American Cinematographer - May 2015 - 34

Q

More Than Human
distinct texture and personality to
counter the clean lines in Mark Digby's
production design and [set decorator]
Michelle Day's sets."
Another film Hardy mentions is
John Carpenter's The Thing (shot by
Dean Cundey, ASC). "You never know
who's who, and your allegiance is
constantly shifting between the characters," he notes. Ex Machina plays a similar shell game with its characters'
trustworthiness, and to effectively
accomplish this misdirection, Hardy
needed to first lock the audience into a
specific point of view. "That's why I'm
an advocate of the single camera over
multiple cameras," he explains. "It
focuses your visual manifesto. In this
case, [that included] the geometry of the
frame, the bodies, the landscape, and
how to position those things to elicit a
cold, observing eye or a warm, human
emotion."
At the same time, Hardy
expresses a wariness of overtly manipulative filmmaking: "It's important to
have a strong point of view, to guide the
eye a little bit, but it should be done
without forcing people to think in a
specific way. The [viewers need] to
experience the moment on their own."
As an example, Hardy points to a
session between Caleb and Ava during
which they stand opposite each other,
separated by glass. Ava wants to know if
they're going to make it out of the facility alive, and as she closes in on the glass,
her reflection appears. "On one level, it's
simply a cool shot," says Hardy. "On
another, it's almost like she's speaking to
herself. That's one of the key moments
in the film when you realize she's taking
[Caleb] for a ride."
Indeed, the characters' spatial
relationship to each other proved as
emotionally important as their spoken
dialogue. Hardy mentions that in
Garland's script, Ava's room was divided
by a wall of glass, creating an observational dynamic between her and Caleb.
As the filmmakers continued to develop
Caleb and Ava's relationship, however,
the room was reconfigured to incorporate a glass box in which Caleb is fixed

Top: Caleb
receives an
invitation to
spend a week at
Nathan's redoubt.
Middle and
bottom: Caleb
arrives at his boss'
wilderness
hideaway. The
living room seen
here was part of a
private home the
production found
in Norway.

34

May 2015

American Cinematographer



American Cinematographer - May 2015

Table of Contents for the Digital Edition of American Cinematographer - May 2015

Contents
American Cinematographer - May 2015 - Intro
American Cinematographer - May 2015 - Cover1
American Cinematographer - May 2015 - Cover2
American Cinematographer - May 2015 - 1
American Cinematographer - May 2015 - 2
American Cinematographer - May 2015 - Contents
American Cinematographer - May 2015 - 4
American Cinematographer - May 2015 - 5
American Cinematographer - May 2015 - 6
American Cinematographer - May 2015 - 7
American Cinematographer - May 2015 - 8
American Cinematographer - May 2015 - 9
American Cinematographer - May 2015 - 10
American Cinematographer - May 2015 - 11
American Cinematographer - May 2015 - 12
American Cinematographer - May 2015 - 13
American Cinematographer - May 2015 - 14
American Cinematographer - May 2015 - 15
American Cinematographer - May 2015 - 16
American Cinematographer - May 2015 - 17
American Cinematographer - May 2015 - 18
American Cinematographer - May 2015 - 19
American Cinematographer - May 2015 - 20
American Cinematographer - May 2015 - 21
American Cinematographer - May 2015 - 22
American Cinematographer - May 2015 - 23
American Cinematographer - May 2015 - 24
American Cinematographer - May 2015 - 25
American Cinematographer - May 2015 - 26
American Cinematographer - May 2015 - 27
American Cinematographer - May 2015 - 28
American Cinematographer - May 2015 - 29
American Cinematographer - May 2015 - 30
American Cinematographer - May 2015 - 31
American Cinematographer - May 2015 - 32
American Cinematographer - May 2015 - 33
American Cinematographer - May 2015 - 34
American Cinematographer - May 2015 - 35
American Cinematographer - May 2015 - 36
American Cinematographer - May 2015 - 37
American Cinematographer - May 2015 - 38
American Cinematographer - May 2015 - 39
American Cinematographer - May 2015 - 40
American Cinematographer - May 2015 - 41
American Cinematographer - May 2015 - 42
American Cinematographer - May 2015 - 43
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American Cinematographer - May 2015 - 45
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American Cinematographer - May 2015 - 47
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American Cinematographer - May 2015 - 58
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American Cinematographer - May 2015 - 60
American Cinematographer - May 2015 - 61
American Cinematographer - May 2015 - 62
American Cinematographer - May 2015 - 63
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American Cinematographer - May 2015 - 86
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