Iranian-French Cinematographer Darius Khondji On Staying Inspired After 35 Years In Cinema & More

Growing up in France, Darius Khondji would often visit the Louvre to take pictures of exquisite statues and then spend hours studying the play of light on them. A true minimalist, the acclaimed Iranian-French cinematographer has always been reducing things to their most simple forms with light. 

In fact, pushing and pulling light and shadow to their limits would become a defining trait of Khondji’s work. Possibly the best example of him choosing underexposure to enhance the atmospheric feel and visual tension of his films is in David Fincher’s Se7en. To drive forward this taut thriller tormented by a serial killer, Khondji created a dark, contrasty negative by underexposing the film stock by two full stops, treating it, and lighting the shots such that the interiors were almost always brightened by the lights outside.

For Khondji, techniques by themselves are sterile and such experiments are only interesting when led by a story. “I learnt technique by testing things,” he says. Khondji was one of the five “Masters” at the 11th edition of Qumra, the annual talent incubator event by Doha Film Institute (DFI) in Qatar, earlier this month. The Masters, who are some of the most iconic names in world cinema, provide one-on-one mentorship to support participating filmmakers and their projects. 

Khondji’s stellar filmography includes Se7en, Delicatessen, Midnight in Paris, Amour, The Lost City of Z, Okja, Uncut Gems, and the most recent Bong Joon Ho movie, Mickey 17. Just hours before this interview, Khondji, in his masterclass, was asked by a member of the audience about filmmaking and AI. “I love making film with people. I love having people around me, having a crew, having a director, men and women, and making films together,” he explained. “However, I don’t want to limit people’s minds; people should always continue discovering.”

Excerpts from the interview:

Does music play an integral role in your approach to cinematography?

Music inspires me. Listening to Mozart has inspired my camera movement. On set, often the rhythm of the movement of the cameras, or of the actors, or listening to the actors on the headset, it’s all very musical. Cinematographers are like musicians, playing the sound and music given by the composer.

Having worked for more than 35 years in the industry, do you feel any different today about your relationship with work?

You have to keep working the same way as when you were younger. You can’t really take more time (on set). You have to be physically fit. So I train in the morning for an hour. I stretch, and do pilates and yoga. As for the ideas in my mind and the way my mind functions, the excitement, the passion, I hope it’s still there. I feel, perhaps, it’s there more than ever before. What you truly realise with time is that you don’t have that many years ahead of you. So you have to be all the more certain of the movies you choose to work on.

Do you have to be empty of all that you know to embrace a new cinematic approach if a project so demands?

Indeed, you need to be empty of it all. The interference that keeps visiting your head when you are creating something new; it's like a parasite.

When you hear the script for the first time, there must also be a vision that begins developing in your head. Where does the meeting of the minds happen for you and the director?

It begins happening from our first conversation. The director tells me the story and their idea of what they want to do. Sometimes, I love when the director tells me the whole story of the film the way they see it. So the vision develops little by little right from when we start talking about the script.

Tell us about your latest work, Ari Aster’s upcoming film, ‘Eddington’ starring Joaquin Phoenix and Pedro Pascal, set in a New Mexico desert town. It must be exciting that it will have its world premiere at the Cannes Film Festival next month.

Yes, indeed. It was a fantastic experience filming in the desert. I feel the desert gives you a feeling like you are in a room with some characters but the doors are closed. Ari is an extremely precise director. It’s wonderful to work with him.
Has technology and evolution of filming equipment changed your approach to cinematography?

I feel I have less control over my work when it’s a big-budget movie with a lot of people and sets. Suddenly, the control over my work starts to diffuse. You should be able to have your grip on a project alongside the director, to really channelize ideas and make it strong and personal. Today, we have more control over everything when it comes to creating images. We can digitally enhance and change everything. But it doesn't really give me a feeling of more or less control over my work because what matters to me is to first be allowed to do what I want to do.

When you want to refresh the library of visuals in your head, is there a source you turn to?

I would say two sources; walking & music. I love walking. And it’s very important for me to listen to music; a lot of classical and contemporary music. What also refreshes me is to visit Italy or Greece and swim in the sea. Alone, all by myself.

Published on: Sunday, May 25, 2025, 09:15 AM IST