The DFF newsletter has got a brand new layout and a new name. Read the very first issue of Axel, where several articles are translated to English.

Read about:

• Anthony Dod Mantle
• On Her Majesty's Service
• Technical News

Read Axel no. 1, 2010

 

The Norwegian Film Institute, FNF, the Norwegian Society of Cinematographers and IMAGO,
the European Federation of Cinematographers, invites you to an inspiring meeting with some of
the World’s most acclaimed female Cinematographers

The seminar takes place in Oslo the November 14th - November 15th

Read the program (pdf)

Imago and The Society of Norwegian Cinematographers (FNF) invites to Oslo Digital Cinema Conference 2009.

The conference takes place at the Norwegian Film Institute in Oslo from May 14th through 16th.

The aim of the conference is to give the conference delegates a wide and extensive information about the development, challenges and the future of digital film production and cinematography.

The conference is held in close sponsorship with EDCF (European Digital Cinema Forum) and the Norwegian Film Institute.

 Programme and further information (PDF)

The Masterclass Inspiration was planned by the Imago Masterclass Committee in cooperation with Tine Sørensen from the Danish Film Academy Dep. of Supplemental Education. Imago Founded the Committee in Lisbon in 2007 during the precidency of Andreas Fischer-Hansen DFF. The members are Inês Carvalho AIP, Astrid Heubrandtner AAC, Paul Rene Roestad FNF, Herman Verschuur NSC, Jan Pallesen DFF og Jan Weincke DFF.

The basic idea of this gathering was to organize a Masterclass, not about technicalities, but about inspiration: To become inspired by listening how others got inspired!
 
 
We had invited 5 cinematographers:
Agnès Godard AFC
Bruno Delbonnel AFC
César Charlone ABC/ASC
Brian Tufano BSC
Slawomir Idziak PSC

Day 1 / 10.31.08

On behalf of the Masterclass Committee Astrid Heubrandtner AAC and Inês Carvalho AIP welcomed the 125 participants from all over Europe, New Zealand, Mexico and Australia – followed by Imago president Nigel Walters BSC, who was very happy that the committee had succeeded in arranging such an interesting programme.

Following that, our first guest Bruno Delbonnel AFC, moderated by Herman Verschuur NSC, told about his trouble with inspiration from American art in the 60’s, music sheets, architecture and danish painter Hammershøi for his camerawork in films as Le Fabuleux destin d'Amélie Poulain and Un long dimanche de fiançailles. Both movies were nominated for an Oscar for best cinematography (2001 and 2004).


The evening finished with a dinner and a sailing trip to Nyhavn.

Day 2 / 11.01.08

We started out with coffee and varm croissants, and then it was César Charlone’s ABC/ASC turn, moderated by Louis-Philippe Capelle SBC. César’s inspiration came from everyday things. Armed with a small video camera he would walk around on location and record impressions – moving images, sounds and photography’s. He demonstrated the evolutionary process that led to the imagery in his current movie Blindness (2008). All that he had recorded/collected, was downloaded to his laptop, enabling him to develop the necessary imagery. 
 
César:  I was lucky enough to be paid for 8 weeks of preparation, but was able to decide when within 6 months.

César Charlone showed clips from: City of God (2002), The Pope’s Toilet (2007), The Constant Gardener (2007), and Blindness (2008).

After lunch Brian Tufano BSC took over with Nigel Walters BSC moderating. Brian Tufano spent part of the time speaking of his time on the BBC as a young assistant.  

Brian: Frame your Mind and The Story is the Story. Grab it and tell it to the audience.
Brian ended his séance quoting Albert Einstein: Technique will get us from A to B, but fantasy will get us everywhere.

Brian showed excerpts from: Quadrophenia (1979), Trainspotting (1996), Billy Elliot (2000), Kidulthood (2006), Adulthood (2008)

The last cinematographer on Saturday was Agnès Godard AFC with Rolv Haan FNF moderating. Agnés told how she sought a word or a sentence in the manuscript that somehow expressed the movie. When she was preparing herself for the movie Trouble Every Day (2001), it was the sentence: There is a rotten apple in the garden under the ground. Starting from this sentence, she began to seek inspirational images and texts.

