CAREERS
we talk the same language and help each other. Def: What’s been your proudest career moment so far, and why? J-CS: Receiving a fellowship award from Danny Boyle at the British Arrows. It was a total surprise. The feedback I got from Chernobyl was overwhelming as well. Some of my work in advertising many years ago still gets referenced today, too. J-CS: Grading Slumdog Millionaire : the technology was not ready for a film so complicated, so grading and delivering it was painful and nerve-racking. Plus, the film was going to get parked… It’s a miracle we finished it alive! Def: And what about your biggest career challenge – and how did you overcome it? Def: What excites you about your career now? J-CS: Technology is now helping us with mundane tasks, so we can concentrate purely on grading and creativity. I finally work on the big stuff after all these years, but still take pleasure working on smaller projects with friends and faithful clients. Most important is to have a good time with people you like. Def: What drives you professionally? J-CS: I love variety, projects ranging from ten seconds to ten hours. I like the effort needed to keep pace with new software, challenges from client requests and the problem solving. I also like the trust and respect earned over the years, and the brainstorming sessions with my team.
BE PATIENT. IT TAKES TIME TO GET THE experience REQUIRED TO solve any problems ”
Def: What would your number one piece of advice be to people wanting to break into the industry or follow a similar trajectory to yours? J-CS: Stay with committed people. And be patient, it takes time to get the experience required to solve any problem you might come across. Also remember, you need to earn trust from clients, and understand what they want you to translate on the screen. Def: And finally, what do you perceive to be the biggest challenges the industry is currently facing as a whole? J-CS: Artificial intelligence being just good enough for many; the whole legacy of analogue film being forgotten – and budgets not allowing time for research and experimentation.
DESK WORK Soret’s expert colour work has appeared on acclaimed shows such as Black Mirror (this image) and The Two Popes (pictured below)
movies for TV and transfer dailies for several years. I have great memories of that time, and still recall that catalogue from the back of my mind to work today – it has proved invaluable to me. I learnt a lot from DOPs, photographers and artists. The nineties in France was a buzzing, groundbreaking period with a lot of experimentation on film stocks. It shaped my vision. Def: How would you describe the relationship between colourist and cinematographer? J-CS: Cinematographers have always relied on the colourist to do things he or she has not been able to do on-set. With the technology moving on, the requests are becoming more complex and refined than ever. Colour grading is an extension of the work of filmmakers, and ultimately
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