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Backstage Dreams

The first monograph by Eric James Guillemain

There’s something undeniably magical about the quiet moments between action and cut; the brief pauses behind the glitz and glamour of a high-profile set. These fleeting, often unnoticed instances are exactly what photographer Eric James Guillemain captures in Backstage Dreams, his first monograph, set to be published by Damiani in April 2025.

For over 15 years, Guillemain has been a quiet observer of the film and fashion worlds, photographing the unfiltered moments of some of the most celebrated actors and personalities of our time. Unlike the polished, traditional on-set photography we are accustomed to, his photography pursues moments where the cameras are not rolling, where actors let down their guard and where silence briefly inhabits the space between action and cut.

What sets Backstage Dreams apart is its ability to make the viewer feel like an insider, gently stepping into the subtle spaces where actors drift in and out of character. The book is filled with black-and-white images that capture the lines between performance and reality, offering glimpses into the intricacies of the experience of being part of a set—the multifaceted ecosystem in which actors are lost in thought before stepping onto set, adjusting their costumes, reviewing scripts and sharing candid moments with the crew.

Guillemain reflects on his work:
“A good photograph can happen every single second. It’s either you sit and have a coffee and you wait for action, or you don’t sit, you don’t have a coffee. You just wander around with your camera and open yourself to whatever is going to happen.” This spirit is present on every page of Backstage Dreams.

Born in Morocco and raised in Paris, Eric James Guillemain moved to New York in 2002 and began his career as an assistant to the legendary photographer Peter Lindbergh. What began as a last-minute backstage replacement soon became a defining moment in his journey. He has since traveled the world, capturing everything from striking landscapes to iconic celebrities. His candid and emotive style creates a strong connection between his subjects and the viewer.

Backstage Dreams is a must-have for photography lovers, film enthusiasts, and anyone fascinated by the untold stories of behind the scenes. It is not just a collection of photographs but an intimate invitation to witness the beauty of what makes a backstage.

While working as a ‘fly on the wall’, you also maybe gain a bird’s-eye view of the set, as well as a look into its inner workings, perhaps even more so than those directly involved in the production. You observe the rhythms, the unspoken interactions, the quiet moments of people deep in their creative process. How has this unique perspective shaped your understanding of filmmaking and photography, and do you think it has influenced the way you tell stories through your images?

In my formative years of photographing people, the first problem I encountered was the question of authenticity. My behavior—or my subject’s—always felt slightly off, tainted by the very intention of creating something worthwhile. In that sense, working as a behind-the-scenes photographer during my period of apprenticeship really helped shape my understanding of what was at stake. I learned how precious it was to distance myself from the act of creativity itself. Being more of an unobtrusive observer than a creator led me, I think, to adopt a softer approach to the work.

It reminds me of Michelangelo’s famous quote about seeing an angel in a block of marble and setting it free. Too much tension, too many intentions or expectations on set, can feel like a solid, impenetrable block. The mission isn’t to force something into existence but to reveal what’s already there, waiting to be uncovered.

So I just chose to look and bear witness, always mindful of my surroundings. I think this book reflects that stance—that way of seeing.

What do you hope viewers will take away from this book?

First, I hope they’ll lose themselves in a peaceful visual and mental journey. But this book is also a mise-en-abîme—I observe myself observing, and hopefully, the viewer will observe me in return. There’s a lot of myself in these pictures. Backstage is more than just a setting; it’s a metaphor for looking and for documenting my own story.

Are there particular emotions or moments you find yourself drawn to when shooting behind the scenes?

The waiting, the mystery of introspection, the isolated cameras, or unused pieces of equipment—the way they exist in the light before a human hand intervenes fascinates me. And to paraphrase the title of my book, I’m also drawn to the dream. Staying at human level, far from the spectacular, is what makes me dream. Marilyn Monroe on set, lost in thought through Eve Arnold’s lens, or a solitary man smoking in an Ozu film—that’s what captivated me as a teenager. I guess that’s the world I find myself drawn to.

Having started as an assistant to Peter Lindbergh, how did that experience shape your photographic style?

I once said that meeting and working with him was like witnessing the punk scene—you see him, and you’re galvanized. Who cares about concepts or demonstrating technique? Photography becomes urgent, alive, and anything feels possible. More than anything, Peter gave me a sense of essential confidence. If a style comes out of that, then it’s just the cherry on top.

