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Family
Raoul Coutard Film-maker
Next Views Duration
1. Family 1578 02:56
2. Growing up with Russian cinema 332 01:29
3. From chemistry to photography 247 02:14
4. The boss's brother 183 01:46
5. The 1940 defeat and the communist uncle 172 01:09
6. The liberation and leaving for the Far East 128 01:21
7. The Expeditionary Forces 126 02:56
8. Leaving for Indochina 107 03:45
9. Life on board a Dutch trooper 87 02:38
10. Landing in Saigon 97 01:43
11. The cannonade 80 02:22
12. The first days in Saigon 81 01:43
13. Conditions in Vietnam 86 05:26
14. Laos 74 03:07
15. Photography (Part 1) 163 03:07
16. Photography (Part 2) 91 02:37
17. Simplicity, divine quality, touchstone of the beautiful 109 02:34
18. Returning to Indochina 71 03:32
19. The information brigade 85 02:17
20. Photo and cinema 132 02:12
21. Filming conditions during the war 92 02:28
22. Working for Indochine Sud Est Asiatique 136 02:03
23. Censorship 63 05:16
24. Releasing the prisoners 49 02:43
25. Dien Bien Phu (Part 1) 105 06:11
26. Dien Bien Phu (Part 2) 60 02:17
27. Dialectics 69 01:29
28. The prisoner camps 49 03:32
29. Connaissance du Monde 73 01:56
30. My first professional film 130 03:55
31. From photography to cinema 112 01:50
32. The team of The Devil's Pass 73 01:49
33. Filming The Devil's Pass (Part 1) 70 03:00
34. Filming The Devil's Pass (Part 2) 68 02:22
35. The royal Bouzkachi 51 04:04
36. The Samarkand meeting 64 02:40
37. The filming conditions of The Devil's Pass 43 02:00
38. Leaving Afghanistan 30 02:15
39. Stopping in Moscow 35 03:56
40. Returning to Paris 37 02:20
41. The laboratory 40 01:40
42. Fox 38 02:17
43. On the way to the Berlin Film Festival 34 03:23
44. Berlin 29 03:09
45. Photo-stories 42 04:56
46. Financing a film (Part 1) 44 02:35
47. Financing a film (Part 2) 33 03:41
48. Ramuntcho (Part 1) 48 03:01
49. Ramuntcho (Part 2) 34 03:39
50. Island Fishermen (Part 1) 31 03:42
51. Island Fishermen (Part 2) 30 01:42
52. De Beauregard 49 02:05
53. Photography and cinema 104 04:51
54. The important role of cinematography in cinema 202 01:26
55. Sets and cinematography 122 02:39
56. The hidden importance of cinematography 154 03:00
57. Filming with Jean-Luc Godard 375 05:48
58. Godard's filming techniques 336 00:56
59. The limited means of filming on Breathless 236 01:46
60. Ilford film 185 02:08
61. Welcoming the film's first rushes 131 01:41
62. Breathless: The premiere 140 01:45
63. The impact of Breathless on French cinema 181 03:40
64. Ruling is foreseeing 74 02:10
65. Storyboard 76 04:15
66. Advertising 53 03:43
67. Filming in video 61 03:01
68. Fuego (Part 1) 45 01:50
69. Fuego (Part 2) 30 00:25
70. French-Italian collaboration 33 00:47
71. Conflict between cameraman and technical consultant 77 01:22
72. Going from black-and-white to colour 85 02:14
73. Filming Shoot the Pianist 89 04:25
74. Jules and Jim 134 04:04
75. Filming Contempt 508 02:02
76. Jack Palance 217 02:20
77. Contempt: The atmosphere on the shoot 251 02:17
78. Jean-Luc Godard (Part 1) 291 03:03
79. Jean-Luc Godard (Part 2) 235 01:57
80. The film director's explanations 127 00:44
81. Communication 74 03:43
82. Jean Valère 38 03:19
83. The cameramen (Part 1) 68 02:10
84. The cameramen (Part 2) 59 02:35
85. Perched on a tree 41 00:34
86. Dawn (Part 1) 47 03:45
87. Dawn (Part 2) 33 04:57
88. Jean-Pierre Mocky 45 03:05
89. Pour Lucrèce 26 02:29
90. The 317th Platoon (Part 1) 47 02:50
91. The 317th Platoon (Part 2) 42 03:35
92. Objective 500 million 34 01:19
93. Schoendoerffer and Indochina 35 01:16
94. Preparing the filming of Dien Bien Phu 31 05:26
95. Fireflies in Dien Bien Phu 32 02:35
96. A film's length 26 04:07
97. S.A.S. à San Salvador 71 03:55
98. The quality of the screenplay 30 01:50
99. Philippe Garrel 71 01:39
100. Philippe Garrel's cinematographic techniques 86 02:38
101. Cinematography with Philippe Garrel 74 02:40
102. The filming circumstances of The Birth of Love 55 02:24
103. The chronological filming of The Birth of Love (Part 1) 44 02:32
104. The chronological filming of The Birth of Love (Part 2) 45 00:47
105. The importance of text 53 02:27
106. The different actor direction techniques 65 04:16
107. The difficult filming of a foreign film 28 03:38
108. The Confession 31 02:06
109. Z 48 01:45
110. Filming conditions in Algeria 28 04:33
111. Jacques Perrin 36 02:59
112. Filming at sea (Part 1) 39 04:08
113. Filming at sea (Part 2) 28 01:56
114. The gaffer 49 01:46
115. The Key Grip 35 01:50
116. Jacques Demy 58 01:39
117. Lighting whites 70 01:11
118. David Hart 60 02:19
119. Filming in England 47 03:33
120. Tony Richardson 51 05:17
121. The Sailor from Gibraltar 39 04:10
122. From 8mm to cinemascope 43 00:45
123. Cinemascope 54 02:53
124. The Sailor from Gibraltar filmed in cinemascope (Part 1) 38 01:42
125. The Sailor from Gibraltar filmed in cinemascope (Part 2) 47 01:13
126. Going back to a normal format 32 03:05
127. 70mm 64 02:08
128. The collaboration between the film director and cameraman 58 02:28
129. Co-operating on set 38 04:19
130. The importance of a good filming environment 52 04:07
131. The evolution of cinematography 96 02:14
132. The Soldiers 50 05:21
133. The New Wave 139 02:10
134. Horizon by Jacques Roufiot 29 01:31
135. The relationship with other cinematographers 56 01:59
136. The lighting methods (Part 1) 114 02:29
137. The lighting methods (Part 2) 80 03:34
138. Developing films 33 02:09
139. Digital 52 02:34
140. Cinerama and Kinopanorama 41 01:53
141. Filming in Studio 32 04:35
142. The Studios and the New Wave 51 01:42
143. Studio and Godard 105 03:22
144. Costume designers 25 02:12
145. Television 60 00:48
