American Cinematographer - July 2017 - 53

Images courtesy of Roadside Attractions.

Society - and had just completed an
Australian TV series called The
Kettering Incident, but Lady Macbeth
would be her third feature, after 2011's
Grey Matter and 2013's Ruin. The
latter, nominated for Best Cinematography Debut at Camerimage, is what
caught Oldroyd's eye. "It was shot over
two years in Cambodia," he says. "Very
handheld, very fluid. Again, a central
woman protagonist - a young girl. I
felt [Wegner] really connected us to the
girl." Oldroyd knew he'd need an
equally empathetic bond to get audiences to identify with his murderous
heroine.
Lady Macbeth is based on the
1865 Russian novella Lady Macbeth of
Mtsensk, by Nikolai Leskov. Though
turned into an opera by Dmitri
Shostakovich, it remains a lesser-known
story of oppression, illicit passion and
murder. As adapted by British playwright Alice Birch, the movie begins
with the marriage of Katherine (Pugh)
to the much-older Alexander (Paul
Hilton), a morose, emotionally abusive
man, whose industrialist father, Boris
(Christopher Fairbank), had purchased
the bride along with a plot of land.
Hoping to continue the family name,
Boris pressures Katherine for an heir,
not knowing that his son, who detests
him, refuses to consummate the
marriage. Nonetheless, both men expect

Opposite and this
page, above:
Katherine
(Florence Pugh) is
trapped in a
loveless marriage
when she embarks
on a passionate -
and ill-fated -
love affair in Lady
Macbeth. Left:
Director William
Oldroyd (left) and
cinematographer
Ari Wegner on
location.

Katherine to play her wifely part: stay
indoors, read her prayer book, and shut
up.
The plot shifts when the men are
called away and Katherine begins a
passionate affair with the stable boy,
Sebastian (Cosmo Jarvis). News travels,
and Boris' return brings new repression,
then a spontaneous murder. After a
second murder, the film's last act brings
another unexpected twist: Alexander
has fathered a son, whose smug grandmother settles him into the family
mansion. More bloody schemes follow,
betrayals mount, and only one ravaged
soul crawls out on top.
www.theasc.com

In order to shoot the 90-page
costume drama in 24 days, Oldroyd
developed a two-pronged plan: First,
he'd found a hero location where he
could shoot the entire film, except for a
day at the moors; second, he envisioned
a minimalist aesthetic in shot design
and coverage.
The location was Lambton
Castle, belonging to the Earl of
Durham, who resides in London and
Tuscany and had let his isolated 19thcentury castle be employed for commercial shoots. Production designer
Jacqueline Abrahams took over several
connecting rooms, painted them in
July 2017

53


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - July 2017

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
American Cinematographer - July 2017 - 4
American Cinematographer - July 2017 - 5
American Cinematographer - July 2017 - 6
American Cinematographer - July 2017 - 7
American Cinematographer - July 2017 - 8
American Cinematographer - July 2017 - 9
American Cinematographer - July 2017 - 10
American Cinematographer - July 2017 - 11
American Cinematographer - July 2017 - 12
American Cinematographer - July 2017 - 13
American Cinematographer - July 2017 - 14
American Cinematographer - July 2017 - 15
American Cinematographer - July 2017 - 16
American Cinematographer - July 2017 - 17
American Cinematographer - July 2017 - 18
American Cinematographer - July 2017 - 19
American Cinematographer - July 2017 - 20
American Cinematographer - July 2017 - 21
American Cinematographer - July 2017 - 22
American Cinematographer - July 2017 - 23
American Cinematographer - July 2017 - 24
American Cinematographer - July 2017 - 25
American Cinematographer - July 2017 - 26
American Cinematographer - July 2017 - 27
American Cinematographer - July 2017 - 28
American Cinematographer - July 2017 - 29
American Cinematographer - July 2017 - 30
American Cinematographer - July 2017 - 31
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American Cinematographer - July 2017 - 33
American Cinematographer - July 2017 - 34
American Cinematographer - July 2017 - 35
American Cinematographer - July 2017 - 36
American Cinematographer - July 2017 - 37
American Cinematographer - July 2017 - 38
American Cinematographer - July 2017 - 39
American Cinematographer - July 2017 - 40
American Cinematographer - July 2017 - 41
American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
American Cinematographer - July 2017 - 42
American Cinematographer - July 2017 - 43
American Cinematographer - July 2017 - 44
American Cinematographer - July 2017 - 45
American Cinematographer - July 2017 - 46
American Cinematographer - July 2017 - 47
American Cinematographer - July 2017 - 48
American Cinematographer - July 2017 - 49
American Cinematographer - July 2017 - 50
American Cinematographer - July 2017 - 51
American Cinematographer - July 2017 - 52
American Cinematographer - July 2017 - 53
American Cinematographer - July 2017 - 54
American Cinematographer - July 2017 - 55
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American Cinematographer - July 2017 - 88
American Cinematographer - July 2017 - Cover3
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