Agnes compared the preparations for a movie with the preparations for a trip – you read travel books, looks for pictures of landscapes, try to learn the language...it is the same with a movie.

Agnés: Do I believe what I see?

      
Agnès showed clips from: Beau travail (1999), Trouble Every Day (2001), The Intruder (2004) and Golden Door (2006).

Herefter var der gallamiddag sponsoreret af Nordisk Film Postproduction.

Day 3 / 11.02.08

Following the usual coffee and warm croissant, we started the final day with a Brazilian movie Illuminados, directed by Antonio Luiz Mendez – the movie showed 6 cinematographers lighting the same set, and at the same time explaining how they worked.

After that, it was time for Andreas Fischer-Hansen DFF to moderate Slavomir Idziak PSC. Slavomir started with these words: I have been in the movie business for 40 years. For the first 20 years my inspiration was vodka, for the last 20 years it has been redwine. Whether he was telling the truth, was hard to know.

Slavomir talked more about visions than inspiration. His vision was stronger European films. Not so much the identity of individual countries, as a European identity.



Slavomir:
Three or four musicians, even when they are meeting for the first time sit down and play music, they improvise. Filmmakers start their meeting by arguing which one of them will be the leader.


Slavomir showed clips from: A Short Film About Killing (1988), The Double Life of Veronique (1991), Three Colours: Blue (1993), Gattaca (1997).

And finally it was time for the finishing speeches – and the final half of Illuminados before everyone said their goodbyes.


It was a truly inspiring weekend!

The Imago President, Nigel Walters, has given his account of the first eight months as president. You can read his Imago Presidential notes here, at the DFF website.

IMAGO Presidential notes:                                                          

The First Eight Months

By Imago president Nigel Walters BSC

Since my election as President of Imago last February there have been many pleasurable experiences to share and I have learnt much about this surprising Continent. For example, if you were to be asked to name the European nation whose passion for film is only matched by its passion for ice cream what would you reply?

Even the late David Watkins BSC who also had a passion for both would have found difficulty in coming up with the answer. Slovenia.

One of Europe 's smallest countries was responsible from January to July this year for Euroteka 2008, a project whose primal goal was to present the history of European Film. Their selection of films resulted from a chance visit to a bookstall at a Festival in Berlin by Bostjan Jambrek where he opened the Imago book “Making Pictures- a Century of European Cinematography” The idea came to him to base a Festival by showing in Ljubljana the 100 films in the book.

Astonishingly Bostjan who is Head of Programming and the team at Slovenian Cinematheque under their Director, Stas Ravter managed to find and show 89 of the Imago selection in the 22 weeks of the Festival, a different country featured each week. This was achieved with the help of 27 film archives and other institutions . One of their important aims is to bring film history to a younger audience as well as focus attention to the work of film archives and their mission is to preserve and show. Each week the films of a different country were shown using a projector with a manual frame rate control for accurate speed setting.

Since its foundation in 1996 from the remnants of the old Film Museum the Cinematheque has embarked on the important task of assembling a collection of fundamental works of the history of word cinema. To date it has collected more than 3500 titles.

My few days in this beautiful country included as invitation to address an assembly of predominantly young people at the Ljubljana Cinema where the Festival had taken place. An awareness of the role of Imago had been already established because of the link with the Festival and “Making Pictures”. The discussion was lively particularly as the President of the Slovenian Society of Cinematographers, the flamboyant Zoran Hochstätter ZFS, joined me. The Festival concluded with a memorable piano accompaniment to a showing of Vertovs Man with a Movie Camera which should be compulsory viewing for students of cinematography.

Slovenia did not disappoint and neither did the warmth of its people. As I was shown the site of their new Film Museum it was difficult not to reflect that this nation of two million could support a film museum when none exists in London . So many of the British historical film treasures languish unseen and forgotten in warehouses. What price culture?

“Making Pictures” is a very fine book. However it has caused Imago much heartache. The Russians would like to publish a translated edition of 2000 copies. Imago is working to overcome the complications, which may have arisen because of copyright clearance. At present it is doing the rounds with London publishers in the hope of finding one to take on the task of re-publishing.

