Behind the scenes

This is what it takes.

Cameras, lights, monitors and thirty people moving at once. A set that costs $70,000 a day to run, built beside the stage you are already speaking on.

The interview setThree camera angles on every conversation

Crew building a set inside a conservatory — A conservatory becomes a studioLighting, grip and camera, built in a morning

On the monitorWhat the director sees

A host rehearsing on a set with a jib and several cameras — Jib, dolly and three camerasA living room turned into a stage

The crew on a location shoot — The crew, on locationDirectors, cinematographers, sound, grip and post teams across several countries

Hair and makeup, then the chairEvery guest is looked after before a camera rolls

A camera operator filming in a field at golden hour — Golden hour, on locationField units matched to the subject

An interview being filmed on a red couch — The couch interviewsLong-form conversations, kept in full

Wherever the story isConference floors, red carpets, private practices

Anthony Lolli and TereZa Hakobyan-Lolli at the camera — Anthony Lolli and TereZa Hakobyan-LolliProducers and directors, behind the camera as well as in front of it

A guest and a host on set between takes — Between takesEvery guest is looked after

Every slate, a name you know

The clapboard comes out at the end of every interview. Nobody in these photographs was paid to be there.

John Assaraf on set with Anthony Lolli and TereZa Hakobyan-Lolli — John Assaraf

Dr. Vonda Wright on set with Anthony Lolli and TereZa Hakobyan-Lolli — Dr. Vonda Wright

Luke Storey on set with Anthony Lolli and TereZa Hakobyan-Lolli — Luke Storey

Dr. Matt Cook on set with Anthony Lolli and TereZa Hakobyan-Lolli — Dr. Matt Cook

Marla Maples on set with Anthony Lolli and TereZa Hakobyan-Lolli — Marla Maples

Ian Clark on set with Anthony Lolli and TereZa Hakobyan-Lolli — Ian Clark

Leila Centner on set with Anthony Lolli and TereZa Hakobyan-Lolli — Leila Centner

The right tools

We spare no expense on the picture.

The latest cinema cameras, advanced lighting rigs and sound, in the hands of people who know what to do with them.

We equip every crew with the finest tools so the work holds up on a cinema screen in Cannes as well as it does on a phone. Three camera angles. A thirty person crew. Hair and makeup. Your commitment is roughly one hour on camera.

Cineum Cannes

Teams around the world. One standard.

Award-winning or it does not ship.

Open the record

Want this set built around your story?

Start a conversation.

Enquiries

By invitation and by application. Every conversation starts with a person, not a form.