When Harmony Korine
first talked to cinematographer Benoit Debie about shooting “Spring Breakers
,” he told his future collaborator that he wanted the cinematography to be the star of film and push further than anything he had done before. For Debie, whose work more than any other cinematographer of his generation has been defined by his bold use of color, the idea of a director asking him to reach for colors, and an intensity of color, not normally seen on screen was a dream come true. Five years later, when Korine returned to Debie to discuss “The Beach Bum
,” he wanted more of the same.
“Compared to ‘Spring Breakers
,'” said Debie in an interview with IndieWire
. “Harmony said on this one you have to go even further.”
Returning to Florida to make an even more colorful film was of course appealing, but the blissful mood of “The Beach Bum