American Cinematographer - May 2015 - 41

her ability to discern micro-expressions
on the human face. "Every shot in the
film is moving at some point," Hardy
adds. "I wanted to subtly get the idea
across that you're leaning forward or
moving through a space. The zoom is
leaning in, but in a psychologically different way - I like that idea of something
pressing in on you, but without shifting
your perspective. You can barely see it,
but you can feel it."
In the film, Caleb conducts six
Turing-test sessions with the A.I., and
each session is lit in a subtly different way.
Hardy posits that Ava has the ability to
manipulate light, to make herself more
beautiful or simply "different." The cinematographer recalls reading Garland's

"We wanted to film
Ava's scenes as we
would any emotional
piece of drama."

script for the first time and receiving a
striking mental image: "A medium closeup of Ava through the glass, looking up
at her. I didn't even know what she
looked like at that point, but her face is
partly obscured by abstract lines of color,
and there's a real sadness to her, a sort of
longing and melancholy - and also
hope. That was the image I kept with me
throughout the production, and one we
eventually photographed in the second
session, just after Caleb tells her that he
lost his parents in a car crash. You can see
the slight change in her demeanor, and
it's the first time she shows an obvious
emotion."
The reflective surfaces of Caleb's
observation tank serve as a constantly
changing barrier between the audience
and Ava, with its arrangement depending
on the session or her emotional state. To
dress multiple layers of reflection into the



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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 - 58
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American Cinematographer - May 2015 - 60
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American Cinematographer - May 2015 - 86
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American Cinematographer - May 2015 - 96
American Cinematographer - May 2015 - Cover3
American Cinematographer - May 2015 - Cover4
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