Director of photography Adriano Goldman has been with “The Crown” since the beginning and has arguably shaped its look more than even lead director Stephen Daldry. Goldman and Daldry first collaborated on the first two episodes of the series, but those were not the first episodes that were shot. In a recent panel discussion hosted by Netflix to highlight the crafts of “The Crown” for the TV Academy ahead of Emmy voting, Goldman revealed that the third and fifth episodes — Goldman working with guest director Philip Martin — were the first to shoot, followed by the second, then the first.
For his cinematography on “The Crown,” Goldman won awards from both the American Society of Cinematographers and BAFTA earlier this year. Due to differing eligibility periods, his ASC Award was for the episode “Smoke and Mirrors,” for which he received an Emmy nomination last year, but his BAFTA Award was for the episode “Beryl,” which is his submission for the Emmys this year. On the red carpet ahead of the aforementioned panel, Goldman explains to Gold Derby (watch the exclusive video above), “[What] makes me even more proud is that I got these two amazing awards with two different episodes, so it’s actually not the same episode being awarded twice, so it’s actually one from season one, another one from season two.”
After a popular vote of the cinematographers’ branch of the academy winnows down the ballot, panelists screen submitted clips from each semi-finalist to determine nominations. For Best One-Hour Cinematography, each clip is an unedited, continuous six-minute section from a single episode. Goldman chose a scene from “Beryl” starring Vanessa Kirby and Matthew Goode. He breaks down the installment: “Margaret is visiting Tony Armstrong-Jones’s studio… and she’s asking him about, ‘So, what is this picture?’ ‘Who is this girl?’ And then she sits on a wheelchair he’s developing, so it’s way less formal than all the episodes we had seen up to that point. I also chose that section because there’s a little bit on the second floor, then they go downstairs, cross the big light box, then they get to the darkroom [and] turn on the red lights, so in six minutes, there’s an interesting variation in color and rhythm and close-ups and wide shots.”
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