146. Scourge of society and Molinaro 26 01:55
147. Richard Dembo 29 01:46
148. Jacques Baratier's Light cube 39 01:34
149. Dangerous Moves filming team 28 04:06
150. Jerusalem File 26 04:34
151. The Southern Star 23 02:53
152. Front projection 39 02:04
153. Filming Alphaville (Part 1) 124 03:46
154. Filming Alphaville (Part 2) 85 02:20
155. Filming in black-and-white 79 01:54
156. Developing film rolls 28 03:52
157. Filming Week End 77 04:36
158. The inspiration for Hoa Binh 36 02:21
159. Looking for financing 31 01:31
160. Preparing the filming of Hoa Binh 22 04:20
161. Filming Hoa Binh 49 02:59
162. Filming the military operation in Hoa Binh 72 05:55
163. Choosing the film's title 32 00:56
164. Two versions of the film 28 01:36
165. The release of 'Hoa Binh' 40 04:46
166. From cinematographer to film director 48 01:35
167. Teaching lighting 81 01:31
168. Lighting in theatre 40 01:22
169. Working with foreign directors 32 00:43
170. Retiring 45 01:49
171. Cinema as a viewer 55 02:23
172. The important cinematographers 86 01:57
173. A surprising conference in Japan 46 01:12
174. The creation of the AFC 37 04:19
175. The members of the AFC 29 02:07
176. Advice 94 00:24
177. The injustice of the film world 86 04:58
178. Difficult friendships between film directors and cinematographers 111 04:01
179. A career with no regrets 79 03:13
So yes, I confirm it. I am indeed Raoul Coutard. According to what I have been told, I was born on the 16th of September 1924, in Paris, at the Hôtel-Dieu Hospital. My mother was actually born there, which means that I am a true Parisian, of at least two generations- My maternal family came to Paris in 1870 and it was quite interesting because my grandfather who was very young when he arrived, was obviously- It was during the war, he was on the federates' side. Which means that my entire maternal family was a left-wing family- in fact we had a large red flag of the Tours congress in the house. And obviously, I was brought up listening to stories about Louise Michel, the federates, etc. Of the Commune? Of the Commune. So. My Dad was from Mayenne. He was extremely unlucky because he had just finished his military service, which at the time lasted three years, in 1914, which means that he endured four years of war, which meant that he served seven years as a soldier. And then, they thought it wasn't enough, so they sent him to do two years in Germany during the occupation. So all in all he got stuck serving nine years in the army. And- Did he talk to you about it? No, he didn't talk about it much. I talked to him about it, because I mean at the time. There was a tremendous number of injured people etc. who trailed around the streets, there were loads of disabled people driving around in their little bangers, there were all those people we called 'broken faces'. So obviously the war was still something relatively present. And I mean he didn't really like about those- to talk about the problems he had during the war. He was obviously very close to my mother's brother, and that must be why he married her. My father, on the other hand, he worked as an accountant for the factories- Not the factories- At the Hoffmann-Laroche Headquarters, the pharmaceutical products. I had more or less, a relatively happy childhood, it was a time when women stayed at home to look after the children, so I was really pampered by my mother. I mean maybe- maybe a little too much, but well.
Bon alors donc, je confirme. Je suis bien Raoul Coutard. D'après ce qu'on m'a raconté, je suis né le 16 septembre 1924 à Paris, à l'hôpital de l'Hôtel-Dieu. Ma mère était d'ailleurs née à cet endroit-là, ce qui fait que je suis vraiment un Parisien, au moins deux générations- Ma famille maternelle était venue à Paris en 1870 et c'était assez intéressant parce que mon grand-père qui était tout jeune à l'époque quand il est arrivé, naturellement il a été- C'était pendant la guerre, il était du côté des fédérés. Ce qui fait que disons toute ma famille maternelle était une famille de gauche- Il y avait d'ailleurs le grand drapeau rouge du congrès de Tours qui était dans la maison. Et naturellement j'ai été élevé en écoutant les histoires de Louise Michel, des fédérés, etc. De la Commune ? De la Commune. Bon. Mon père était lui de la Mayenne. Alors il avait une chance extraordinaire parce qu'il venait de finir son service militaire qui durait à l'époque trois ans, en 1914, ce qui fait qu'il s'est tapé quatre ans de guerre, ce qui lui a fait donc sept ans comme militaire. Et puis on a trouvé ce n'était pas assez, on l'a envoyé deux ans en occupation en Allemagne. Donc il s'est tapé neuf ans d'armée. Il t'en parlait de ça ? Il n'en parlait pas beaucoup non. Je lui en parlais, parce que je veux dire à l'époque. Il y avait énormément de gens qui étaient des blessés etc. qui se trimballaient dans les rues, il y avait plein de mutilés qui se baladaient avec leur petite bagnole, il y avait tous ces gens qu'on appelait les gueules cassées. Donc forcément la guerre était quand même encore un truc relativement présent. Et il n'aimait pas beaucoup, je veux dire- Disons parler de ses problèmes qu'il avait eus pendant la guerre. Il était naturellement très copain avec le frère de ma mère, c'est comme ça qu'il a dû l'épouser. Mon père travaillait lui par contre comme comptable dans les usines- Pas les usines- A la direction des produits pharmaceutiques Hoffmann-Laroche. Moi j'ai eu disons une enfance qui était relativement heureuse, c'était encore l'époque où les femmes restaient à la maison pour s'occuper des enfants, donc j'ai été chouchouté par ma mère. Peut-être je veux dire- Peut-être un peu trop je veux dire, mais enfin bon.

