{"id":8356,"date":"2015-11-04T09:46:49","date_gmt":"2015-11-04T09:46:49","guid":{"rendered":"http:\/\/dev.wordpress\/?p=8356"},"modified":"2021-03-03T15:52:56","modified_gmt":"2021-03-03T20:52:56","slug":"shooting-the-holiday-blockbuster-hoyte-van-hoytema-and-spectre","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/shooting-the-holiday-blockbuster-hoyte-van-hoytema-and-spectre\/","title":{"rendered":"Shooting The Holiday Blockbuster: Hoyte van Hoytema and “Spectre”"},"content":{"rendered":"

Since \u2018tis the season of the Holiday blockbuster, I thought I\u2019d examine the craftsmen behind some of the more anticipated films being released this time of the year. And what better way to start off by focusing on the latest entry in that granddaddy of all franchises, \u201cSpectre.\u201d Since 1961 the James Bond series has improbably remained popular well into the 21st<\/sup> century.  Which is saying a lot considering it all came from the pen of an ex WWII military intelligence officer. Supposedly, Ian Fleming used his own experience as inspiration for the adventures featuring the spy with a license to kill. But since the bulk of his novels were written during the 1950s they are very much steeped in a post world war, British colonial mindset. Once a film adaptation got underway, the 1960s were already promising something more culturally progressive and the Bond films more or less attempted to reflect that.<\/p>\n

Although Bond features a long tradition of great cinematography, it was \u201cSkyfall\u2019s\u201d Roger Deakins who got singled out for his contribution as Director of Photography. And the accolades were well deserved. Personally, I felt he was equally instrumental in achieving \u201cSkyfall\u2019s\u201d creative success as well as the film\u2019s director Sam Mendes and present 007 Daniel Craig<\/a>. This I know is an odd statement to make considering how vital a cinematographer\u2019s role is to the making of a film. Another interesting tidbit regarding Deakins\u2019 involvement was his use of the Arri Alexa M, Arri Alexa Plus and Red Epic cameras thus signaling the first (and thus far only) time a James Bond film was shot digitally. But since James Bond has always had one foot in the present with the other firmly stuck in the past, it should not surprise anyone that the latest installment returns to the classic, analog format.<\/p>\n\n\n\n
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“Skyfall” DP Roger Deakins captures the shadows and light during a fight sequence set in an abandoned building in Shanghai.<\/p>\n<\/caption>\n

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While \u201cSpectre\u201d cinematographer Hoyte van Hoytema\u2019s career might seem too young for some, it is already rich with quality work. \u201cLet The Right One In\u201d is, in my humble opinion, one of the best horror films of the 21st<\/sup> century which is at least partially due to van Hoyten\u2019s atmospheric photography. Other titles include the excellent \u201cTinker Tailor Soldier Spy,\u201d Spike Jones\u2019 \u201cHer\u201d and Christopher Nolan\u2019s \u201cInterstellar.\u201d In fact, after having viewed those last two titles, Mendes decided van Hoytema was the right man for \u201cSpectre.\u201d<\/p>\n

The Daniel Craig era seems to have ushered in some very high profile talent behind the camera as well as in front of it. Both Mendes and \u201cQuantum of Solace\u201d director Marc Forster were the first Oscar nominated\/Oscar winning filmmakers to helm a 007 adventure. Prior to this, the production \u201cstars\u201d might have included the odd, previously well regarded director (Michael Apted of \u201cThe World Is Not Enough\u201d comes to mind). But unless you\u2019re a true, blue fan of the series, the only names working behind the camera that might ring a bell is soundtrack composer John Barry and legendary set designer Ken Adams. The first four Bond flicks (\u201cDr. No,\u201d \u201cFrom Russia With Love,\u201d \u201cGoldfinger\u201d and \u201cThunderball”) were all shot by Ted Moore. For \u201cYou Only Live Twice\u201d camera duties were taken on by the great Freddie Young who had already won two Oscars for his work on \u201cLawrence of Arabia\u201d and \u201cDoctor Zhivago.\u201d The result is some of the best cinematography in the entire series. Eventually Moore would return to DP duties from \u201cDiamonds Are Forever\u201d to \u201cThe Man With The Golden Gun.\u201d And then many lensmen would step up to the plate right up to the early part of the 21st<\/sup> century. Who woulda\u2019 thunk that a movie series would last this long?<\/p>\n

