American Cinematographer - January 2016 - 55
Unit photography by Jonathan Prime and Chris Raphael, courtesy of Warner Bros. Pictures. Additional images provided by Peter Zuccarini.
When the New
England whaling
ship Essex is
attacked by a
massive whale, the
surviving crew -
including first mate
Owen Chase (Chris
Hemsworth,
opposite, right) -
must resort to the
unthinkable in
order to survive in
the feature In the
Heart of the Sea.
Below: Director Ron
Howard (left) and
cinematographer
Anthony Dod
Mantle, ASC, BSC,
DFF discuss a scene.
H
erman Melville's 1851 adventure, Moby-Dick, has been
adapted to the screen numerous times, most famously in
1956 by director John Huston and
cinematographer Oswald Morris,
BSC. Yet the factual tale that inspired
the novelist was not well known until
Nathaniel Philbrick's well-researched
account, In the Heart of the Sea: The
Tragedy of the Whaleship Essex, was
published in 2000. That book formed
the basis of the Warner Bros. release
In the Heart of the Sea, directed by
Ron Howard and photographed by
Anthony Dod Mantle, ASC, BSC,
DFF.
The film begins in 1820, as the
Essex - led by inexperienced captain
George Pollard Jr. (Benjamin Walker)
and fiery first mate Owen Chase
(Chris Hemsworth) - sets sail from
Nantucket toward the rich hunting
waters off South America. After early
success in taking their first whale, the
ship is crippled by a violent storm and
later sinks after being attacked by a
massive, enraged cetacean. The
survivors, marooned on a rocky isle,
are forced to resort to the most
desperate measures before their eventual rescue.
"This is an interesting tale
because it's a true story, but it's also
about the power of creating a myth -
the writing of Moby-Dick," Howard
explains, taking time to speak with AC
while cutting the thriller Inferno. "And
the attack itself is so cinematic in the
way it was described by Melville and
in the journals written by some of the
Essex survivors. That scene alone was
a huge jumping-off point for me."
An Academy Award and ASC
Award winner for his camerawork on
director Danny Boyle's Slumdog
Millionaire (AC Dec. '08), Dod
Mantle had previously collaborated
with Howard on the period Formula
One racing drama Rush (AC Oct. '13).
www.theasc.com
The director notes, "I brought this
project to Anthony because I was
interested in his take on the script,
especially [given that] there are classic
elements to the story but also very
modern ideas. I wanted a modern
cinematic aesthetic - not in a
pretentious, rock 'n' roll way, but in a
style that would make it personal and
interesting and memorable. That's
what modern photography offers -
subtle meanings that go beyond the
literal to work on a subconscious level
that's immersive and emotional. And
Anthony immediately connected
with that. There's still a painterly
January 2016
55
http://www.theasc.com
American Cinematographer - January 2016
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
American Cinematographer - January 2016 - 10
American Cinematographer - January 2016 - 11
American Cinematographer - January 2016 - 12
American Cinematographer - January 2016 - 13
American Cinematographer - January 2016 - 14
American Cinematographer - January 2016 - 15
American Cinematographer - January 2016 - 16
American Cinematographer - January 2016 - 17
American Cinematographer - January 2016 - 18
American Cinematographer - January 2016 - 19
American Cinematographer - January 2016 - 20
American Cinematographer - January 2016 - 21
American Cinematographer - January 2016 - 22
American Cinematographer - January 2016 - 23
American Cinematographer - January 2016 - 24
American Cinematographer - January 2016 - 25
American Cinematographer - January 2016 - 26
American Cinematographer - January 2016 - 27
American Cinematographer - January 2016 - 28
American Cinematographer - January 2016 - 29
American Cinematographer - January 2016 - 30
American Cinematographer - January 2016 - 31
American Cinematographer - January 2016 - 32
American Cinematographer - January 2016 - 33
American Cinematographer - January 2016 - 34
American Cinematographer - January 2016 - 35
American Cinematographer - January 2016 - 36
American Cinematographer - January 2016 - 37
American Cinematographer - January 2016 - 38
American Cinematographer - January 2016 - 39
American Cinematographer - January 2016 - 40
American Cinematographer - January 2016 - 41
American Cinematographer - January 2016 - 42
American Cinematographer - January 2016 - 43
American Cinematographer - January 2016 - 44
American Cinematographer - January 2016 - 45
American Cinematographer - January 2016 - 46
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
American Cinematographer - January 2016 - 52
American Cinematographer - January 2016 - 53
American Cinematographer - January 2016 - 54
American Cinematographer - January 2016 - 55
American Cinematographer - January 2016 - 56
American Cinematographer - January 2016 - 57
American Cinematographer - January 2016 - 58
American Cinematographer - January 2016 - 59
American Cinematographer - January 2016 - 60
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
American Cinematographer - January 2016 - 64
American Cinematographer - January 2016 - 65
American Cinematographer - January 2016 - 66
American Cinematographer - January 2016 - 67
American Cinematographer - January 2016 - 68
American Cinematographer - January 2016 - 69
American Cinematographer - January 2016 - 70
American Cinematographer - January 2016 - 71
American Cinematographer - January 2016 - 72
American Cinematographer - January 2016 - 73
American Cinematographer - January 2016 - 74
American Cinematographer - January 2016 - 75
American Cinematographer - January 2016 - 76
American Cinematographer - January 2016 - 77
American Cinematographer - January 2016 - 78
American Cinematographer - January 2016 - 79
American Cinematographer - January 2016 - 80
American Cinematographer - January 2016 - 81
American Cinematographer - January 2016 - 82
American Cinematographer - January 2016 - 83
American Cinematographer - January 2016 - 84
American Cinematographer - January 2016 - 85
American Cinematographer - January 2016 - 86
American Cinematographer - January 2016 - 87
American Cinematographer - January 2016 - 88
American Cinematographer - January 2016 - 89
American Cinematographer - January 2016 - 90
American Cinematographer - January 2016 - 91
American Cinematographer - January 2016 - 92
American Cinematographer - January 2016 - 93
American Cinematographer - January 2016 - 94
American Cinematographer - January 2016 - 95
American Cinematographer - January 2016 - 96
American Cinematographer - January 2016 - 97
American Cinematographer - January 2016 - 98
American Cinematographer - January 2016 - 99
American Cinematographer - January 2016 - 100
American Cinematographer - January 2016 - 101
American Cinematographer - January 2016 - 102
American Cinematographer - January 2016 - 103
American Cinematographer - January 2016 - 104
American Cinematographer - January 2016 - 105
American Cinematographer - January 2016 - 106
American Cinematographer - January 2016 - 107
American Cinematographer - January 2016 - 108
American Cinematographer - January 2016 - 109
American Cinematographer - January 2016 - 110
American Cinematographer - January 2016 - 111
American Cinematographer - January 2016 - 112
American Cinematographer - January 2016 - 113
American Cinematographer - January 2016 - 114
American Cinematographer - January 2016 - 115
American Cinematographer - January 2016 - 116
American Cinematographer - January 2016 - Cover3
American Cinematographer - January 2016 - 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