Unfortunately as President there is a problem of being in two different places at the same time. It was disappointing to be unable to accept an invitation to visit our youngest Society of Romania. Since the formation of Imago much of its efforts has been in encouraging the formation of Societies as more countries have been welcomed into the European Union. Romania is producing fine films and under their President Alex Sterian RSC and the enthusiasm of Diana Apostol and the assistance of their sponsors their Society will prosper. Recently we were approached by an Albanian cinematographer and he is receiving advice in forming a Society from our Vice-President Ivan Tonev of the Bulgarian Society.

A visit to the opening of the Bradford Film Festival served to confirm the suitability of the town as an ideal location for the next Imago IAGA on the week-end of February 13 th 2009. Bradford is pitching to become the UNESCO City of Film and the presence of 40 cinematographers using the National Museum may help them to achieve this ambition.

There was also been a genuine welcome at the EU XXL in Krems Austria . Contacts were made there for Imago developments in Brussels in advancing the Model Contract on Authors Rights and Working Conditions.

Imago will soon debating the worldwide nature of our Federation particularly as Australia , New Zealand and Japan have joined as affiliates. The Canadian Society has also recently given an encouraging response to our invitation. If they do so they will also join India , Brazil , Mexico Argentina and Cuba . Imago has to find a way for a more active participation of our affiliates who have joined us with such enthusiasm and belief. The problems of the cinematographer do not stop at Europe 's' borders. The Japanese and Australians are particularly interested in Imago's declared aim to secure the rights of the Cinematographer to be recognized as “author” of his work.

Unfortunately making progress in Europe requires funding. Imago is grateful for the assistance of Brussels Lobbyists Interel which has enabled us to make important initial contacts. Finances are in better shape than for many years. Louis-Philippe and I attended Cinec in Munich and the IBC in Amsterdam and found interest from companies in sponsoring Imago. We hope this will be followed by positive offers to assist our funding of such ventures as the Copenhagen Master classes which fortunately have been underwritten by the generous Danish Authorities

This year marks Imago's inaugural partnership with the Filmmakers Festival, eDIT in Frankfurt . Imago was invited to widen the scope of this successful Festival by introducing items to illustrate the collaborative role of the Cinematographer in filmmaking.

At the Gala opening Imago's the first ever public Tribute was presented to Guiseppe Rotunno AIC by our founding father, Luciano Tovoli AIC. The Filmmakers Festival was a joyous occasion and Guiseppe Rotunno was visably moved by a standing ovation from the packed audience.

Among the other cinematographers to feature at the Festival was Reinier van Brummelen NSC, who has recently been collaborating with Peter Greenaway on a photographic reconstruction of The Last Supper using holograms. Dr Cristina Busch gave an inspired repost on the issue of Authors rights in Europe to Guido Hettinger representing the legal standpoint of producers.

Imago supports the established Festivals of the Manaki Brothers in Macedonia (see separate report) and Camerimage in Lodz . The eDIT Frankfurt Festival gives cinematographers the opportunity of bringing our role in film making to a wider audience.

Prior to the Festival and thanks to the generosity of our German hosts an Imago Board Meeting was held at which Louis-Philippe Capelle and myself gave an account of a meeting we had the previous week with the BvK in Munich . That meeting was friendly and constructive and a reply to Imago's invitation to the German Society to rejoin us is expected in November. 

It was also decided to pursue a EU Media Mundi program to secure funding for a World Conference of Cinematographers in 2010 and the Board agreed support the proposal for a Digital Cinema Forum in 2009.

My final duty is to thank the Board for their support and wisdom in these last six months. The transition from the old to the new has gone smoothly and I am indebted for the advice and encouragement of my predecessor Andreas Fischer-Hansen DFF, the indefatigable commitment of Tony Costa AIP and General Secretary Louis-Philippe Capelle SBC and the support and advice of Paul-Rene Roestad FNF. It was unanimously decided to invite Jan Weincke DFF to join the Board to replace Kurt Brazda AAC . We all wish Kurt good health after he was advised to cut down his work-load. We look forward to Robert Alazraki AFC returning to give us the benefit of his experience and flying the French flag. As always the enthusiasm and advice of our lawyer Dr Cristina Busch is much appreciated along with the time she so generously gives us.

