The Oscar Winning Cinematographer Talks About the Language of Film, 3D, Musicals and Dinosaurs

by Christine Purse

Born in Australia, raised in South Africa, Dion Beebe, ASC, ACS, headed to the US in 1996. Early in his trajectory, Dion was enamored with still photography, but his focus soon shifted to the moving image.  After training for a year in South Africa, he moved back to Australia to study at the Australian Film Television and Radio School in Sydney. He began working on music videos shortly after graduation, but quickly transitioned to features with “Crush,” the first step in what has proven to be an illustrious career.  A multiple award winner and nominee, Dion was nominated for an Academy Award in 2003 for “Chicago,” and won the Oscar in 2006 for his stunning cinematography for “Memoirs of A Geisha.” His credits include “Chicago,” “Miami Vice,” “Collateral,” “Charlotte Gray,” and “Rendition,” to name but a few.  He’s at work on the DI for “Land of the Lost” and  has recently wrapped another Rob Marshall musical, “Nine.”

HDE: Your credits run the gamut:  musical, drama, action, commercials, and most recently, a comedy with extensive visual effects.  What factors compel your choices?

DION BEEBE: Ultimately, the big draw for me is the script.  If I respond to material on the page, then I’m hooked. I am also drawn to material that is a departure from my prior work; stylistically huge leaps are attractive to me. With that said, I do like to have a sense of the director, how they ultimately see the story, and what their prior work has been about. Every movie has its challenges, every director is an individual and every movie is different. That is specifically attractive to me. I found myself doing musicals, which was a huge departure from what I envisioned my career being, but it’s been wonderful.

HDE: “Land of the Lost,” the remake of the classic television show, is comedic, visual effects laden, and completely different from other credits in your history.

DION BEEBE: “Land of the Lost” is extremely different for me.  I knew from the beginning how critical visual effects would be, and that was intriguing. I was fascinated to tackle a movie that was a fantasy and visual effects oriented.   I learned a lot and gained a real understanding of the power that visual effects has to expand our ability to tell a story.  Really, at this point there is almost nothing we cannot do. Also, I hadn't done a comedy, even though in some ways “Holy Smoke” was a comedy, but I hadn't done anything like this. So there were a number of attractions, not the least of which is Brad Silberling, who I wanted to work with. He was going to craft a strong visual approach to the movie, he had a strong vision, and he wasn't setting out to make a broad comedy. He’s made movies like “Lemony Snicket,” and “City of Angels” so he looks at things visually and that visual process is part of how he works.  It ended up being so much fun to work on this movie.

HDE: You’ve established ongoing relationships with several of the most interesting directors working today, Micahel Mann, and Rob Marshall to name two.  On the surface, these appear to be radically different people making very different kinds of movies. How do you work into a successful creative process with a director?

DION BEEBE: As individuals each of those directors have very different styles and approaches to their work.  A big part of getting into a successful relationship with a director is to accept the fact that everyone does have different approaches, visions and strengths.  I like to understand what the needs are and what the strengths are and then work with it. For instance, Michael knows what he wants, and he loves the technical aspects of the process.  He really gets into it and wants to be involved with it.  Cameras, lenses, post; he loves it.  That’s very different from Rob Marshall, who has a clear vision of what he wants and how he wants to see it but doesn't’t invest himself as much in the technical execution.

HDE: Now that you’re finishing up “Land of the Lost,” are you motivated to do another movie with extensive effects?

DION BEEBE: Yes, it’s such a huge part of storytelling now, I am somewhat more excited about it than I have been in the past.  Visual effects are an important part of the language of film now.  Having gone through the whole process on this movie from pre-visualizing it, and then breaking it down and creating the image on film, to the final result, was enticing and exciting.  To realize those ideas was very interesting, and it fully opens up  things.  You realize that there is no limit to what can be accomplished on screen.

HDE: Are there new technologies that are interesting to you?

DION BEEBE: I am currently working with Steve Scott at E-Film on “Land of the Lost” and have been impressed with the new tracing tools in the suite.  We are able to run a couple of windows during a shot that can track with the action, fade out during a shot or create dynamic shifts in color and density.  On occasion we can take an actors eyes and just lift in the sockets without consideration for how much camera movement there is in the shot - Steve can track them with completely accuracy.  Of course, it does help that Steve is an artist.

HDE: What do you think about the increasing interest in 3D?

DION BEEBE: 3D is intriguing. I am curious to see James Cameron’s “Avatar” push 3D beyond the realm of novelty. I want to see 3D used in a dramatic sense, to draw the audience fully into the visual experience and at the same time heighten the dramatic storytelling. I am intrigued and would welcome the challenge to tell a story in 3D.

HDE: You have a busy commercial career.  What’s the appeal to working in commercials?

DION BEEBE: It’s great to work in the short form, and it’s short in every sense!  Often, just one day to plan, scout and discuss the approach with the director and the next day you are shooting! Because of this tight schedule and turnaround, commercials make you think on your feet, which is good. It is also a great opportunity to explore many different stylistic approaches and work with a lot of interesting directors. Shooting commercials between movies also gives me breathing room between big projects. And, besides all that, I enjoy the work.

HDE: You’ve finished “Nine,” a highly anticipated musical with an amazing pedigree.  Directed by Marshall, shot by you, written by the late, great Anthony Minghella and Michael Tolkin with a cast that is positively jaw-dropping. (Daniel Day-Lewis, Marion Cotillard, Judi Dench, Nicole Kidman, Kate Hudson, Penelope Cruz, Stacy Ferguson and Sophia Loren) “Nine” was a Broadway hit and homage to Fellini’s ‘'8 1/2'” This seems like a very serious musical!

DION BEEBE: Well, yes, it’s a little intense and it’s unlike any musical that I’ve been involved with. You don’t see musicals like this very often. You have an unbelievable cast of actors, and thirteen or fourteen musical numbers. But it is very grounded in the drama, because of the actors.  Daniel is such a strong presence and a serious method actor.  He was the anchor to the story and to the cast.  He’s very intense, yet is able to transition and draw you into these incredible flights of fantasy.  I am excited with what we did on the film.

HDE: Thank you for sharing your time and experiences with us. “Land of the Lost” opens on June 5th, 2009 and “Nine” opens the 25th of November, 2009 , we will be there!