The films almost couldn?t be more different: Hugo is an epic, 3-D family film that wraps us up in a warm glow, and The Girl With the Dragon Tattoo is a chilling murder mystery set in the stifling Nordic winter. Robert Richardson and Jeff Cronenweth — the cinematographers (pictured above R-L) tasked with making these respective worlds believable — will contend this weekend for an Oscar for Best Cinematography (along with The Artist's Guillaume Schiffman, The Tree of Life's Emmanuel Lubezki and War Horse's Janusz Kaminski). Movieline spoke with Cronenweth and Richardson about their approach and style on their nominated films as well as their recognition from the Academy.
What did the narrative of this film demand of you in terms of style??
CRONENWETH: A murder mystery in and of itself has its own set of dramatic license and techniques to implore. But with Dragon Tattoo being the first book of the incredibly detailed Stieg Larsson trilogy and set in the Swedish countryside during a particularly harsh winter, we inherited certain esthetic obligations, the most obvious one being the cold and how it affects the lives of our characters. It was imperative that we afforded the audience to appreciate that visually through quality and color of light and through sound effects.
RICHARDSON: The narrative of Hugo slipped from the seed of Brian Selznick's illustrations — in that respect all departments enhanced the reality of the world that Hugo lived within — that became the foundation of our style.??
How much did you collaborate with your director on the message of each scene??
CRONENWETH: Well, there is always a conversation about the impetus of each scene and the purpose of each shot within that scene. Then on the shoot day, when we actually rehearse with the cast and block…
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