\u00a0<\/span>After that Vincent offered me Standard-drukker <\/i>which was Riton Liebman\u2019s first film.<\/p>\n

You <\/i>have ma<\/i><\/span>de a lot of first films.<\/i><\/p>\n

FN : <\/b>Only first films. Directors run away after working with me. Laughter.<\/i><\/p>\n

Didn\u2019t you make a second film with Olias?<\/i><\/p>\n

FN:<\/b><\/span> Yes, but I was not the only cinematographer <\/span>on the set<\/span>. The Ukrainian production imposed Thierry Arbogast. At first, it was rather complex, but finally Thierry <\/span>relied on<\/span> me, he <\/span>entrusted me with<\/span> the second set and I also did the framing with him when there was only one set. But that <\/span>was<\/span> not a film that I <\/span>signed<\/span> as DOP. It <\/span>was<\/span> a <\/span>fantasy<\/span> film for <\/span>children<\/span> with incredible settings. It was super fun to do. It <\/span>enabled<\/span> me to demystify the work of the big majors and to feel comfortable <\/span>with<\/span> it.<\/span><\/p>\n

Another film <\/span>has<\/span> marked my course: <\/span>Shattering Shadow<\/i><\/span> directed by two art directors: Patrick Dechesne and Alain Pascal Housiaux. We shot it in Ethiopia and in Liege. I enjoyed working with them <\/span>very much<\/span>, because they were really <\/span>trying to find their own original language<\/span>. Their linguistic approach was carried <\/span>to<\/span> the end of the post-production and the film was very well edited by Marie-H\u00e9l\u00e8ne Dozo.<\/span><\/p>\n

More recently I <\/span>worked<\/span> on <\/span>Pr\u00e9judice<\/i><\/span> by Antoine Cuypers and <\/span>Hedi <\/i><\/span>by Mohamed Ben Attia, which won the silver bear for best actor and best first film at the <\/span>latest<\/span> Berlin Film Festival. Both of them were beautiful encounters, <\/span>researching with the directors was very rewarding<\/span>, even though sometimes<\/span> our<\/span> opinions differed, <\/span>especially<\/span> on <\/span>Hedi,<\/i><\/span> because of our <\/span>different <\/span>cultural backgrounds<\/span>.<\/span> Hedi<\/i> was very instructive as I was often faced with my own certainties<\/span>. <\/span>Sometimes Mohamed would lead me away, sometimes he would follow me. It <\/span>was<\/span> really <\/span>cinema<\/span> as I like it, because there is a coherence in the director\u2019s point of view, in the way in which he approaches the <\/span>overall<\/span> construction of <\/span>his<\/span> film, in the language that he uses. We used a handle camera near his character. There is such a truth that springs from his character, that it does not matter if the style has already been seen, in this case it was justified. The emotions <\/span>were<\/span> very precise. I am proud to have contributed to the outcome and the success of this film.<\/span><\/p>\n

\"Hedi_grab025_0151207\"Hedi by Mohamed Ben Attia<\/em><\/p>\n

How did you handle the lighting of Hedi ?<\/i><\/p>\n

FN: <\/b>It was rather difficult. It had a small budget, about twenty sets, seven weeks of shooting, twelve hours per day, six days per week, and we finished it during <\/span>Ramadan<\/span>. I worked with Ren\u00e9 Haan, a Belgian gaffer. We were the only two <\/span>Belgians<\/span> among technicians. The rest of the team was Tunisian, and Ren\u00e9 was assisted by a wonderful Tunisian gaffer, but with ideas and methods specific to the cinema and the material that he <\/span>was <\/span>used to. And then there <\/span>was<\/span> loss<\/span> in the translations. For instance, I would <\/span>ask<\/span> them to make a pre-light, and when I arrived, it was not what I had asked for. The continuity was also rather difficult. The lighting was not simple, the sets were gigantic, particularly a 5 <\/span>star<\/span> luxury hotel that was very difficult to light. We went to hell to make a beautiful film. I am glad because we <\/span>had a hard time<\/span> but it paid <\/span>off<\/span>.<\/span><\/p>\n