French cinematographer, Raoul Coutard (1924-2016) was twice nominated for the César Award for best cinematography which he won in 1978 for 'Le Crabe-tambour'. He made over 75 films and documentaries, including 'À Bout de Souffle', Le Mépris' and 'Band à Part'. He was the most acclaimed French cinematographer of his generation and one of the key figures of the New Wave.

Listeners: Bernard Cohn

Bernard Cohn est un réalisateur et écrivain français, ayant réalisé cinq film ainsi que de nombreux reportages et séries télévisées. En tant qu'assistant réalisateur, il a travaillé avec plusieurs grands cinéastes, notamment Luis Buñuel, François Truffaut, Otto Preminger et Woody Allen. Il fut membre fondateur du ciné-club Ciné-Qua-Non et a participé à la rédaction et traduction en anglais, de plusieurs ouvrages sur le cinéma.

Benard Cohn is a French filmmaker and writer, who has directed five films as well as numerous documentaries and television series. As an assistant director, he worked with many important filmmakers, including Luis Buñuel, François Jacob, Otto Preminger and Woody Allen. He was a founding member of the Ciné-Qua-Non cinema club and has acted as editor and translator for various publications on the world of cinema.

Tags: Paris, Hoffmann-Laroche

Duration: 2 minutes, 57 seconds

Date story recorded: October 2004

Date story went live: 24 January 2008

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