By Bill Desowitz | Thompson on Hollywood October 18, 2013 at 12:33PM
There's a good reason why Steve McQueen's "12 Years a Slave" is the early consensus Oscar frontrunner for best picture: Solomon Northup's harrowing story is both real and relatable in these precarious times. And for cinematographer Sean Bobbitt, who also shot McQueen's "Hunger" and Shame," this represents the culmination of a visual simplicity built around the award-contending performances of Chiwetel Ejiofor, Michael Fassbender, and Lupita Nyong'o.
"You don't want to exploit the tale," explains the native Texan who resides in the UK. "You're creating a complete world that is believable of that period. But as you approach each scene, it becomes absolutely clear how it should be covered. You're trying to give them the freedom within that space to find that performance."
Informed by a shared aesthetic with McQueen as well as prior experience as a news cameraman who covered Lebanon, Bobbitt worked like mad to find something that would ring true and resonate with the viewer so we're immersed in the story and thinking about nothing else.
This beauty makes a striking counterpoint to the brutality. At no point did the filmmakers want this to seem like a documentary or be miserable-looking. "By making it beautiful, it makes it palatable for the audience. If we had made it ugly and gritty and desaturated, I don't think the audience would stay with it. There would be no hope and the look comes from the story. These plantations have an inherent natural beauty and to defy that would be a lie."