Yorgos Lanthimos Transforms L.A. Gallery With His Debut Photo Exhibition

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Yorgos Lanthimos began snapping photos on set as a necessity because there was no professional photographer when they were making small films in Greece. Reflecting on those days, he explains, “I used to take pictures for publicity purposes, but I also found enjoyment in it.” This initial pleasure has since grown into a deep-seated passion.

Afterward, he’s been taking photos on the film sets of his prominent projects such as “Kinds of Kindness” and “Poor Things”, which later became the photography books titled “i shall sing these songs beautifully” (MACK, 2004) and “Dear God, the Parthenon is Still Broken” (Void, 2024). These books have sparked another creative pursuit, as Lanthimos is soon to present his first still photography exhibit at MACK + Webber located at 939 in Los Angeles.

Prior to its debut this weekend (March 29-May 18), Lanthimos recently chatted with The Hollywood Reporter over Zoom. They discussed his admiration for the art form, how examining images aided him and Emma Stone in unwinding after lengthy days on the set of “Poor Things”, and why he’s been particularly intrigued by his homeland lately (despite still feeling apprehensive about interacting with strangers).

It’s a big endeavor to have an exhibition. Why did you say yes?

Over time, my affection for photography has grown deeper and deeper. Compared to creating films, it provides a sense of liberation and simplicity that appeals to me. Initially, I wasn’t certain if I would ever amass enough photographs to fill a book, let alone mount an exhibition. However, this medium captivates me. Once the books were completed and this chance presented itself, I eagerly anticipated seeing my images in a fresh context, in a new environment, and with a revised edit. Interacting with a book is distinct from interacting with a space. There are fewer images, and those images connect to one another uniquely. It’s much like the difference between watching a movie in a theater versus at home. I’ve never showcased my photographs in a setting like this before, so it promises to be an exhilarating and unique encounter.

Why do you think you’ve been falling more in love with photography?

From the very start, I’ve had a deep-seated passion for photography due to my filmmaking background. While everyone snaps photos casually, I developed a slightly more technical skill in capturing images. During my commercial production days, I often took photos on film sets, using them as mementos rather than serious work. However, it wasn’t until I began making films that my photography hobby escalated. In the early stages of filmmaking in Greece, we didn’t have a dedicated photographer, so I would take my own shots for promotional purposes while also finding pleasure in the process.

It wasn’t until the project Poor Things presented me with the chance to express that we were constructing this entire world, that photography offered an opportunity for me to create something unique and offer a fresh perspective on the world we had imagined. The scope and challenge of the project sparked my curiosity and encouraged me to take more photos, not just as a reflection of the movie or a scene, but to see if I could discover something new. That’s when I started capturing these large-format black-and-white portraits of the actors, which are highly posed and carefully constructed.

What else were you drawn to?

Other photographs were captured throughout the construction of the world, yet its demise also captivated us. Snapshots of the destruction in progress and the contrasting appeal of ruins versus the initial beauty created a unique visual narrative. This collection of images might have potential for a book, offering an alternative perspective on our experiences there. That’s how the idea for the first book was born, inspiring me to take photography more seriously. During this period, we began processing the film ourselves in Budapest bathrooms while filming. Upon my return to Athens to edit the footage, I constructed a darkroom adjacent to my editing suite and delved even deeper into learning printing techniques.

You did get more serious about it.

Indeed, when it was time to shoot the movie titled “Kinds of Kindness“, which was set in a real urban location, it offered me a unique chance to take things a step beyond the film’s theme. Instead, I could swivel around and capture images of the city or individuals who happened to be nearby and intrigued by the film or its production. I employed black-and-white photography with flash, which produced an entirely distinct ambiance from the movie itself. This was a deliberate approach to create something strikingly different from the film. That’s how the MACK book was born.

Over the last few years and during my travels, I’ve found myself capturing moments with my camera. Even when I’m in a place like Athens, I enjoy wandering around and taking pictures. I’ve been more intentional about building a collection of photos, and I want to create something meaningful from these images that have no connection to my films. It wasn’t a single event that sparked this passion for me, but rather an opportunity that drew me into the entire photographic process. The process of photography, from development to printing, holds a special magic for me, with all its intricate, analog aspects.

It’s intriguing to listen to your statement about enjoying photography amidst overseeing a whole film production. How on earth do you find the time for it?

