Cinematogapher, director of photography.
Cinematogapher, director of photography.
Dylan Doyle was born a French citizen on the Balearic island of Ibiza. With most of his early education taken in France, a bohemian family upbringing also saw him traveling Europe, seeing that life works in many different ways.
Childhood memories of strange, automated sketchers and the prototype machinery of his mother’s work sparked in him an interest in technology that would eventually lead him to complete a major in Robot Engineering and Computer Programming at the University of Nantes. That passion for discovering, understanding and developing new technology still remains with him to this day; an itch that keeps on itching.
After graduation, and a year of military service, Dylan realized that a life in offices and laboratories was not going to be a fit for him. He recalled the theatre where he had spent much of his youth consuming the movies of so many greats – Sergio Leone, Fritz Lang, King Hu, Melville, Tati, Kurosawa, Cronenberg, Lynch. Those movies, with their elliptical figures and Expressionist hyperrealism had transported him to another place, one certainly more interesting than any office, and so he enrolled at the CLFC Film School in Paris in order to discover the secrets that lay behind those fantastical images.
While applying for film school, Dylan met the photographer Alain Duplantier, and became his assistant. Here he discovered light, framing, lab processes and was schooled in photography theory. He worked countless shoots for magazines, newspapers and album covers. From time to time, he would meet some of the icons of his own youthful mythology; Clint Eastwood, Tim Robbins, Sigourney Weaver, Jeffrey Lee Pierce (The Gun Club). A path was starting to form.
After film school, he began to specialize more in camera technique and optics and, working under Alain, began making music videos, transitioning naturally from still shots to the moving image. Working from the bottom of the “professional pile”, they managed to build their portfolio, experimenting with various ‘toys’ and utilizing their innocence towards ‘the right way of doing things.’ Finally, the lightning bolt Dylan had been waiting for in his career was revealed to him; Cinematography.
In 1992 Dylan bought a 16mm camera, an Éclair NPR Coutant and, with Alain and two other friends, he headed to Bosnia, into the middle of a war. The result of this project, done with nothing more than a script and a desire to do something to help, was a project completed in three months; a movie named ELVIS.
In the past ten years, he has co-operated with many great companies and production houses in a number of different areas. In the world of commercials he has worked with : Wanda, Partizan, 75, Le Village, Fighting Fish, Irene, Les Telecreateurs, Rita, Stink and Radical Media. He has worked with directors such as H5, Kosai, Luis Nieto, Jack’s, Valerie Pirson, Olivier Babinet, Wilfred Brimo and Edouard Salier. And for music videos he has shot for artists including Miossec, Mayday, JJ Lin, Superdiscount, Christine & the Queens, Las Aves, Tame Impala, Tricky and Gojira.
Curious by nature, Dylan has never stopped exploring the worlds of photography and cinematography. He has always liked to mix techniques and perhaps this is why he decided to push the development of his knowledge of digital cinematography at a time when many others were less inclined.
Moving to digital early gave him the chance to play with so many more toys, his “brushes”, but most importantly, his skills allowed him to move finally into the area that had attracted him to this occupation in the first place; drama, features and movies.
Beginning on smaller, multi award-winning shorts like Under My Bed by J. Chouaib and Shadow by L. Recio, he has now moved on to full length features. Starting with LEA by B. Rolland, he has also worked on Touch of Light by J.C. Chang and, most recently he had the great honor to briefly be second camera to Wong Kar Wai’s Grandmaster.