In cooperation with the National Film School of Denmark Imago invites to the seminar: Inspiration.

The seminar is aimed at professinal cinematographers. During the three day seminar a panel of international cinematographers will share and discuss their ideas on cinematographic expression.

The seminar will take place in Copenhagen at the National Film School of Denmark October 31st - November 2nd.

Read the invitation from Imago

If you are seeing red, when you have to use RED, help is on its way. Saturday Nov. 22nd. from 10 am – 4.30 pm EBH and Nordisk Film/ShortCut open their doors for cinematographers and assistants for a demonstration of how to use the RED camera, and how the further workflow can be. You will hear about advantages and disadvantages during the shoot, and see a demonstration of how to work with your material in postproduction.

 

Taking part in this arrangement will be a very good idea, seeing that before long we will have more than 30 RED cameras in this country alone. 

 

Technical manager Jens Ingevall and EBH will be demonstrating the RED camera (EBH will soon be in possession of 6 of them), and on ShortCut Ivan Schmidt, Colourist Peter Diemer, VFX Supervisor Michael Holm and Peter Bengtsson, Swedens leading postproduction expert, will tell about the further workflow with material shot on RED.

Program – Saturday Nov. 22nd. 10 - 16.30

 

10.00

A light breakfast at EBH, Titangade 1, 2200 København N. – followed by demonstration and shooting of/with RED.

 

12.30

Lunch at Nordisk Film/ShortCut, Tagensvej 85D, 2200 København N. – and exposition of the RED workflow. During lunch insurance agent Jens-Georg Hansen will tell about the special insurance rules in effect when shooting with RED.

 

16.30

The day is over – and we are all a little wiser.

 

Registration:

Send a mail or call Tina Rasmussen - – Mobile: 60 19 82 87

Registration closes on Sunday Nov. 16th.

The entire session is free – but minimum number of participants is 10. If for some reason, we can’t reach that number, the arrangement will be cancelled.

 

Read the invitation as word-document

Mon, May 14th - Fri, 18th, 2007
Gothenburg, Sweden
With Director of Photography David Claessen from Hollywood CA + special guests Jan Weincke DFF from Denmark and Aril Wretblad from Sweden.

This workshop will gather Directors of Photography and cinematographers from all over Europe to have the opportunity to share their experiences, discuss and explore the technical and creative challenges that a DP is faced with on daily basis as well as network and meet other professionals in the field. Much time is dedicated for discussions concerning industry choices and trends as well as the participants' personal career goals.

Visit us online for more information and registration - http://www.lenzflare.net/.

At the Imago general assembly, the delegates unanimously decided to send this resolution to the BBC, regarding the company’s decision not to use S-16, when they start transmitting in HD.

---

IMAGO ANNUAL GENERAL ASSEMBLY
16th – 18th of February 2007 

This Annual General Assembly of IMAGO, representing 27 associations of European cinematographers respectfully request the BBC to reconsider its decision to ban the future use of 16mm film as a capture media.

This resolution urges the Corporation to collaborate with the manufacturers to find a solution to the BBC´s difficulty in transmitting Super 16mm film in a high definition format.

We enclose in copy the contribution by the delegate from The British Society of Cinematographers, Nigel Walters (BSC), which formed part of the general discussion concerning the BBC decision, and other European TV-stations restrictive policy towards Super 16mm as originated material for HD transmission format. 

Respectfully,

President A. Fischer-Hansen     
Vice President Tony Costa 
General Secretary Paul René Roestad 
IMAGO Board

Signed on behalf of the 38 delegates present.

