American Cinematographer - October 2017 - 31

Photos by Mary Cybulski, courtesy of Amazon Studios and Roadside Attractions.

Opposite: Twelveyear-old Rose
(Millicent
Simmonds)
ventures into New
York City in the
feature
Wonderstruck.
This page, left:
Fifty years later, in
1977, 12-year-old
Ben (Oakes
Fegley) makes his
own way into the
city. Below, from
left:
Cinematographer
Ed Lachman, ASC;
director Todd
Haynes; and
camera operator
Craig Haagensen
line up a shot.

story with the drawings in my book. I
wanted to tell the story of a deaf character through the 'silence' of black-andwhite drawings, as they parallel her
point of view." This approach would
also use the silent period of 1920s
cinema as a metaphor for her world.
Selznick added, "Reading Wonderstruck
and getting her story only through
pictures would make the readers feel like
they were Rose, herself. This idea
excited me. The other story, the one in
words, about Ben in the Seventies,
would be about a hearing boy who
becomes deaf. And so, by going back
and forth we'd be able to have each story
parallel and illuminate the other."
Best known for his book The
Invention of Hugo Cabret - which
director Martin Scorsese translated to
the screen as Hugo, working with cinematographer Robert Richardson, ASC
(AC Dec. '11) - Selznick here again
imbues the story with the language of
cinema history while turning his attentions to the collective memory of curating and museums.
For Wonderstruck, director Todd
Haynes reteamed with me, continuing
our collaboration, which started with
Far From Heaven (AC Dec. '02), and
continued with I'm Not There (AC Nov.
'07), Mildred Pierce (AC April '11) and
Carol (AC Nov. '15). Haynes describes

Selznick's story as an "intensely cinematic" idea that takes the form of a
mystery - accumulating clues, answering questions and posing new ones -
all while leading to final discoveries.
"The film is structured as a dual narrative with the two stories paralleling each
other and driving the mystery of the
film alongside the answers each central
character is seeking," the director says.
"Why are these two stories, set 50 years
apart, being paired? What is their
connection? Why do they interweave in
these ways? We observe the events of
www.ascmag.com

the two characters' journeys mirrored in
their deafness - fleeing their homes for
New York City and ending up at the
[American] Museum of Natural
History."
Indeed, the way the two stories
interconnect through two different time
periods creates the mystery at the core
of the story. When you're watching it,
you're asking, "Why are these two
stories sharing one movie?" All the relevant questions come out of that uncertainty.
Todd's film is also a tribute to
October 2017

31



http://www.ascmag.com

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

Contents
American Cinematographer - October 2017 - Cover1
American Cinematographer - October 2017 - Cover2
American Cinematographer - October 2017 - 1
American Cinematographer - October 2017 - 2
American Cinematographer - October 2017 - Contents
American Cinematographer - October 2017 - 4
American Cinematographer - October 2017 - 5
American Cinematographer - October 2017 - 6
American Cinematographer - October 2017 - 7
American Cinematographer - October 2017 - 8
American Cinematographer - October 2017 - 9
American Cinematographer - October 2017 - 10
American Cinematographer - October 2017 - 11
American Cinematographer - October 2017 - 12
American Cinematographer - October 2017 - 13
American Cinematographer - October 2017 - 14
American Cinematographer - October 2017 - 15
American Cinematographer - October 2017 - 16
American Cinematographer - October 2017 - 17
American Cinematographer - October 2017 - 18
American Cinematographer - October 2017 - 19
American Cinematographer - October 2017 - 20
American Cinematographer - October 2017 - 21
American Cinematographer - October 2017 - 22
American Cinematographer - October 2017 - 23
American Cinematographer - October 2017 - 24
American Cinematographer - October 2017 - 25
American Cinematographer - October 2017 - 26
American Cinematographer - October 2017 - 27
American Cinematographer - October 2017 - 28
American Cinematographer - October 2017 - 29
American Cinematographer - October 2017 - 30
American Cinematographer - October 2017 - 31
American Cinematographer - October 2017 - 32
American Cinematographer - October 2017 - 33
American Cinematographer - October 2017 - 34
American Cinematographer - October 2017 - 35
American Cinematographer - October 2017 - 36
American Cinematographer - October 2017 - 37
American Cinematographer - October 2017 - 38
American Cinematographer - October 2017 - 39
American Cinematographer - October 2017 - 40
American Cinematographer - October 2017 - 41
American Cinematographer - October 2017 - 42
American Cinematographer - October 2017 - 43
American Cinematographer - October 2017 - 44
American Cinematographer - October 2017 - 45
American Cinematographer - October 2017 - 46
American Cinematographer - October 2017 - 47
American Cinematographer - October 2017 - 48
American Cinematographer - October 2017 - 49
American Cinematographer - October 2017 - 50
American Cinematographer - October 2017 - 51
American Cinematographer - October 2017 - 52
American Cinematographer - October 2017 - 53
American Cinematographer - October 2017 - 54
American Cinematographer - October 2017 - 55
American Cinematographer - October 2017 - 56
American Cinematographer - October 2017 - 57
American Cinematographer - October 2017 - 58
American Cinematographer - October 2017 - 59
American Cinematographer - October 2017 - 60
American Cinematographer - October 2017 - 61
American Cinematographer - October 2017 - 62
American Cinematographer - October 2017 - 63
American Cinematographer - October 2017 - 64
American Cinematographer - October 2017 - 65
American Cinematographer - October 2017 - 66
American Cinematographer - October 2017 - 67
American Cinematographer - October 2017 - 68
American Cinematographer - October 2017 - 69
American Cinematographer - October 2017 - 70
American Cinematographer - October 2017 - 71
American Cinematographer - October 2017 - 72
American Cinematographer - October 2017 - 73
American Cinematographer - October 2017 - 74
American Cinematographer - October 2017 - 75
American Cinematographer - October 2017 - 76
American Cinematographer - October 2017 - 77
American Cinematographer - October 2017 - 78
American Cinematographer - October 2017 - 79
American Cinematographer - October 2017 - 80
American Cinematographer - October 2017 - 81
American Cinematographer - October 2017 - 82
American Cinematographer - October 2017 - 83
American Cinematographer - October 2017 - 84
American Cinematographer - October 2017 - 85
American Cinematographer - October 2017 - 86
American Cinematographer - October 2017 - 87
American Cinematographer - October 2017 - 88
American Cinematographer - October 2017 - Cover3
American Cinematographer - October 2017 - Cover4
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