Back

Backstage Dreams

The first monograph by Eric James Guillemain

There’s something undeniably magical about the quiet moments between action and cut; the brief pauses behind the glitz and glamour of a high-profile set. These fleeting, often unnoticed instances are exactly what photographer Eric James Guillemain captures in Backstage Dreams, his first monograph, set to be published by Damiani in April 2025.

For over 15 years, Guillemain has been a quiet observer of the film and fashion worlds, photographing the unfiltered moments of some of the most celebrated actors and personalities of our time. Unlike the polished, traditional on-set photography we are accustomed to, his photography pursues moments where the cameras are not rolling, where actors let down their guard and where silence briefly inhabits the space between action and cut.

What sets Backstage Dreams apart is its ability to make the viewer feel like an insider, gently stepping into the subtle spaces where actors drift in and out of character. The book is filled with black-and-white images that capture the lines between performance and reality, offering glimpses into the intricacies of the experience of being part of a set—the multifaceted ecosystem in which actors are lost in thought before stepping onto set, adjusting their costumes, reviewing scripts and sharing candid moments with the crew.

Guillemain reflects on his work:
“A good photograph can happen every single second. It’s either you sit and have a coffee and you wait for action, or you don’t sit, you don’t have a coffee. You just wander around with your camera and open yourself to whatever is going to happen.” This spirit is present on every page of Backstage Dreams.

Born in Morocco and raised in Paris, Eric James Guillemain moved to New York in 2002 and began his career as an assistant to the legendary photographer Peter Lindbergh. What began as a last-minute backstage replacement soon became a defining moment in his journey. He has since traveled the world, capturing everything from striking landscapes to iconic celebrities. His candid and emotive style creates a strong connection between his subjects and the viewer.

Backstage Dreams is a must-have for photography lovers, film enthusiasts, and anyone fascinated by the untold stories of behind the scenes. It is not just a collection of photographs but an intimate invitation to witness the beauty of what makes a backstage.

While working as a ‘fly on the wall’, you also maybe gain a bird’s-eye view of the set, as well as a look into its inner workings, perhaps even more so than those directly involved in the production. You observe the rhythms, the unspoken interactions, the quiet moments of people deep in their creative process. How has this unique perspective shaped your understanding of filmmaking and photography, and do you think it has influenced the way you tell stories through your images?

In my formative years of photographing people, the first problem I encountered was the question of authenticity. My behavior—or my subject’s—always felt slightly off, tainted by the very intention of creating something worthwhile. In that sense, working as a behind-the-scenes photographer during my period of apprenticeship really helped shape my understanding of what was at stake. I learned how precious it was to distance myself from the act of creativity itself. Being more of an unobtrusive observer than a creator led me, I think, to adopt a softer approach to the work.

It reminds me of Michelangelo’s famous quote about seeing an angel in a block of marble and setting it free. Too much tension, too many intentions or expectations on set, can feel like a solid, impenetrable block. The mission isn’t to force something into existence but to reveal what’s already there, waiting to be uncovered.

So I just chose to look and bear witness, always mindful of my surroundings. I think this book reflects that stance—that way of seeing.

What do you hope viewers will take away from this book?

First, I hope they’ll lose themselves in a peaceful visual and mental journey. But this book is also a mise-en-abîme—I observe myself observing, and hopefully, the viewer will observe me in return. There’s a lot of myself in these pictures. Backstage is more than just a setting; it’s a metaphor for looking and for documenting my own story.

Are there particular emotions or moments you find yourself drawn to when shooting behind the scenes?

The waiting, the mystery of introspection, the isolated cameras, or unused pieces of equipment—the way they exist in the light before a human hand intervenes fascinates me. And to paraphrase the title of my book, I’m also drawn to the dream. Staying at human level, far from the spectacular, is what makes me dream. Marilyn Monroe on set, lost in thought through Eve Arnold’s lens, or a solitary man smoking in an Ozu film—that’s what captivated me as a teenager. I guess that’s the world I find myself drawn to.

Having started as an assistant to Peter Lindbergh, how did that experience shape your photographic style?

I once said that meeting and working with him was like witnessing the punk scene—you see him, and you’re galvanized. Who cares about concepts or demonstrating technique? Photography becomes urgent, alive, and anything feels possible. More than anything, Peter gave me a sense of essential confidence. If a style comes out of that, then it’s just the cherry on top.

