Christopher Doyle

Christopher Doyle is an Australian-Hong Kong cinematographer who often works on Chinese language films. He has won awards at the Cannes Film Festival and Venice Film Festival, as well as AFI Award for cinematography, the Golden Horse awards (four times), and Hong Kong Film Award (six times). Doyle is an affiliate of the Hong Kong Society of Cinematographers. Doyle was born in Sydney, Australia in 1952. He left his native country on a Norwegian merchant ship at the age of eighteen, after which he took on a number of odd jobs including as a Kibbutz-nick cowboy in Israel, homeopathic doctor in Thailand, and “green agriculturalist” in India work. In the late seventies, Doyle was “re-birthed” as Du Ke Feng, which means “like the wind.” Following his time as a language student in Taiwan and having found work as a photographer, he was hired as a cinematographer on Edward Yang’s That Day, on the Beach in 1983. Since his “birth in art,” Du Ke Feng has worked on over fifty Chinese-language films. He is best known for his collaborations with Wong Kar-Wai, including Chungking Express, In the Mood for Love and 2046 (the latter of which saw Doyle walking off set mid-way through production). He has collaborated with other Chinese filmmakers on projects including Temptress Moon, Hero, Happy Together, and Dumplings. As his "alter ego" Christopher Doyle he has made more than twenty in various other languages and film cultures, working as director of photography on Gus Van Sant's remake of Psycho, Liberty Heights, Last Life in the Universe, Rabbit-Proof Fence, Paranoid Park, The Limits of Control. He also wrote, shot, and directed Warsaw Dark, Away with Words starring Asano Tadanobu, and Hong Kong Trilogy: Preschooled Preoccupied Preposterous, an experimental portrait of three generations of Hong Kong people.[5] He is currently filming The White Girl, another tribute to his adopted hometown of Hong Kong, with co-director Jenny Suen. On May 26, 2017 Doyle was honored during the 70th Cannes Festival with the “Pierre Angénieux ExcelLens in Cinematography” award, in tribute to his rich and influential career. The ceremony was co-hosted by filmmaker Olivier Assayas and actress Juliette Binoche, among others.

曾就读澳大利亚悉尼大学文学系、香港中文大学新亚书院、美国马里兰大学美术系。十八岁那年开始水手生涯云游四方，曾至泰国、以色列、印度等地。1970年代后期，他在香港大学的中文老师给他起了一个中文名字——杜可风。之后辗转到了台湾。1978年，参与创立兰陵剧坊，开始与云门舞集和Zuni lcosahearon（二十四面体舞蹈）合作摄影工作，并担任台湾电视公司旅游节目《映像之旅》与中国电视公司新闻杂志节目《六十分钟》的摄影与剪接。1981年，受杨德昌邀请，为电影《海滩的一天》负责摄影指导，获得1983年亚太影展最佳摄影奖。自此，全力投入中国电影的拍摄工作。1986年，杜可风以电影《老娘够骚》获得“香港电影节”金像奖最佳摄影奖（一共荣获6次香港电影金像奖）。自此，杜可风正式以香港为起点，参与多部华语电影拍摄。尤其为人瞩目的，是他为王家卫电影所打造的迷魅影像。从《阿飞正传》、《重庆森林》、《堕落天使》、《东邪西毒》、《春光乍泄》和《花样年华》。 杜可风摄影作品还包括关锦鹏导演的的《红玫瑰白玫瑰》，纪录片《男生女相：中国电影之性别》；赖声川导演的《暗恋桃花源》和《飞侠阿达》；以及中国电影大师陈凯歌的首部好莱坞电影《风月》。香港电影无厘头大师周星驰的多部作品，也经由杜可风担任摄影。 杜可风赴美国好莱坞的作品，则有葛斯范桑的《1999惊魂记》和巴瑞李文森的《飞扬的年代》。 1999年，完成自编自导自摄的处女作《三条人》（Away with Words），多了导演的头衔。参加坎城「一种注目」，获得金摄影机提名。

曾就讀澳大利亞悉尼大學文學系、香港中文大學新亞書院、美國馬裏蘭大學美術系。十八歲那年開始水手生涯雲遊四方，曾至泰國、以色列、印度……等地。1970 年代後期，他在香港大學的中文老師給他起了一箇中文名字——杜可風。之後輾轉到了台灣。1978 年，參與創立蘭陵劇坊，開始與雲門舞集和 Zuni lcosahearon（二十四面體舞蹈）合作攝影工作，並擔任台灣電視公司旅遊節目《映像之旅》與中國電視公司新聞雜誌節目《六十分鐘》的攝影與剪接。1981 年，受楊德昌邀請，為電影《海灘的一天》負責攝影指導，獲得 1983 年亞太影展最佳攝影獎。自此，全力投入中國電影的拍攝工作。1986 年，杜可風以電影《老孃夠騷》獲得“香港電影節”金像獎最佳攝影獎（一共榮獲 6 次香港電影金像獎）。自此，杜可風正式以香港為起點，參與多部華語電影拍攝。尤其為人矚目的，是他為王家衞電影所打造的迷魅影像。從《阿飛正傳》、《重慶森林》、《折翼天使首部曲：魔咒之吻》、《東邪西毒》、《春光乍洩》和《花樣年華》。 杜可風攝影作品還包括關錦鵬導演的的《紅玫瑰白玫瑰》，紀錄片《男生女相：中國電影之性別》；賴聲川導演的《暗戀桃花源》和《飛俠阿達》；以及中國電影大師陳凱歌的首部好萊塢電影《風月》。香港電影無釐頭大師周星馳的多部作品，也經由杜可風擔任攝影。 杜可風赴美國好萊塢的作品，則有葛斯範桑的《1999 驚魂記》和巴瑞李文森的《飛揚的年代》。 1999 年，完成自編自導自攝的處女作《三條人》（Away with Words），多了導演的頭銜。參加坎城「一種注目」，獲得金攝影機提名。