Raymond Cauchetier 1920-2021
A Bout de Souffle (Studio rue Campagne-Premiere), 1959
Gelatin Silver Print
23.7 x 30 cms
9 5/16 x 11 12/16 ins
9 5/16 x 11 12/16 ins
6203
Printed 2015 Paper Size: 30 x 40 cm Image Size: 23.7 x 30 cm Edition of 20 Photograph is signed and numbered by the artist. On the set of A...
Printed 2015
Paper Size: 30 x 40 cm
Image Size: 23.7 x 30 cm
Edition of 20
Photograph is signed and numbered by the artist.
On the set of A bout de souffle (Breathless), Godard, reading from a script, pushes a wheelchair holding cameraman Raoul Coutard as Seberg and Belmondo look on, August 1959.
In this photograph, Cauchetier shows members of the crew at work in a tight hotel room in the Latin Quarter; there, Coutard applied the sort of rough-and-ready lighting scheme that he had learned while working for Hubert Serra, a publisher of photo-romans (photo-novels - in effect, graphic novels in which photographs are used in lieu of drawings) and also a former employer of Cauchetier.
Cauchetier documented a shoot in a photographer's studio, with Godard pushing a wheelchair in which Coutard sat holding the camera, as there was no money for tracking rails.
Cauchetier recalls of the director:
work was very discreet, very Swiss. No raised voice, no impatience. Everything was in his school notebook, where he noted, sometimes until the last moment, the dialogues of each person. He indicated his wishes as if they were mere suggestions. Then he allowed the players to cope. He dealt mainly with camera movements, sometimes even pushing with his right hand the wheelchair where there was the cameraman. With his left hand he held the manuscript, reading aloud the text that had to be repeated by the actors. Anyway, the dialogue would be resumed in post synchronization.
Paper Size: 30 x 40 cm
Image Size: 23.7 x 30 cm
Edition of 20
Photograph is signed and numbered by the artist.
On the set of A bout de souffle (Breathless), Godard, reading from a script, pushes a wheelchair holding cameraman Raoul Coutard as Seberg and Belmondo look on, August 1959.
In this photograph, Cauchetier shows members of the crew at work in a tight hotel room in the Latin Quarter; there, Coutard applied the sort of rough-and-ready lighting scheme that he had learned while working for Hubert Serra, a publisher of photo-romans (photo-novels - in effect, graphic novels in which photographs are used in lieu of drawings) and also a former employer of Cauchetier.
Cauchetier documented a shoot in a photographer's studio, with Godard pushing a wheelchair in which Coutard sat holding the camera, as there was no money for tracking rails.
Cauchetier recalls of the director:
work was very discreet, very Swiss. No raised voice, no impatience. Everything was in his school notebook, where he noted, sometimes until the last moment, the dialogues of each person. He indicated his wishes as if they were mere suggestions. Then he allowed the players to cope. He dealt mainly with camera movements, sometimes even pushing with his right hand the wheelchair where there was the cameraman. With his left hand he held the manuscript, reading aloud the text that had to be repeated by the actors. Anyway, the dialogue would be resumed in post synchronization.