American Cinematographer - April 2018 - 50

Animal Kingdom
Cinematographer Tristan Oliver
illuminates the whimsical
futurescape of director
Wes Anderson's stop-motion
feature Isle of Dogs.
By Rachael K. Bosley
*|*

S

et in Japan at an indeterminate point in the future, Isle of
Dogs marks a return to stop-motion animation for writerdirector Wes Anderson, whose first foray into the genre
was Fantastic Mr. Fox (AC Dec. '09). For the new film,
Anderson returned to London and reassembled some of the

50

April 2018

same key crew, notably director of photography Tristan Oliver.
Over the course of the 87-week shoot, Oliver supervised three
lighting cameramen, and at the peak of production, there were
44 units running simultaneously on stages at 3 Mills Studios.
With roots going back to Aardman's acclaimed Wallace
& Gromit films, Oliver has been honing his craft for nearly 30
years, and his work so far includes the 2017 Academy Award
nominee Loving Vincent, the Academy Award-winning The
Curse of the Were-Rabbit (AC Oct. '05), and the widescreen 3D
stop-motion feature ParaNorman (AC Sept. '12). Technically
and stylistically, Isle of Dogs was less complex than all of those
projects, but "it wasn't easy by any means," says Oliver.
"Working with Wes is very different than the highly collaborative environments I've experienced on other films. He is very
exacting, and the process is more reactive than proactive."
Oliver connected with AC via FaceTime in January to
discuss the movie, which follows a pack of dogs that has been

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - April 2018

Contents
American Cinematographer - April 2018 - Cover1
American Cinematographer - April 2018 - Cover2
American Cinematographer - April 2018 - 1
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American Cinematographer - April 2018 - Contents
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