Hoyte van Hoytema: Exploring the legacy of the ‘Oppenheimer’ cinematographer
You may not know his name, but Hoyte van Hoytema is behind some of the most dazzling and impressive visuals projected on our theatre screens over the past two decades. While he is by now firmly established as one of the leading cinematographers in the industry, it’s worth even the non-film geeks knowing a bit more about the man. Why? Because he shot Christopher Nolan‘s latest project, the stunning, shocking and literally ground-breaking Oppenheimer.
Before we get to Hoytema’s epic collaboration with Nolan, let’s explore the journey that led the lensman from a small Swiss town to the bright lights of Hollywood. Born in Horgen, Switzerland, in 1971, an early interest in cinema would eventually lead Hoytema to the esteemed National Film School in Łódź, Poland. One of the most prestigious institutes in the industry, this Polish school has boasted the likes of director Roman Polanski and Ida, Cold War and The Zone of Interest cinematographer Łukasz Żal. It was at the National Film School where Hoytema was able to truly hone and refine a craft that would come to be enjoyed by millions across the globe.
While his first foray into professional cinematography was through short films and documentaries, Hoytema’s career truly began to flourish when he worked on Let the Right One In in 2008. This Swedish romantic horror movie, directed by Tomas Alfredson and based on the fantastic novel of the same name by John Ajvide Lindqvist, showcased Hoytema’s penchant for sombre, desolate landscapes – a style that would become a hallmark of his work. The film’s chillingly beautiful aesthetic, underpinned by Hoytema’s masterful manipulation of natural light, drew widespread acclaim and put the young cinematographer firmly in the spotlight.
Following the success of Let the Right One In, Hoytema was brought again by Alfredson to work on his next project, 2011’s Tinker Tailor Soldier Spy. A cold-war espionage thriller, predominantly set amongst an urban backdrop, proved a sharp contrast to their previous collaboration requiring a more subdued and introspective approach. Marked by the pervasive use of muted tones and soft focus, Hoytema’s photography on Tinker Tailor proved that he was just as deft with a concrete background as he was with an organic one. This balance in his ability to navigate and capture the whole visual spectrum cemented his status as a coveted DOP. After his critically acclaimed work on Spike Jonze’s 2013 sci-fi romance Her, Hoytema found himself the object of a particular director’s desires… Nolan.
Joining forces with Christopher Nolan
In the wake of The Dark Knight Rises, his epic conclusion to the Batman trilogy, Nolan was in search of a cinematographer to succeed the legendary Wally Pfister for his upcoming science-fiction epic, Interstellar. Pfister, who had worked with Nolan on every project since Momento and won the Academy Award for his work on Inception, was pursuing a directing career instead. Known for his exacting standards and innovative vision, Nolan wouldn’t settle for any old cameraman – but he found the perfect collaborator in Hoytema. The two worked tirelessly to craft a film that was as visually stunning as it was thematically profound, with Hoytema’s cinematography playing a vital role in portraying the vastness, wonder and mystery of outer space.
Hoytema’s work with Nolan catapulted his career to new heights, and he soon found himself in demand with other auteur directors worldwide. Sam Mendes chose Hoytema to lend his distinctive visual style to the latest James Bond flick, Spectre, which provided a new challenge for Hoytema in integrating his unique aesthetic into an established franchise with its own visual tradition. Following his 007 stint, he was brought on again for Nolan’s next feature, Dunkirk, and their fruitful partnership was solidified. It was on this WW-II feature that Hoytema and Nolan decided to film predominately on IMAX film and cameras, making them one of the few contemporary director/cinematographer teams actively championing the beguiling format.
Earning an Academy Award nomination for ‘Best Cinematography’ for Dunkirk proved their interest in IMAX had paid off. Returning to shoot Tenet after James Gray’s sci-fi odyssey, Ad Astra, Hoytema, and Nolan further refined their work with the format. As Hoytema said: “This is my third film with Christopher Nolan. Every production has more and more sequences in it that we choose to shoot on IMAX”. Following his rich, western-influenced photography on Jordan Peele’s expansive pop horror epic, NOPE, in 2022, it was time for Hoytema and Nolan to reunite for their fourth collaboration – and their biggest yet.
Beyond presenting the audience with visuals depicting quantum physics and nuclear explosions without any CGI, another triumph of Oppenheimer is the literal history made by the directors. In choosing to shoot sequences in black-and-white film whilst refusing to abandon the IMAX camera, they were left with a problem. There’s no such thing as large-format black-and-white film, so how can you shoot on a format of film that doesn’t exist? You can’t. So their answer was to create it. Collaborating with both Kodak film and IMAX, Oppenheimer will be the first feature ever to have 65mm black-and-white sequences.
It’s not just the genius of Nolan but a testament to Hoytema’s continuing innovation that Oppenheimer has such seminal cinematography techniques. In just over a decade, the man has crafted a reputation as one of the foremost lensmen of his generation, and his legacy extends beyond the individual projects he has worked on. From his early beginnings in Sweden to his current work on international blockbusters, Hoytema’s passion, innovation, and commitment to his craft are evident in every frame he shoots. So, when you’re having your retinas seared by the visual bombardment that is Oppenheimer, just remember who made it possible.