---

 

In the last issue of the Newsletter we reported, that BBC as well as SVT (Swedish Televsion) agreed that S-16 wasn’t good enough for HD-transmission. BSC objected, but BBC remains firm – no more 16 mm when they start using HD. SVT has been adamant on their rejection of 16 mm, but on February 15. SVT’s HD responsible projectmanager Lars Haglund stated: SVT do not completely reject S-16 in connection with HD-programs. S-16 can work provided it is produced in high quality, i.e. filmstock not above 250 ISO – absolutely no underexposure and high quality scan (min. 2k). Peter Bengtsson, SVT postproducer relates their experiences with swedish crime-series Beck: When using a 500 ISO stock, pressing it to 800 ISO, and underexposing it ½ stop for nightshots, it lokked horrible on HDTV. A well exposed 250 ISO stock worked perfectly. But just a 1/3 stop underexposure was enough to ruin the HD image. A 100 ISO stock with a slight grainredcution worked fine too – it actually looked pretty good. On the recent Imago general assembly in Lissabon an unanimous resolution was sent to BBC from all 27 membercountries, urging BBC to change their attitude and immediately start new S-16 tests. Hans Hansson FSF, who has been helping the Newsletter getting hold of SVT’s opinion regarding S-16, thinks it would be interesting to test 16mm scanned in an Arriscanner in 3k and 4k, and then converted to HDCAM SR. It would also be a good idea to scan in a Spirit telecine 3k/4k to HDCAM SR. In this way you would be scanning in a higher format than necessary, but hwne converting, the amount af grain should be less visible. Maybe something worth testing for DFF and Digital Lab.

Projectmanager Lars Haglund and operator Fredrik Pihl performing a HD test on SVT. Photo: Stefan Olsson/SVT   Shooting with HD   Shooting with S-16

 

The next club-night will take place on march 29th at 19.00 on Nordisk Film ShortCut. We have been invited on a tour of the premises, and to get an opportunity to see all the changes, and to see and test the Cinevator Five, finally in Copenhagen, and ready to be used by demanding cinematographers. Basically, it will be possible to see and experience anything you desire. Perhaps it’s the Arri scanner (3K), or perhaps the developer, or maybe just a quiet cup of coffee or a beer. Don’t take our word for it though – show up for the experience. In connection with the Cinevator Five, Ivan has offered to print up to 5 minutes of material on film (Fuji or Kodak) whatever your personal preference. All the prints will be shown on the club-night.

Peter Englesson and Ivan Schmidt in front of the first Cinevator Five on Nordisk Film ShortCut.

As you may have heard, the Cinevator Five can handle images and sound simultaneously – so Ivan has promised, that you will get the sound as well, if your testmaterial has sound. If you have any doubts about what kind of material to bring, just call Ivan on 35 87 77 93 or mobile 29 45 87 14. He will be happy to guide and assist you.

If you would like to know more about Nordisk Film ShortCut, try their website: www.nordiskfilm-lab.com – among other things you will find:

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New model for a digital filmprocess.
The Buzz word in the film industry is digital projection, but 35mm film-print is still the best carrier for a world wide distribution of moving images. Take the advantage of our new Cinevator five process. We take your digital intermediate or any tape format and go directly to 35mm print film, including both digital and analogue sound and subtitles -in real time!

There is no shorter way to film. Of course this machine can also make intermediate negatives for a traditional printing process.

Film Archive FIAF’s technical Commission is currently pointing out 35mm film, as the best carrier for the long term preservation of moving images. With a digital workflow, the resolution is maintained and preserving / restoring toolsets are unlimited. The Cinevatorfive process keeps the benefits of storing film archive on analogue 35mm film stock, and adds the creative benefits of digital restoration on top.

---

The club committee and Ivan are looking forward to seeing you!

 

At the Bodil Awards Jørgen Johansson DFF won for best cinematography for Ole Christian Madsen’s ”Prague”. Best danish movie was ”A Soap” by Pernille Fischer Christensen, cinematographer Erik Molberg Hansen. ”Gasolin” cinematographer Simon Plum, received a Bodil for best documentary.

The Bodil statuette Framegrab from Prague (Jørgen Johansson DFF) Pernille Fischer Christensen giving her acceptance speach in Imperial Framegrab from ”Gasolin”

 

At the Robert Awards this year, 6 cinematographers were nominated to cinematographer of the year: Lars Vestergaard DFF – We Shall Overcome Morten Søborg DFF – After the Wedding Erik Molberg Hansen DFF – A Soap Jørgen Johansson DFF – Prague (Winner) Sebastian Blenkov DFF – Rene Hjerter Sebastian Winterø DFF – Triple Dare Movie of the year was Niels Arden Oplevs ”We Shall Overcome”. Actor Bent Mejding also received a Robert for his role in the movie. This years short documentary, Lyd på Liv by Iben Haahr Andersen and Katia Forbert Petersen DFF also received a well earned Robert.