How about Pr\u00e9judice ?<\/i><\/span><\/p>\n

FN : <\/b><\/span>It was also <\/span>complicated<\/span> on <\/span>various<\/span> points<\/span>. The actress, Nathalie Baye, was <\/span>far more famous<\/span>, so we had to make her feel good. She gave so much of herself in the film that expectations were high. Also there were a lot of <\/span>dinner<\/span> scenes shot with two cameras that had to be correctly <\/span>lit<\/span> so as<\/span> to avoid <\/span>the<\/span> television film<\/span> look and <\/span>so as to keep soft shadows on<\/span> the <\/span>actresses\u2019<\/span> faces (Natalie<\/span>\u2019s<\/span>, but also Cathy<\/span>\u2019s<\/span> and Ariane<\/span>\u2019s<\/span>) by a light from above. But the most complicated part was the beginning of the film. We were shooting outside but the sunlight <\/span>was supposed<\/span> to decrease gradually during the scene. We had to <\/span>keep a continuous decreasing light over several days of shooting outside with varying weather conditions<\/span>. It was <\/span>hell<\/span> to shoot. Maybe I should have insisted on the difficulties of such a choice in preparation, because I already knew it was going to be hard, but at the same time, I wanted to <\/span>meet the director\u2019s expectations <\/span>as far as possible. Even if you know that you are shooting yourself in the foot, you still want to try, which is rather <\/span>fun<\/span>. We had a great team and Beno\u00eet Roland the producer really supported the project <\/span>to the full<\/span>. They helped us <\/span>make<\/span> wise <\/span>decisions<\/span> and they <\/span>supported<\/span> our <\/span>choice of <\/span>priorities.<\/span><\/p>\n

Earlie<\/i>r, you said that fantasy films for children and action ones, were not really your style. Can you describe your style ?<\/i><\/span><\/p>\n

FN :<\/b><\/span> I don\u2019t have any. But I know that this kind of films <\/span>is<\/span> not the type of films that I <\/span>spontaneously<\/span> feel<\/span> attracted to. I like <\/span>it<\/span> when <\/span>a <\/span>director plays <\/span>on the <\/span>content, <\/span>on<\/span> the narrative codes, when he <\/span>considers<\/span> the<\/span> language <\/span>and<\/span> experiments<\/span> new things. <\/span>The closer we stick to the modern vein <\/span>the more I like it.. <\/span>That was<\/span> what I enjoyed with Patrick Dechesne <\/span>and<\/span> Alain Pascal Housiaux. They didn\u2019t try to <\/span>depart from <\/span>classicism, they were in their own <\/span>world<\/span>, which eventually was very modern. They chose radical <\/span>viewpoints<\/span>, <\/span>remarkable<\/span> ellipses, temporal games\u2026 <\/span>I like it when directors keep a distance in their films, like Bresson at a time.<\/span><\/p>\n

I have the feeling that most of the films you did were dramas, and characters\u2019 films rather than script films based on climactic developments.<\/i><\/span><\/p>\n

FN :<\/b><\/span> In fact what I find amazing is when we manage to make the viewer feel emotion though through the time cut and editing of scenes that we have shot<\/span>. Not an emotion that will make the viewer cry, but a specific feeling, a discomfort or a micro-feeling that we can experiment in <\/span>daily<\/span> life. That\u2019s what <\/span>Hedi <\/i><\/span>is. There are magnificent <\/span>gushes<\/span> of emotion <\/span>caused by a series of particular and at the same time quite common emotional moments<\/span>. And inevitably genre cinema <\/span>is less likely to explore that <\/span>kind of expression. Even though I like <\/span>to watch it, and I enjoy doing it, and maybe later I will do only that kind of films, right now it is not what attracts me most.<\/p>\n

\"prejudice_stills.0024334\"Pr\u00e9judice by Antoine Cuypers<\/i><\/p>\n

I have the feeling that you are intensely interested in the language so that you are more into framing than lighting\u2026<\/i><\/p>\n

FN : <\/b><\/span>I always frame myself but in fact it is not what I <\/span>enjoy<\/span> most. Sitting behind the camera kind of <\/span>bores<\/span> me.<\/span><\/p>\n

