In many respects, the cortet is a secret weapon of standing ovation. The audience does more than just evacuate for a few minutes. Cortet constantly searches for new things to shoot and broadcasts a close-up on the big screen behind.
“The cameraman is responsible for communicating the emotions of the room,” Cortette said. And those feelings can be very high in Cannes, especially when the movie is over and the lights go up first. “This is the time when I can catch the hug, the debate between the two — I can navigate these different moments,” Cortette said. “I like it more when it’s messy.”
Minutes after those candid moments, the cortet is trapped in the routine. He goes down the line of actors and shoots each for a surprisingly lasting time, in a phase he calls the “eyeliner.” This is a bit that often extends standing ovations to record levels, especially with large ensemble casts and well-known directors. Then, if everyone spends a solo moment in front of Cortet’s camera, they can pair with a new combination. This is the phase to further fill the applause stopwatch.
And over Cortet’s shoulders at most premiere, festival director Thierry Flemeau brings the cameraman closer to the stars, “close-up! Close!” Shooting the eyeliner is “a way to feel emotions and shoot it.” It’s a mix of me who knows and Thierry who knows who to aim for, “Cortet said with a laugh.
Some Cannes patrons, such as Spike Lee and David Lynch, are familiar with Cortette and wink and nod when he enters the shot. “These directors, usually on the other side of the camera, are aware of the difficulties,” he said. “It’s a pleasure for me to see them sympathize with the situation.”
However, not all directors can tolerate it. During the “French Dispatch” applause, Kante moved into the aisle and blocked Wes Anderson.