For me, capturing moments through a camera comes instinctively. Over the years, I’ve been accustomed to having a camera, and I often find myself studying scenes and compositions through its lens. Snapping a photo requires merely a few seconds or even less, providing a momentary escape from the ongoing process. This temporary detachment then allows me to re-engage, offering a fresh perspective that I find particularly useful when filming. It helps me maintain balance and not get too fixated on any single aspect of what’s happening around me.

Fun fact: The peculiar twist in “Poor Things” left quite an impact on me. Though this narrative isn’t entirely novel, Emma and I found ourselves often wrapping up our day by developing film. It was during those times that she honed her skills and developed a deep passion for it too. In a sense, it served as a source of strength due to its almost meditative nature. It provided us with the mental preparation we needed for the days ahead, becoming an essential aspect of our creative journey rather than just something squeezed in.

Could there be an opportunity for a new photography book featuring the images you spoke about, which aren’t just from film sets – such as those taken in Athens and during your travels?

Absolutely, if I collect enough high-quality photos for a photo book, it seems like a logical step given my passion for photography. While working on film sets provides ample opportunities for capturing images, creating a standalone photo book that isn’t simply an extension of the movie is challenging. It’s not a simple task to separate my photographic creations from the films, but I find it more organic and in line with my goal to do so.

Can you explain what catches your eye or intrigues you when you’re exploring the world or simply being a part of it? What does your personal viewpoint encompass?

Currently, I’m deeply intrigued by my home country. After spending ten years in London, I returned three years ago and have since been primarily residing here, though our work requires us to travel extensively, preventing me from staying put for too long. In this process of rediscovering the city and countryside I was raised in, I’ve found myself captivated by its unique blend of urban and natural landscapes. The city, with its seemingly chaotic yet comforting structure, is a fascinating study – it showcases numerous contradictions in its construction and design, making for an intriguing mix of elements that might not appear to go together. When visiting the islands, you can observe how human presence has shaped those environments, tracing the history of our influence on them. It’s like witnessing the imprint left by human hands over time.

Apart from film set photography, I’ve also developed an affinity for portraiture. However, approaching strangers to take their photos is challenging for me. Consequently, I find it easier to capture portraits in this setting. I’ve dabbled with photographing acquaintances and friends, but I aim to expand my portfolio by connecting with more people through mutual connections. This process may take time, but photography allows for a leisurely pace – there’s no pressure to complete a project within a month as there might be with other projects. Once I finish editing the current film, I’m eager to dedicate some time to honing my portrait photography skills.

How is the editing process on Bugonia and how far along are you?

Editing this piece has been fantastic, but you never truly know when it’s completely finished until it is. I always believe I have covered everything, only to find small details that need attention. To maintain a fresh perspective, I take some time away from the edit before returning to it after about a week. At this point, we’re nearly done with editing and we’ll see where things lead!

For the exhibit, was there a story you were trying to tell based on how you curated the images?

I find photography captivating because its interpretations are subjective and versatile. A collection of photos can convey a singular meaning, but swap a few and the message changes. Moreover, the same image can hold different meanings for various viewers based on their individual perspectives. We gauge which photos fit well together, considering how they interact and how potential tension is resolved within the composition.

When editing photos for this exhibit, it’s like creating a harmonious melody with two distinct tunes – the images from two contrasting books. The challenge lies in arranging the space in a harmonious manner, as one set of images is grouped together, while those from “Poor Things” are elsewhere. We aim to present them side by side, showcasing their stark differences. One series is more structured and conventional, while “Poor Things” with its intricate design and abundance of images in a small space is a unique contrast. This task is creative and exciting, as it’s a new experience for me.

How do the actors feel about the photography?

Initially, I mail the books to those featured in the book and actors. So far, they appear to be enjoying reading it. Interestingly, Emma was part of the creation process, not just appearing within its pages. This unique involvement provides her with a distinctive viewpoint about the entire project. Although the books may not carry the same weight or demand as much from the actors as a film would, they offer a more casual encounter that could potentially lead to other meaningful outcomes like a display or an exhibition. I believe they appreciate this experience.

Where do you go for inspiration or when you need to unplug but find that creative spark?

Whenever I explore new locations, I strive to discover sights that spark my curiosity, yet I also find myself visiting these places due to the demanding nature of work. Traveling provides a welcome respite, and it’s during these journeys that I find peace and can delve into deep thoughts. A trip back home or a sojourn to a Greek island often serves as a meditative experience for me, allowing me to enter a different state of mind.

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2025-03-29 03:55