Yet that was how you started.<\/i><\/span><\/p>\n

FN :<\/b><\/span> On documentaries yes, it\u2019s true. But it <\/span>was<\/span> different<\/span>. When shooting <\/span>a documentary, you always have to <\/span>consider<\/span> the light. For instance : inside where are the windows ? You always try to position yourself so that the light will be nice. And it\u2019s something I still do for fiction films. It\u2019s very basic. <\/span>Besides<\/span> light is t<\/span>he <\/span>very<\/span> first thing I check when I <\/span>consider<\/span> a set : where are the possible narrative sources ? Where are the most interesting <\/span>axes<\/span> regarding the lighting ? <\/span>But I agree <\/span>with you <\/span>that<\/span> I don\u2019t want to make a film where you can feel that it <\/span>has been<\/span> lit, I don\u2019t want to make <\/span>photography<\/span> that <\/span>is too conspicuous<\/span>. I want to create <\/span>inconspicuous<\/span> lighting. <\/span>I don\u2019t want anyone leaving the theatre to think<\/span>: \u201cbeautiful photography\u201d, but \u201cbeautiful film\u201d. As a result, I am always reluctant to work <\/span>purely for <\/span>effect, <\/span>even if I could do better<\/span> sometimes. I <\/span>may be <\/span>a bit too <\/span>naturalistic<\/span>. <\/span>As a consequence I may be remembered <\/span>more for my framing, because it\u2019s more obvious, but I don\u2019t mind because it\u2019s part of the language, the point of view, and the directing. I have the feeling that on <\/span>Pr\u00e9judice<\/i><\/span> and on <\/span>Hedi,<\/i><\/span> the directing prevails over the photography, the latter being unobtrusive rather than marked, but nevertheless stylised, and maybe a bit more so <\/span>in <\/span>Pr\u00e9judice<\/i><\/span>.<\/span><\/p>\n

How did you work the clipping with Mohamed on Hedi ?<\/i><\/p>\n

FN :<\/b><\/span> It was very interesting. He came with clipping ideas that didn\u2019t take into account the light or the size of the camera. He had in mind framings that were difficult and even impossible to realise. However, what was really beautiful in his clipping was that it <\/span>conveyed his desire to direct<\/span> and the essence of what he intended to <\/span>convey<\/span>. It took <\/span>us<\/span> time to reach <\/span>an<\/span> agreement, but at the end of the prep I was able to <\/span>suggest approaches<\/span> that were in accordance with his director\u2019s desires. He is a guy that doesn\u2019t seem to care <\/span>for<\/span> the image, but it is not true. We would trust each other and that <\/span>gave<\/span> us a lot of freedom. He also had <\/span>an asset<\/span>: <\/span>he acknowledged his doubts whenever he had any, which might seem quite uncomfortable at times but which enabled me to make various suggestions<\/span>. I prefer that than <\/span>people pretending<\/span> they know everything. It was a painstaking but nice collaboration, and it <\/span>paid<\/span> off.<\/span><\/p>\n

\"Hedi_grab016_0116656\"Hedi by Mohamed Ben Attia<\/em><\/p>\n

Do you regularly work with the same team ?<\/i><\/span><\/p>\n

FN : <\/b><\/span>Not really. On <\/span>Hedi<\/i><\/span>, <\/span>as<\/span> I said, I only knew the Belgian gaffer. On <\/span>Pr\u00e9judice<\/i><\/span> the gaffer and the key grip were from Luxembourg for production reasons. Whenever I can choose, I call some friends, the ones that attended the INRACI with me. <\/span>However<\/span> when <\/span>having to work with strangers I sometimes leads to<\/span> beautiful encounters.<\/span><\/p>\n

I <\/span>have worked <\/span>regularly with Benjamin Hauteneuve as focus puller, it is easier to negotiate his Belgian position when the film is coproduced. I am very lucky, he is a friend and he is excellent at his job.<\/span><\/p>\n

Do you use the same camera and lenses on the different projects that you do ?<\/i><\/span><\/p>\n

FN :<\/b><\/span> It is never the same. That is the good thing about our job : supports multiply, optics evolve without <\/span>falling<\/span> out of fashion. Regarding the script that you read and that you discuss with the director, very soon you have to make a choice. Whenever you have the chance and the money you <\/span>keep testing<\/span>, <\/span>if not<\/span> you choose what you think is best for the project. I like to try new things. We have to <\/span>remain<\/span> curious.<\/span><\/p>\n

I only ask because a lot of the cinematographers that I have interviewed told me that they only worked with one camera, because according to them it was the only one that could render the colours properly. What is interesting is that some prefer the F65, others the Alexa and others still the RED\u2026<\/i><\/span><\/p>\n

