American Cinematographer - July 2015 - 35

Then, when I left, PJ Dillon [ISC] or
Nigel Willoughby [BSC] were changing my lanterns out for their lights. No
director of photography would walk in
without changing anything."
Conroy started his career as a
clapper loader for his cinematographer
father, Jack, whose credits include Jim
Sheridan's Oscar-winning drama My
Left Foot. "My first film-industry
memory is being on the set of Zardoz
[directed by John Boorman and shot by
Geoffrey Unsworth, BSC] when I was
8 - my dad was the gaffer. I knew that
it was all I ever wanted to do." After
serving as director of photography on
the visual-effects unit for Sweeney Todd
(AC Jan. '08) and as focus puller on
Hollywood features that included
Braveheart (AC Dec. '95), The Tailor of
Panama, The Da Vinci Code (AC June
'06) and The Bourne Ultimatum (AC
Sept. '07), Conroy's industry pedigree
led him to the cinematographer's chair
on a series of acclaimed television
productions: Silent Witness, Mr.
Selfridge, Fortitude, Luther and
Broadchurch.
McPolin notes that Penny
Dreadful's abundance of atmosphere is
a high priority: "John Logan was really
adamant that he wanted to feel and
taste and touch the London of that
time. Xavi's approach, which I've tried
to continue, was to look for textures
within the sets and characters - to use
the detail in the costumes and environments. The show is very visceral, with
Frankenstein opening bodies and the
details of makeup effects - you want
to capture all of that."
Comparing the production's
overall look to that of The Others
(photographed by Javier Aguirresarobe,
ASC, AEC), McPolin makes ample
use of darkness, and is keen to emphasize the support he receives from the
production team in pursuing that strategy. "The characters find themselves in
some very dark environments," he says.
"The backgrounds just drift away into
darkness. [While we were] grading
episodes one and two of season two,
Chris [W. King] and John [Logan],

Top:
Frankenstein is
confronted by
his Creature
(Rory Kinnear).
Middle: The
Creature, using
the name
Caliban, works
as a stagehand
at a theater.
Bottom:
Frankenstein
creates a
companion for
the Creature
from the dead
body of Brona
Croft (Billie
Piper).

www.theasc.com

July 2015

35


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - July 2015

Contents
American Cinematographer - July 2015 - Cover1
American Cinematographer - July 2015 - Cover2
American Cinematographer - July 2015 - 1
American Cinematographer - July 2015 - 2
American Cinematographer - July 2015 - Contents
American Cinematographer - July 2015 - 4
American Cinematographer - July 2015 - 5
American Cinematographer - July 2015 - 6
American Cinematographer - July 2015 - 7
American Cinematographer - July 2015 - 8
American Cinematographer - July 2015 - 9
American Cinematographer - July 2015 - 10
American Cinematographer - July 2015 - 11
American Cinematographer - July 2015 - 12
American Cinematographer - July 2015 - 13
American Cinematographer - July 2015 - 14
American Cinematographer - July 2015 - 15
American Cinematographer - July 2015 - 16
American Cinematographer - July 2015 - 17
American Cinematographer - July 2015 - 18
American Cinematographer - July 2015 - 19
American Cinematographer - July 2015 - 20
American Cinematographer - July 2015 - 21
American Cinematographer - July 2015 - 22
American Cinematographer - July 2015 - 23
American Cinematographer - July 2015 - 24
American Cinematographer - July 2015 - 25
American Cinematographer - July 2015 - 26
American Cinematographer - July 2015 - 27
American Cinematographer - July 2015 - 28
American Cinematographer - July 2015 - 29
American Cinematographer - July 2015 - 30
American Cinematographer - July 2015 - 31
American Cinematographer - July 2015 - 32
American Cinematographer - July 2015 - 33
American Cinematographer - July 2015 - 34
American Cinematographer - July 2015 - 35
American Cinematographer - July 2015 - 36
American Cinematographer - July 2015 - 37
American Cinematographer - July 2015 - 38
American Cinematographer - July 2015 - 39
American Cinematographer - July 2015 - 40
American Cinematographer - July 2015 - 41
American Cinematographer - July 2015 - 42
American Cinematographer - July 2015 - 43
American Cinematographer - July 2015 - 44
American Cinematographer - July 2015 - 45
American Cinematographer - July 2015 - 46
American Cinematographer - July 2015 - 47
American Cinematographer - July 2015 - 48
American Cinematographer - July 2015 - 49
American Cinematographer - July 2015 - 50
American Cinematographer - July 2015 - 51
American Cinematographer - July 2015 - 52
American Cinematographer - July 2015 - 53
American Cinematographer - July 2015 - 54
American Cinematographer - July 2015 - 55
American Cinematographer - July 2015 - 56
American Cinematographer - July 2015 - 57
American Cinematographer - July 2015 - 58
American Cinematographer - July 2015 - 59
American Cinematographer - July 2015 - 60
American Cinematographer - July 2015 - 61
American Cinematographer - July 2015 - 62
American Cinematographer - July 2015 - 63
American Cinematographer - July 2015 - 64
American Cinematographer - July 2015 - 65
American Cinematographer - July 2015 - 66
American Cinematographer - July 2015 - 67
American Cinematographer - July 2015 - 68
American Cinematographer - July 2015 - 69
American Cinematographer - July 2015 - 70
American Cinematographer - July 2015 - 71
American Cinematographer - July 2015 - 72
American Cinematographer - July 2015 - 73
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American Cinematographer - July 2015 - 77
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American Cinematographer - July 2015 - 81
American Cinematographer - July 2015 - 82
American Cinematographer - July 2015 - 83
American Cinematographer - July 2015 - 84
American Cinematographer - July 2015 - 85
American Cinematographer - July 2015 - 86
American Cinematographer - July 2015 - 87
American Cinematographer - July 2015 - 88
American Cinematographer - July 2015 - Cover3
American Cinematographer - July 2015 - Cover4
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