Darius Khondji Biography (1955-)
Born October 21, 1955, in Tehran, Iran; raised in Paris, France; married; wife's name, Marianne; children: Marie Louise, Josephine, and Alexandre. Addresses: Agent: International Creative Management, 76 Oxford St., London W1N 0AX, England.
- Nationality
- Iranian
- Gender
- Male
- Occupation
- Cinematographer, cameraman
- Birth Details
- October 21, 1955
- Tehran, Iran
Famous Works
- CREDITS
- Film Cinematographer
- Classique, 1985
- Embrasse-moi, 1988
- Le tresor des chiennes (also known as Treasure of Bitch Island), 1989
- Delicatessen, Miramax, 1991
- Prague, 1992
- L'ombre du doute (also known as A Shadow of a Doubt), Vertigo Films, 1993
- Marie-Louise ou la permission (also known as Marie-Louise or The Leave), 1994
- Parano, 1994
- La cite des enfants perdus (also known as The City of the LostChildren), Sony Pictures Classics, 1995
- Pred dozhdot (also known as Before the Rain), 1995
- Se7en (also known as Seven), New Line Cinema, 1995
- Stealing Beauty (also known as Beaute volee and Io balloda sola), Twentieth Century-Fox, 1996
- Evita, Buena Vista, 1996
- Alien: Resurrection (also known as Alien 4), Twentieth Century-Fox, 1997
- The Ninth Gate (also known as La neuvieme porte and La novena puerta), Artisan Entertainment, 1999
- The Beach, Twentieth Century-Fox, 1999
- Blue Vision (also known as In Dreams), DreamWorks, 1999
- Panic Room, Sony Pictures Entertainment, 2002
- Anything Else, DreamWorks, 2003
- Film Work
- Other
- Camera assistant, Flugel und Fellel, 1984
- First assistant camera, Rive droite, rive gauche (also known as Right Bank, Left Bank), 1984
- Assistant camera, Jeans Tonic (also known as Jeans, basket et Coca-Cola), 1984
- First assistant camera, Le lieu du crime (also known as Le crime, Le mauvaise herbe, and Scene of the Crime), 1986
- Assistant camera, Double messieurs (also known as Double Gentlemen), 1986
- RECORDINGS
- Music Videos; Cinematographer
- Madonna's "Frozen," 1998
- Leftfield's "Afrika Shox," 2000
Further Reference
OTHER SOURCES
- American Cinematographer, October, 1995, pp. 34-42