Kenneth Branagh

Sir Kenneth Branagh, a face and name known to most.  He’s won awards for his acting as well as his directing.  Now - with a film loosely based on his own upbringing in Belfast, he’s topping this year’s award nominations for his writing and directing.  

This shoot with Kenneth was done at the House of St Barnabas in central London.  Sir Kenneth turned out to be the real gentleman I was hoping he was.  Genuine, interesting, with a quiet and gentle demeanour.  It became evident to me that this film was truly something special to him. The way he was talking about the film and the way he talked about finding someone to play himself it felt like he had put his hart and soul into it.  Now that the awards season in upon us it is great to see that a film with such personal meaning from a director such as Kenneth has made it to the top of the nomination bill.  

Shot for Sunday Times Culture

Joanna Hogg and Honor Swinton Byrne

Joanna Hogg worked with Tilda Swinton in one of Tilda’s first films,  and Joanna’s Graduation piece.  They had been friends as kids, but casting Tilda in this early film had reignited their friendship and they have been friends ever since.  Both developed individual, successful careers and Joanna became the godmother of Tilda’s daughter Honor Swinton Byrne.  Now, over 30 years later, Joanna has made a film based on romantic relationship she had some years ago.  Struggling to find someone to play herself, she finally came up with the idea of casting Honor.  To Joanna this working relationship is as personal as the story.  

I met up with Joanna and Honor  at The House of St Barnabas in London.  Often when you photograph an actor and a director together, you notice a closeness from having worked together for a long time, but you also notice a professional boundry that is not crossed.  In the end, director/actor is a working relationship. Their working relationship before stepping in front of my camera has often been one of separation - one in front of camera and one behind.  When you then put the actor and director together, it is as if they need to redefine the boundary between themselves.  Joanna, as is often the case with directors, also dislikes being in front of the lens.  

But Joanna and Honor are not representative of a traditional working relationship.  Their history and closeness was evident as soon as they entered the room.  After Joanna had used months to lead Honor through her first film, it seemed that Honor, (being more comfortable in front of the camera) was leading Joanna into a space of comfort. The intimacy and the handhold were natural and I was fortunate to be there to capture their friendship.  

Shot for Observer New Review