Next  to Freddie Young, \u201cSkyfall\u2019s\u201d Roger Deakins had been the most lauded cinematographer to date. The recipient of a whopping twelve<\/em> Oscar nominations (although he has never won an Academy award, he has accumulated his fair share of ASC , Independent Spirit and BAFTA awards), Deakins had already cut his teeth working with the likes of Frank Darabont, Edward Zwick and the Coen Brothers. It was his relationship with Sam Mendes that brought him to Bond after manning the camera for \u201cJarhead\u201d and \u201cRevolutionary Road.\u201d<\/p>\n

Hoyte van Hoytema ain\u2019t no slouch either having collected an impressive list of credits within the span of a decade. Yet his visual sense seems to feature a cooler, almost monochromatic feel compared to the vibrant display of shadows and light presented in \u201cSkyfall\u2019s\u201d Shanghai sequences. While looking at the trailer to \u201cSpectre,\u201d van Hoytema appears to be applying a similar look to the heavy contrast tones of \u201cTinker Tailor\u201d and \u201cInterstellar.\u201d It\u2019s a far cry from the saturated, pop-art colors of Bond films past.<\/p>\n\n\n\n\n
\n

Van Hoytema’s cinematography represents a darker vibe in “Spectre.” Compare the top image to the more stylistic, technicolor feel of “You Only Live Twice” (bottom)<\/p>\n<\/caption>\n

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MGM\/COLUMBIA PICTURES\/EON<\/span><\/p>\n

The Dutch-Swedish cinematographer studied at the Polish National Film School in Lodz and got his start shooting documentaries and serials for Scandinavian television. After the financial and critical success of Tomas Alfredson\u2019s \u201cLet The Right One In,\u201d van Hoytema became a sought after DP within the international film industry. Professionally, he seems just as comfortable working within the confines of digital as well as celluloid as he has been quoted as remaining pretty neutral on the subject.<\/a> Yet, van Hoytema\u2019s tool kit consisted of Arri Alexa analog cameras, Panavision Primo 70 and Zeiss Master anamorphic lenses, not to mention what must\u2019ve been reels and reels of Kodak 35 mm film stock. The result should speak for itself, however. If the film\u2019s trailer is any indication, van Hoytema has a keen eye for framing his shots in ways that are reminiscent of Stanley Kubrick. And that\u2019s not a bad thing at all.<\/p>\n\n\n\n\n
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Scenes from “Spectre”<\/p>\n<\/caption>\n

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MGM\/COLUMBIA PICTURES\/EON<\/span><\/p>\n

(Speaking of Kubrick and Bond: while shooting \u201cThe Spy Who Loved Me,\u201d the crew where confronted with having to light a set made up entirely of reflective surfaces. No one knew how to do this without having the camera appear on said surfaces and props.  Set designer Ken Adams knew Kubrick was working in the adjacent soundstage and asked for his advice. Kubrick then proceeded to light the entire set, much to the amazement of everyone working that day)<\/p>\n

If anything, van Hoytema\u2019s cinematography represents the James Bond of our times: grittier, a little more grounded in reality than the previous 007 entries. The pulpy, almost comic book feel of the 1960s and 70s said more about what made James Bond good box office than anything having to do with the character as Fleming originally conceived him. While Bond was never a John Le Carre style administrative drone navigating the grey psychological recesses of the Cold War, he wasn\u2019t quite the vodka martini swelling, sophisticated, super human ladies man presented on the screen, either. Bond could hurt. He could bleed. And he actually fell in love with his women. Thanks to the reboot that was \u201cCasino Royale\u201d and Daniel Craig\u2019s interpretation of the character, the series has moved into a realm that feels more, well, distinctly Ian Fleming<\/em> than most of the previous films. And it appears that Hoyte van Hoytema has brought the look to match.<\/p>\n

“Spectre,” directed by Sam Mendes, featuring cinematography by Hoyte van Hoytema, will have it’s North American premiere on November 6.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Since \u2018tis the season of the Holiday blockbuster, I thought I\u2019d examine the craftsmen behind some of the more anticipated films being released this time of the year. And what better way to start off by focusing on the latest entry in that granddaddy of all franchises, \u201cSpectre.\u201d<\/span><\/p>\n","protected":false},"author":178,"featured_media":21393,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17815,3],"tags":[2003,12001,12000],"class_list":["post-8356","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-trending","tag-cinematography-2003","tag-filming-techniques","tag-spectre"],"acf":[],"yoast_head":"\nShooting The Holiday Blockbuster: Hoyte van Hoytema and "Spectre" | Expert photography blogs, tip, techniques, camera reviews - Adorama Learning Center<\/title>\n<meta name=\"description\" content=\"Since \u2018tis the season of the Holiday blockbuster, I thought I'd examine the craftsmen behind some of the more anticipated films being released this time of the year. 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