American Cinematographer - January 2016 - 83

Unit photography by Agatha A. Nitecka and Liam Daniel, courtesy of Focus Features.

hurt when Lili decides to permanently
abandon her previous male identity.
Gerda seeks solace from Einar's childhood friend, art dealer Hans Axgil
(Matthias Schoenaerts), but when Lili
embarks on groundbreaking and
dangerous gender-reassignment surgeries under Dresden physician Kurt
Warnekros (Sebastian Koch), Gerda
returns to Lili's side.
The project underwent a long
gestation before Tom Hooper finally
signed on to direct, and while the intimate film may seem small-scale following Hooper's lavish adaptation of Les
Misérables (AC Jan. '13), its timing is
uncanny in the year of Caitlyn Jenner
and as transgender issues have come to
the fore. Hooper again teamed with
director of photography Danny Cohen,
BSC, who has shot the vast majority of
the director's projects since the 2006
telefilm Longford; the cinematographer
received Oscar, BAFTA, ASC and
Camerimage nominations for his work
on Hooper's The King's Speech (AC Dec.
'10).
"Tom's got a fantastic eye,"
Cohen says from his home in London.
"He knows exactly what he likes, which
makes things simpler. Whether you
have a frame that is or isn't working for

Opposite: Danish painter Einar Wegener (Eddie Redmayne) transforms into Lili Elbe, embarking on a
journey of self-discovery and becoming a transgender pioneer in The Danish Girl. This page, top: Einar
models for his wife and fellow painter, Gerda (Alicia Vikander). Bottom: Cinematographer
Danny Cohen, BSC positions the camera for a close-up of Redmayne.

him, he'll tell you. The more ideas and
options, the better, because you can
throw stuff away and you don't stand
around scratching your head."
Their schedule on The Danish
Girl was tight. The cameras rolled in
February 2015, starting in London's
Elstree Film Studios followed by location work around the city. Cohen then
www.theasc.com

took full advantage of urban and natural
landscapes over several weeks in
Brussels and Copenhagen, and a day in
Norway. There was also a second-unit
day of pickups in Dresden before
photography wrapped in April.
The production met its goal to
premiere in September at the Venice
International Film Festival, followed a
January 2016

83


http://www.theasc.com

Table of Contents for the Digital Edition of American Cinematographer - January 2016

Contents
American Cinematographer - January 2016 - Cover1
American Cinematographer - January 2016 - Cover2
American Cinematographer - January 2016 - 1
American Cinematographer - January 2016 - 2
American Cinematographer - January 2016 - Contents
American Cinematographer - January 2016 - 4
American Cinematographer - January 2016 - 5
American Cinematographer - January 2016 - 6
American Cinematographer - January 2016 - 7
American Cinematographer - January 2016 - 8
American Cinematographer - January 2016 - 9
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American Cinematographer - January 2016 - 28
American Cinematographer - January 2016 - 29
American Cinematographer - January 2016 - 30
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American Cinematographer - January 2016 - 35
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American Cinematographer - January 2016 - 40
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American Cinematographer - January 2016 - 47
American Cinematographer - January 2016 - 48
American Cinematographer - January 2016 - 49
American Cinematographer - January 2016 - 50
American Cinematographer - January 2016 - 51
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American Cinematographer - January 2016 - 53
American Cinematographer - January 2016 - 54
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American Cinematographer - January 2016 - 61
American Cinematographer - January 2016 - 62
American Cinematographer - January 2016 - 63
American Cinematographer - January 2016 - 64a
American Cinematographer - January 2016 - 64b
American Cinematographer - January 2016 - 64c
American Cinematographer - January 2016 - 64d
American Cinematographer - January 2016 - 64e
American Cinematographer - January 2016 - 64f
American Cinematographer - January 2016 - 64g
American Cinematographer - January 2016 - 64h
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American Cinematographer - January 2016 - Cover3
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