FN :<\/b><\/span> I still have <\/span>misgivings about<\/span> the RED. Benjamin Hautenauve <\/span>insists that I must try <\/span>it, but I will not <\/span>do so <\/span>on a full-length film, I will try it on a short one. I did <\/span>Pr\u00e9judice<\/i><\/span> with the F65 and if Sony offers a new camera I will be glad to try it, because it\u2019s a very interesting constructor in terms of image. But what I <\/span>find the <\/span>best today <\/span>is<\/span> an Alexa shooting in RAW. The <\/span>latest<\/span> film that I have shot <\/span>Un conte Indien<\/i><\/span> d\u2019H\u00e9ctor Cabello Reyes, was with an Alexa in RAW and an Alpha 7 for the night scenes, with Master Anamorphic lenses. But really it depends <\/span>on<\/span> the <\/span>demands<\/span> and possibilities of <\/span>a<\/span> project.<\/span><\/p>\n

Do you use LUT or do you work with a DIT ?<\/i><\/span><\/p>\n

FN :<\/b><\/span> Not really. In my opinion, working with a DIT could be nice to visualise what you can or <\/span>cannot<\/span> do with the lighting, but most of the time I don\u2019t use <\/span>one<\/span>. I apply a REC709 preview LUT or a similar <\/span>pre-set depending on<\/span> the camera and I work <\/span>on<\/span> the light so that it looks good in <\/span>that<\/span> range. I know that if it is good in REC709, it will be <\/span>ok<\/span> for the grading.<\/span><\/p>\n

Do you have a colourist with whom you work regularly ?<\/i><\/span><\/p>\n

FN :<\/b><\/span> Not yet. But I would like to work with <\/span>the<\/span> colourist on <\/span>Hedi<\/i><\/span> Rapha\u00eblle Dufosset <\/span>again<\/span>. Alain Marcoen <\/span>had <\/span>recommended her. He is one of the most rigorous and interesting DOP that I know. His <\/span>photography blends into the directing <\/span>and <\/span>is<\/span> beautiful. For instance I find the lighting on the Dardenne brother\u2019s films both right and nice. So when Alain commended her, <\/span>I did not hesitate<\/span>. And I was not disappointed : she did a wonderful job in only seven days. We have some little regrets, because we did not have time to <\/span>spend<\/span> over <\/span>minor<\/span> details, but she is a true image technician, a true artist, because she gets exactly what the film <\/span>is supposed to convey<\/span> through<\/span> the image. So if I can, I will work with her <\/span>again<\/span>.<\/span><\/p>\n

How do you picture the continuation of your career ? Would you prefer to keep working with directors that you already know or would you prefer to keep doing first films ?<\/i><\/span><\/p>\n

FN : <\/b><\/span>I would gladly work on <\/span>other<\/span> films <\/span>with<\/span> all those directors : Antoine, Mohamed, Olias, Alain-Pascal and Patrick, all of them actually\u2026 But I would understand if <\/span>colleagues were to do <\/span>their next film due to production, availability or artistic requirements\u2026 the goal being that the films <\/span>be<\/span> well done. If I can work with them <\/span>again<\/span> I will, but at the same time I find that <\/span>first meetings are often very rich<\/span>. I will always do first <\/span>films because<\/span> having<\/span> to face a new cinema <\/span>is always very interesting<\/span>. But I would <\/span>also appreciate getting into the caricature of an old couple<\/span>\u2026 Doing all my career with the same director could also be a wonderful experiment. I don\u2019t know if it will happen, <\/span>or<\/span> with <\/span>whom<\/span>, but it could be great. Maybe the <\/span>greatest of all would be to experience<\/span> both.<\/span><\/p>\n

\"prejudice_stills.0000257_01\"Pr\u00e9judice by Antoine Cuypers<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

For his appointment as a new SBC member, we have invited Fr\u00e9d\u00e9ric Noirhomme for a coffee and have asked him a few questions.. Pr\u00e9judice by Antoine Cuypers What does it feel like to have been appointed at the SBC ? FN : There are some members of the SBC with…<\/p>\n","protected":false},"author":89,"featured_media":7286,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"__cvm_playback_settings":[],"__cvm_video_id":"","footnotes":""},"categories":[42],"tags":[429,430,431,250],"class_list":["post-7289","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-productions","tag-frederic-noirhomme","tag-hedi","tag-kill-me-please","tag-prejudice"],"_links":{"self":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/7289","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=7289"}],"version-history":[{"count":12,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/7289\/revisions"}],"predecessor-version":[{"id":7311,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/posts\/7289\/revisions\/7311"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=\/wp\/v2\/media\/7286"}],"wp:attachment":[{"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7289"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7289"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sbcine.be\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7289"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}