When DoPs talk about their work, the magic of film seems within reach -- what's in front of the camera they transform into images. This transformation, however, can be quite different, depending on what technique is used in the process. This in turn has little magic about it, and yet it is always fascinating to experience how meticulousness and intuition, scrutinizing eye and visual imagination, technical mastery and lighting magic meet at this interface.
In this readable 
Interview with Agnès Godard, who was awarded the Pierre Angénieux Tribute for her life's work at this year's Cannes Film Festival, you again get an insight into the very special challenge of capturing vivid scenes in images using technical means. Godard began her camera work in the 80s as an assistant to Henri Alekan and Robby Müller, among others, on Wim Wenders' films such as Paris, Texas and Der Himmel über Berlin, and later (and partly still) shot with Agnès Varda and Claire Denis, among others.
The conversation is about how important the choice of camera is for a project, about how lenses influence the image, why she didn't want to develop her own "style" and much more.
Also very interesting in terms of very concrete camera work is this older interview with Agnès Godard, in which she talks about the shooting of the scene with the motorcycle accident in Himmel über Berlin. She describes in great detail what role camera movement plays in these shots and how they were realized.