Back

Backstage Dreams

The first monograph by Eric James Guillemain

There’s something undeniably magical about the quiet moments between action and cut; the brief pauses behind the glitz and glamour of a high-profile set. These fleeting, often unnoticed instances are exactly what photographer Eric James Guillemain captures in Backstage Dreams, his first monograph, set to be published by Damiani in April 2025.

For over 15 years, Guillemain has been a quiet observer of the film and fashion worlds, photographing the unfiltered moments of some of the most celebrated actors and personalities of our time. Unlike the polished, traditional on-set photography we are accustomed to, his photography pursues moments where the cameras are not rolling, where actors let down their guard and where silence briefly inhabits the space between action and cut.

What sets Backstage Dreams apart is its ability to make the viewer feel like an insider, gently stepping into the subtle spaces where actors drift in and out of character. The book is filled with black-and-white images that capture the lines between performance and reality, offering glimpses into the intricacies of the experience of being part of a set—the multifaceted ecosystem in which actors are lost in thought before stepping onto set, adjusting their costumes, reviewing scripts and sharing candid moments with the crew.

Guillemain reflects on his work:
“A good photograph can happen every single second. It’s either you sit and have a coffee and you wait for action, or you don’t sit, you don’t have a coffee. You just wander around with your camera and open yourself to whatever is going to happen.” This spirit is present on every page of Backstage Dreams.

Born in Morocco and raised in Paris, Eric James Guillemain moved to New York in 2002 and began his career as an assistant to the legendary photographer Peter Lindbergh. What began as a last-minute backstage replacement soon became a defining moment in his journey. He has since traveled the world, capturing everything from striking landscapes to iconic celebrities. His candid and emotive style creates a strong connection between his subjects and the viewer.

Backstage Dreams is a must-have for photography lovers, film enthusiasts, and anyone fascinated by the untold stories of behind the scenes. It is not just a collection of photographs but an intimate invitation to witness the beauty of what makes a backstage.

While working as a ‘fly on the wall’, you also maybe gain a bird’s-eye view of the set, as well as a look into its inner workings, perhaps even more so than those directly involved in the production. You observe the rhythms, the unspoken interactions, the quiet moments of people deep in their creative process. How has this unique perspective shaped your understanding of filmmaking and photography, and do you think it has influenced the way you tell stories through your images?

In my formative years of photographing people, the first problem I encountered was the question of authenticity. My behavior—or my subject’s—always felt slightly off, tainted by the very intention of creating something worthwhile. In that sense, working as a behind-the-scenes photographer during my period of apprenticeship really helped shape my understanding of what was at stake. I learned how precious it was to distance myself from the act of creativity itself. Being more of an unobtrusive observer than a creator led me, I think, to adopt a softer approach to the work.

It reminds me of Michelangelo’s famous quote about seeing an angel in a block of marble and setting it free. Too much tension, too many intentions or expectations on set, can feel like a solid, impenetrable block. The mission isn’t to force something into existence but to reveal what’s already there, waiting to be uncovered.

So I just chose to look and bear witness, always mindful of my surroundings. I think this book reflects that stance—that way of seeing.

What do you hope viewers will take away from this book?

First, I hope they’ll lose themselves in a peaceful visual and mental journey. But this book is also a mise-en-abîme—I observe myself observing, and hopefully, the viewer will observe me in return. There’s a lot of myself in these pictures. Backstage is more than just a setting; it’s a metaphor for looking and for documenting my own story.

Are there particular emotions or moments you find yourself drawn to when shooting behind the scenes?

The waiting, the mystery of introspection, the isolated cameras, or unused pieces of equipment—the way they exist in the light before a human hand intervenes fascinates me. And to paraphrase the title of my book, I’m also drawn to the dream. Staying at human level, far from the spectacular, is what makes me dream. Marilyn Monroe on set, lost in thought through Eve Arnold’s lens, or a solitary man smoking in an Ozu film—that’s what captivated me as a teenager. I guess that’s the world I find myself drawn to.

Having started as an assistant to Peter Lindbergh, how did that experience shape your photographic style?

I once said that meeting and working with him was like witnessing the punk scene—you see him, and you’re galvanized. Who cares about concepts or demonstrating technique? Photography becomes urgent, alive, and anything feels possible. More than anything, Peter gave me a sense of essential confidence. If a style comes out of that, then it’s just the cherry on top.