Framegrab from ”We Shall Overcome”, cinematographer Lars Vestergaard DFF. Framegrab from the short feature ”Lyd på Liv”, cinematographer Katia Forbert Petersen DFF.

At the annual Academy Awards Ceremony in the Kodak Theater in Los Angeles, Denmark was representend with 2 movies. Susanne Bier’s ”After the Wedding”, cinematographer Morten Søborg DFF in the category for best foreign movie. And Søren Pilmark’s short feature ”Helmer & Son”, cinematographer Philippe Kress DFF in the category for best short feature. A further 3 danish cinematographers were represented. Anthony Dod Mantle DFF/BSC had made The Last King of Scotland, where actor Forest Whitaker received an Oscar for best male leading role, and Jacob Kusk DFF and Jens Schlosser DFF had made the documentary Deliver US From Evil, nomitaed for best long documentary.

Still from After the Wedding Framegrab from Helmer & Son Poster from Deliver Us from Evil

At DFFs Christmas party 2006 the Kluk Award was awarded.

Click the picture of the Kluk Bottle to see pictures from the party.

Photo: Lisa Renée

Hear Guy Porcher from Fuji in Amsterdam tell about Fuji and their new products.

You will get the opportunity to hear about Fuji’s new products and see examples, hear about the organization and their commercial politics. We will also get a chance to discuss our expectations to Fuji.

This is a unique opportunity to get to know Fuji and their products better, and to be better equipped the nex time decisions has to be made regarding what filmstock to use for the next shot.

Time and place

We look forward to seeing as many of you as possible on Wednesday 21st. of February at 7 pm in the clubhouse at Rentemestervej 2, Forlygten 1. 

Fuji will serve a little something to eat and drink.

As usual the awardwinners from the last three years chose this years recipient. This year the selection committee consisted of Claus and Michael Rosenløv, Henning Bendtsen and Simon Plum.

 

Eric Kress recives the Kluk Award form the last three years winners. Photo: Lisa Renée

 

Here are the reasons of the committee:

 

THE PERSON WHO ARE ABOUT TO RECEIVE THIS YEARS KLUK AWARD IS CHARACTERIZED BY COLLEAGUES AS DECISIVE, -PRECISE, - HARDWORKING,- PATIENT, - TOLERANT, -CALM AND ATTENTIVE. There is peace and job satisfaction on the set, when the awardwinner is in action. Even in stressfull situations he keeps his calm, and uses his breadth of view to find solutions, and his broad back as a lightning rod to create room for everybody to do their part of the job in the best possible way.

This years ”Klukee” insists on experimenting with the idiom to find and rejuvenate whatever tale of iamges capable of communication the directors story in the best possible way. Since he knows so much about the technical side, the ”mechanics” of the shoot takes up so little space, that he can devote his energy to understanding and supporting the director in his work of telling the story in one to one. The awardwinner is a good communicator. He has a rare and logical way of constructing his images, making it easy for everybody to grasp what is about to happen, and thus better able to work in the same direction and be in control. We know him as the man of the incredibly thorough preparations and tests prior to every film he has ever shot. He is the type, for whom it never becomes an 8-4 job, but who lives and breathes for the movie world, which is a great benefit for the danish filmindustry – but sometimes bad for the personal life. Being honoured is nothing new to this years awardwinner. He has won no less than two Robert’s , has been nominated for the Da Vinci prize, where he won a special award. He has received the Golden Frog, the Ankerstjerne Award a.m.m. I recent years he has had the pleasure of getting to know our sister nations across the Øresund in a professional way. At the moment he is hard at work preparing a historical series from the 1200’s with a record budget for at scandinavian production. Ladies and Gentlemen, the awardcommittee has unanimously voted for cinematographer Eric Kress as the winner of this years Kluk Award, once again sponsored by BICO and ARRI. Can we please get Eric Kress to come up here and get his check and kluk-bottle.

