Claude Chabrol's statement reflects a preference against using handheld camera techniques in filmmaking. Handheld shots are a cinematographic approach where a camera operator holds the camera, often resulting in a more dynamic and shaky image that can convey a sense of realism or immediacy. However, for some directors, this technique might detract from the aesthetic quality they aim to achieve.
Underlying Chabrol's comment is a broader discourse on filmmaking aesthetics and directorial intent. The use of handheld shots can create a visceral experience, making viewers feel as if they are part of the action. For Chabrol, however, such techniques may clash with his artistic vision for storytelling through more controlled and deliberate camera movements. His preference likely stems from a desire to maintain visual clarity and narrative precision, ensuring that every frame contributes to the film's overall coherence and emotional impact.
Claude Chabrol was a prominent French filmmaker known for his contributions to the French New Wave movement. Active throughout much of the 20th century, he directed numerous critically acclaimed films that often explored themes such as crime, psychology, and bourgeois morality. His work is characterized by intricate plots, psychological depth, and an emphasis on visual storytelling techniques that align with a more formalist approach to filmmaking.
