Richard Blanshard is an award-winning photographer, director and director of photography. His career began as a stills photographer on feature films and TV before he became the official photographer to the US and UK film industries at the Cannes Film Festival for over twenty years.
In his remarkable book, Cannes Uncut: The Golden Years, featuring photos of the stars and celebrities from the Golden Age of Hollywood through to the rising talent of the era, Blanshard lifts the lid on what life was really like behind the scenes at the world’s most iconic film festival.
In an age where publicists, actors and actresses are ever mindful and protective of their image and reputation, we’ll never see photographs quite like them again.
We recently got to talk to Richard about his career and his book.
Hi Richard. Thank you for taking the time to answer some questions for us.
Your book, Cannes Uncut: The Golden Years, is now available from Limelight. What is it like being able to flick through twenty years of fabulous work in book form? You must be immensely proud.
People have often asked me to make a book of photography about Cannes. I wanted to wait until I could find a publisher who would fall in love with the project and to make a large-scale, beautifully printed coffee table photography book and who really wanted to share my vision. It was great to see the quality of the final book.
Yes I am proud as it documents a special period of my life, photography and relationships with Cannes stars and celebrities.
How did you go about selecting the photographs that did and didn’t make it into the book, or did you leave nothing you loved out?
It was tough to decide what would be in the book, going through 20 years of images. I made a selection of about 2000 images and then created chapters and images to fill these. Often I am too close to my work, and really it was useful for the publisher to feel what moved them most so we came to a great way of choices for final content.
There are always images that you think afterwards could have been included, but I think we got a great selection and balance in the end.
You first went to Cannes on assignment in 1976. Were you anxious at all, or was it all very exciting? Tell us about that first shoot...
My first assignment in Cannes was to photograph Fred Astaire and Gene Kelly to publicise ‘That's Entertainment Part 2’. The Daily Mirror were holding the front page for the picture. I had set up a darkroom outside of Cannes. I shot them at The Hotel Du Cap. I went back to my darkroom, processed the film and went to make prints, and there was no power. I couldn't print the picture. I thought that was going to be the beginning and end of my Cannes career. Fortunately, I was wrong.
Did you fall in love with the glitz and glamour that first time? Is that what kept you going back to Cannes for twenty more festivals?
It was full on and pretty overwhelming, but it was work and my job was to really provide the best images for the film companies, as I was assigned to the celebrities and stars. I wasn't a Paparazzi. So it’s important to remain grounded and to do the best job.
Actors are nervous of photographers in general, so you have to be discreet and know when your moment is and when to back off to make sure they are comfortable with you being around to get the best images, because you are part of their team.
You captured some wonderfully candid, fun, and relaxed moments of some absolute megastars. What was your process? How aware of being photographed were your subjects, and what was it that made them appear so carefree? The emotions and attitudes you captured are so very different from what we are used to seeing nowadays.
The problem today is that stars are so protective of their images. In Cannes, mobile phones have made it impossible for them to relax and move around freely, so the kind of images I shot will never be possible again. Images of Cannes today are just Red Carpet moments. They are never seen just relaxing and being part of the Cannes experience.
Was anyone in particular your favourite person to photograph, and why was that?
I think looking after Muhammad Ali was one of my most memorable assignments. He came to Cannes to help raise funding for his film Freedom Road. I went wherever he was, and he was such a gentle soul who had time for everyone.
Photographing Fred Astaire and Gene Kelly was an iconic moment, and I also shot Johnny Depp over many years, and it's interesting to see how his look changes over the years.
Did you ever get into any scrapes or find yourself in any awkward moments?
Even as an official photographer, you end up fighting for moments when the paparazzi get invited along, and it becomes a rugby scrum, but you still have to deliver.
Was there anyone then that you regret not getting to photograph? And are there any current stars you would like to shoot?
I don't think so - I feel I shot some of the greatest Hollywood and UK stars and celebrities. Apart from Cannes the rest of the year I was shooting on the set of major feature films.
Obviously, advances in technology and the advent of social media have forever changed the access and way that stars are photographed now. Do you think that helps or hinders any future photographers who want to follow your path?
It would be very hard today to break through into Cannes as a photographer, as publicity and the unique access to the stars have changed because of social media.
All I would say is to build a great portfolio of your work and approach film publicity companies. Remember, the photography of artists is not just about photography but also about your personality, making them happy to have you around and the psychology of knowing the moment.
Thanks again, and congratulations on your wonderful book.
This gorgeous book will be for sale at the Cannes Film Festival in May, but if you are not going this year, then order now and get one of 10 signed copies that Richard has kindly signed for us, and have the glitz of the festival come to you!