 

Once again the decision was met with entusiastic applause – a really good choice, once again the committee had passed the test and found the right recipient – Eric Kress.

The DFF jubilee-poster.

The 2004 Kluk-Award was awarded to cinematographer Henning Bendtsen at the DFF Jubilee-celebration on Sølyst.

It was a very popular, but also correct choice, when the Kluk-Award committee awarded the 2004 Kluk-Award to cinematographer Henning Bendtsen.


At left award winner Henning Bendtsen with last years winner Claus Rosenløv - the hand at right belongs to Michael Rosenløv who shared last years award with his brother Claus. Michael held the speech for the 2004 award winner. Photographer: Lisa Renée
See more pictures from the award event and the jubilee-celebration.

The Kluk-Award Committee consisted as usual of the award-winners of the last 3 years -– Anthony Dod Mantle (2001), Frank Paulsen (2002), and finally brothers Michael and Claus Rosenløv (2003), who shared last years award.
Since the instigation of the Kluk-Award in 1992, 13 members have received the award. It has been awarded 12 times – but only shared once.

1992 Katia Forbert Petersen
1993 Kim Hattesen
1994 Søren Berthelin
1995 Dirk Brüel
1996 Henning Kristiansen
1997 Jan Weincke
1998 Uffe Thomsen
1999 Andreas Fischer-Hansen
2000 Manuel Sellner
2001 Anthony Dod Mantle
2002 Frank Paulsen
2003 Michael og Claus Rosenløv

This is the second year Mogens Gewecke from Bico professionel A/S and Arnold & Richter GmbH sponsored the award – 10.000 kr., a ”kluk”-bottle with contents and a figurine from Arri – and they have promised to take on another year (2005).
Traditionally the award-committee had written a speech (justification) to the award winner – this year the speech was held by last years award-winner Michael Rosenløv who said:

NU STIGER DEN (Now it rises), said the cinematographer, as the big passengerjet took of in Kastrup on its way to EVENTYR PÅ MALLORCA (Adventures in Mallorca), - or DET TOSSEDE PARADIS (The Crazy Paradise), the name that many danish tourists have given the spanish holiday isle, visited by thousands of sun-loving danes every year.
"Yes, it is turning into a full scale EPIDEMIC", his campanion, GERTRUD said, among friends she was known as SORTE SARAH (Black Sarah) because of her black haircolour. On the other hand she always called the cinematographer KÆRLIGHEDSDOKTOREN (The Love Doctor).though the reason was kept a deep secret.
The cinematographer was used to travelling around EUROPA, so when he right after landing in the spanish airport headed for a newspaperstand, he didn’t have to search for ORDET (The Word), but said:"E aqui un periodico danés" AVISMANDEN (The Newspaperman) understood his halting language, and gave him a danish newspaper.
The cinematographer quickly leafed through the paper, reading headlines like: SKARPE SKUD I NYHAVN (Live Shots in Nyhavn) - P A W ! - - Things were getting rough back home when DON OLSEN KOMMER TIL BYEN (Don Olsen comes to Town). It had became ULVETID (The Time of the Wolf), so to speak.
When he got near the hotel a short while later, he noticed the fruittrees were blooming. It was APRIL, and he started humming SANGEN OM KIRSEBÆRTID (The Song of Cherrytime).
The hotel receptionist greeted the cinematographer with a big smile. He had learned a good deal of danish through the years and said: "NATLOGI BETALT" (Night Lodgings Paid), so everything seemed to be in order. Not that he was a complaining type, but he could sometimes grumble a bit.
The room had a very very beatiful view from the balcony, but nevertheless, the cinematographers thoughts went OVER ALLE GRÆNSER (Across Every Border), home to Denmark, to HEJRENÆS, which he had already started to miss. - - -

[the words in capital letters are in fact the danish titles of movies Henning Bendtsen have made – an english translation have been inserted in most instances to clarify the meaning of the speech]

Everybody stood and applauded a very touched Henning Bendtsen to the stand, where he gave his thanks – There was not a dry eye in the house, when he told about his long and distinguished career, now with the 2004 Kluk-Award as a finishing touch. Congratulations to Henning Bendtsen, and our gratitude to Mogens Gewecke.