American Cinematographer - January 2014 - 65

Unit photography by David Appleby, courtesy of Sony Pictures Classics. Additional photos and illustrations courtesy of the filmmakers.

AMC_0114_p064_p075_c_feature 11/24/13 11:36 AM Page 65

Opposite: Charles
Dickens (Ralph
Fiennes) and
Nelly Ternan
(Felicity Jones)
share an intimate
moment. This
page, top: Many
years later, Nelly
considers
unburdening
herself to a
kindly preacher
(John Kavanagh).
Bottom: Fiennes
eyes a setup with
director of
photography
Rob Hardy, BSC.

and Red Riding: In the Year of Our Lord
1974. "A lot of what cinematographers
do is informed by what actors do, and it
goes beyond the technical; we're all
telling the story together. I'd worked
with directors who had been actors, and
their understanding of actors and
performance gave me a whole new
perspective, so I was really interested in
working with an actor/director."
Hardy's first meeting with
Fiennes and Gabriella Tana, one of the
film's producers, was memorable for all
three parties. "We started drinking wine
and launched straight away into how we
saw the film, and by the end of the
evening, Gabrielle couldn't pry us
apart," Hardy recalls with a laugh.
Fiennes affirms, "I felt Rob and I had a
lot in common very quickly. I explained
what I thought was the approach to the
film, and he seemed to really get it, and
I was so encouraged by the way we
connected that we met again."
Choosing a cinematographer, adds
Fiennes, is not about aesthetics alone.
"Also important is who you're sharing
the day with, and Rob and I just got on
very well. I feel I've been very lucky on
both my films, first with Barry Ackroyd

[BSC] on Coriolanus, and then again
with Rob."
The creative harmony was
cemented at Hardy and Fiennes' next
meeting, when the cinematographer
arrived at Fiennes' home with a copy of
Saul Leiter's Early Color. "I was thinking about what it meant to shoot something set in the Victorian era, which I
hadn't done before, and I deliberately
didn't want to go down the road of
referencing [other films], simply
www.theasc.com

because I didn't really believe anything
I'd seen had represented the period in
the right way," says Hardy. "That isn't to
say it wasn't correct; it's just that there
was nothing in the visuals that defined
that period for me.
"Even though Leiter is a contemporary American photographer, the sort
of truth he captured really represented
the feeling of The Invisible Woman to
me," he continues. "So, I told Ralph,
'Look, I'm sorry I don't have any visual
January 2014

65



http://www.theasc.com

American Cinematographer - January 2014

Table of Contents for the Digital Edition of American Cinematographer - January 2014

Table of Contents
American Cinematographer - January 2014 - Cover1
American Cinematographer - January 2014 - Cover2
American Cinematographer - January 2014 - 1
American Cinematographer - January 2014 - 2
American Cinematographer - January 2014 - Table of Contents
American Cinematographer - January 2014 - 4
American Cinematographer - January 2014 - 5
American Cinematographer - January 2014 - 6
American Cinematographer - January 2014 - 7
American Cinematographer - January 2014 - 8
American Cinematographer - January 2014 - 9
American Cinematographer - January 2014 - 10
American Cinematographer - January 2014 - 11
American Cinematographer - January 2014 - 12
American Cinematographer - January 2014 - 13
American Cinematographer - January 2014 - 14
American Cinematographer - January 2014 - 15
American Cinematographer - January 2014 - 16
American Cinematographer - January 2014 - 17
American Cinematographer - January 2014 - 18
American Cinematographer - January 2014 - 19
American Cinematographer - January 2014 - 20
American Cinematographer - January 2014 - 21
American Cinematographer - January 2014 - 22
American Cinematographer - January 2014 - 23
American Cinematographer - January 2014 - 24
American Cinematographer - January 2014 - 25
American Cinematographer - January 2014 - 26
American Cinematographer - January 2014 - 27
American Cinematographer - January 2014 - 28
American Cinematographer - January 2014 - 29
American Cinematographer - January 2014 - 30
American Cinematographer - January 2014 - 31
American Cinematographer - January 2014 - 32
American Cinematographer - January 2014 - 33
American Cinematographer - January 2014 - 34
American Cinematographer - January 2014 - 35
American Cinematographer - January 2014 - 36
American Cinematographer - January 2014 - 37
American Cinematographer - January 2014 - 38
American Cinematographer - January 2014 - 39
American Cinematographer - January 2014 - 40
American Cinematographer - January 2014 - 41
American Cinematographer - January 2014 - 42
American Cinematographer - January 2014 - 43
American Cinematographer - January 2014 - 44
American Cinematographer - January 2014 - 45
American Cinematographer - January 2014 - 46
American Cinematographer - January 2014 - 47
American Cinematographer - January 2014 - 48
American Cinematographer - January 2014 - 49
American Cinematographer - January 2014 - 50
American Cinematographer - January 2014 - 51
American Cinematographer - January 2014 - 52
American Cinematographer - January 2014 - 53
American Cinematographer - January 2014 - 54
American Cinematographer - January 2014 - 55
American Cinematographer - January 2014 - 56
American Cinematographer - January 2014 - 57
American Cinematographer - January 2014 - 58
American Cinematographer - January 2014 - 59
American Cinematographer - January 2014 - 60
American Cinematographer - January 2014 - 61
American Cinematographer - January 2014 - 62
American Cinematographer - January 2014 - 63
American Cinematographer - January 2014 - 64
American Cinematographer - January 2014 - 65
American Cinematographer - January 2014 - 66
American Cinematographer - January 2014 - 67
American Cinematographer - January 2014 - 68
American Cinematographer - January 2014 - 69
American Cinematographer - January 2014 - 70
American Cinematographer - January 2014 - 71
American Cinematographer - January 2014 - 72
American Cinematographer - January 2014 - 73
American Cinematographer - January 2014 - 74
American Cinematographer - January 2014 - 75
American Cinematographer - January 2014 - 76
American Cinematographer - January 2014 - 77
American Cinematographer - January 2014 - 78
American Cinematographer - January 2014 - 79
American Cinematographer - January 2014 - 80
American Cinematographer - January 2014 - 81
American Cinematographer - January 2014 - 82
American Cinematographer - January 2014 - 83
American Cinematographer - January 2014 - 84
American Cinematographer - January 2014 - 85
American Cinematographer - January 2014 - 86
American Cinematographer - January 2014 - 87
American Cinematographer - January 2014 - 88
American Cinematographer - January 2014 - 89
American Cinematographer - January 2014 - 90
American Cinematographer - January 2014 - 91
American Cinematographer - January 2014 - 92
American Cinematographer - January 2014 - 93
American Cinematographer - January 2014 - 94
American Cinematographer - January 2014 - 95
American Cinematographer - January 2014 - 96
American Cinematographer - January 2014 - Cover3
American Cinematographer - January 2014 - Cover4
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com