Dries Delputte over zijn camerawerk bij de serie 'Albatros'


The lives of ten strangers intertwine when they join a weight-loss camp and are faced not only with the battle against their bodies, but also their minds – and each other. With a dead mother, a dark secret and lots of unresolved resentment, camp guru Bart has his own demons to fight. Shooting the tv series Albatros cinematographer Dries Delputte continues his working relationship with director Wannes Destoop.

How did you land this project?

Dries Delputte: Wannes involved me pretty early on.
He had me read different versions of the script, which we then discussed together. It has been educational to be involved at such an early stage, especially in the final phase when choices were made with the production process in mind and its feasibility.
But at the same time, I discovered that being involved too early in the writing process also can have a downside. Doing it this way I am very aware of the compromises that have been made or of what the loose ends are in the storyline.
I like to keep a fresh look, the first time I read a shooting script.

How did Wannes and you make the evolution from doing short films together to larger productions? Did this require a different approach or communication?

DD: I met Wannes for the first time on the set of “180”, a tv show by director Jakob Verbruggen and DP Ruben Impens, for whom I was working as a gaffer at the time. A few weeks later, we were filming a thesis film together somewhere under a bridge in the port of Ghent. A year later, his graduation short film that I shot at the KASK film school ‘Badpakje 46’ won the “Prix du Jury” at Cannes, awarded by Michel Gondry.
In hindsight, we didn’t really realize the full impact of that adventure. I received several offers for projects in the US and France, but regrettably I never really followed up on this.

Since then we continued working together on various commercials, music videos, and short films. I had already shot a few tv series (among others Tabula rasa, Bende Van Jan de Lichte, The Twelve) so for me, it was not a new thing to work on these kinds of bigger jobs. This allowed us to continue working together in the same pleasant way as before. Although this time longer and more intense.

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