In Conversation with Cinematographers by Ellis David A

Author:Ellis, David A. [Ellis, David A.]
Language: eng
Format: epub
Publisher: Rowman & Littlefield Publishers
Published: 2015-03-11T04:00:00+00:00

CHAPTER 11

Rob Hardy, BSC

(1972– )

Rob Hardy was born in Barking, Essex, England, in 1972. He went to a comprehensive school. After leaving he went on to study at two film schools, one in Newport, South Wales, the other in Sheffield, England.

Why did you go to two film schools?

The one in Newport was an art-based school. We would all get to do our own work and make our own films, which was what I was doing. My initial intention was to direct. Then I found a lot of my friends and peers were asking me to shoot stuff for them because they quite liked the images I was making. My films had a tendency to look nice but my actors became merely moving props within these bizarre little worlds I was imagining. When I went to Sheffield I applied for the directing course for which I was accepted. However, my late application meant it was oversubscribed. They suggested I could wait until next year or choose another option on the premise that someone may drop out. So, I ticked the next box down, which was cinematography and that’s basically how it happened.

How long were you at film school altogether?

I was at Newport for three years and it should have been one year at Sheffield but I ended up staying another five years. I got involved with the art and film-making community. It was a hot bed of creativity.

What impressed you about the cinema?

From a very young age I was fascinated by stories, particularly horror stories. I remember watching the Hammer Horror films, which were shown late at night on TV. I vividly remember having some sort of epiphany when watching one of those films. I became acutely aware of the artifice of it all—and I realised quickly that I wanted to be involved in the making of that artifice. I also really wanted to work with Peter Cushing.

Where did you go from film school?

When I was at the school I started getting into music videos. When I moved back to London it was commercials and short films I worked on.

Did you enjoy working on commercials?

I did, I learned a lot. I learned about different shooting styles, shooting quickly, travelling, and working with different crews all over the globe. It was also where I first became aware of the politics of people.

Did you operate as well as being the DP on commercials?

Yes, I operate and DP on everything, including features. I do it because the frame is so inextricably linked with what I do. I use operators if there is steadicam or a second camera. I have always found for me there is a great distillation of the images in the film if there is a single camera and if there is a single focus to the vision. I think it consolidates everything. It cements it.

Have you had a second unit on any of your movies?

I have had a second unit on pretty much everything I have done. I keep an eye on the second unit.

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