“Almendros was an artist of deep integrity, who believed the most beautiful light was natural light…he will always be remembered as a cinematographer of absolute truth…a true master of light” – Rustin Thompson on Nestor Almendros in ‘MovieMaker Magazine’, #29, July 1998

I have watched 2 films that Nestor Almendros has shot, Rohmer’s Claire’s Knee (1970) and Malick’s Days Of Heaven (1978). For the last few years, I have referred to them as “the most beautiful films I’ve ever seen” – and I didn’t even realise they were shot by the same cinematographer until recently.

From what I have gathered, Almendros would approach each shoot with a desire to keep things simple. When shooting outside, he would often use one motivated light source, which was usually the sun. When inside, his lighting decisions were guided by how he thought the sun would light the room. Mirrors were often used to bounce sunlight, while practical light sources such as a candles and lamps were also used. Judging by his methods, Almendros wanted as much control as possible over exposure, which may be a simple thing to say, but the point I’m trying to make is that he has an undeniable belief in his method.

“I believe that what is functional is beautiful, that functional light is beautiful light. I try to make sure that my light is logical rather than aesthetic. In a natural set, I use what light there is, reinforcing it when necessary. In a studio set I imagine that the sun is shining from a certain point outside and I decide how the light would come through the windows. The rest is easy.”

I’m interested in the frequent collaboration between a director and a cinematographer. Besides Rohmer, Almendros worked on several films with Truffaut and some with Robert Benton. It’s a shame Malick didn’t make another film for 20 years (and by that time Nestor had passed) as they could have made some really incredible work in that period.