Stuart Bentley, BSC on the cinematography of We Live in Time

Directed by John Crowley, We Live in Time explores love, loss, and the fragility of life, painting an intimate portrait of the relationship between principal characters Almut (Florence Pugh) and Tobias (Andrew Garfield). With the support of Panavision London and Panalux London, cinematographer Stuart Bentley, BSC crafted a visual approach that enhances the story's raw emotion whilst remaining unobtrusive. Using PVintage lenses for their soft, vintage character, and versatile LED lighting for an adaptable naturalism, Bentley and his collaborators created a cinematic language that evolves with the film's shifting moods. In this interview, Bentley discusses his process, creative choices, and the techniques he used to craft compelling visuals that complement the film's emotional arc.

Panavision: How would you describe the look of We Live in Time?

Stuart Bentley, BSC: We wanted to create a naturalistic look for We Live in Time —cinematography that could support and enhance the story without being too loud or flashy. We knew the performances would be incredibly strong, so I focused on supporting that as best as I could. We wanted to respond to the atmosphere of each scene as if the camera were a character in its own right: energized and fast-moving at times, static and observational at others. We always pushed for naturalism and authenticity in the camerawork and lighting.

What qualities did you see in the PVintage lenses that made them the right match for We Live in Time?

Bentley: I love working with all sorts of lenses and always use the script and conversations with the director as a starting point for selecting the right equipment for each project. For We Live in Time, I wanted something slightly soft and vintage without too much personality. I tested a range of lenses before landing on the PVintage. The lenses are gorgeous and delivered the naturalism we wanted whilst also retaining a bit of that cinematic magic. I liked the comprehensive range. They were fast and compact in size, which was ideal for a lot of the handheld work we did.

How would you describe the lighting style you were trying to achieve? 

Bentley: I’d say we aimed for a naturalistic lighting style throughout. I kept the floor as clear as possible so John and the actors could explore the space and shape each scene. This meant using lights outside windows or practicals for dusk and night scenes, with large soft sources for close-up work. Most of the lighting was grounded in naturalism.

We used dusk lighting quite a bit in the London flat. I love the otherworldly feel it creates. Paired with warm practicals, it can bring a beautiful atmosphere. It hopefully resonated with Almut's physical condition, as we were constantly questioning whether she is going to make it through her illness. For me, dusk represents and reflects a time of change and uncertainty.

What's your process for determining a project's lighting parcel?

Bentley: I work closely with the gaffer in preproduction to figure out the lighting parcel. These days, most of my work relies on LED fixtures, which are quick and efficient. I love how easily you can adjust both colour and intensity to fine-tune lighting. LEDs are also much greener than traditional fixtures, so it’s a win-win for us and the planet.

What were some of the principal fixtures that you and gaffer Matt Moffatt employed for this project? 

Bentley: LiteMats were a go-to, along with SkyPanels and Vortex fixtures when we needed more punch. We also used a lot of practicals, as well as textiles for some of the hospital and waiting-room interiors. We also used a lot of available light where possible! 

I've worked on hundreds of projects with Panalux over the years and have always appreciated their help and support. They looked after me early on when I was shooting music videos, so it felt fitting to collaborate with them on this project

Do you have a favourite lighting setup from the film?

Bentley: My favourite setup is the scene where Florence and Andrew have an argument in the kitchen at night. It’s one of the simplest lighting setups: just a few practicals and a single Jemball. The performances in that scene were so incredible; it was amazing to be so close to them in the room, feeling that energy. Keeping the floor clear and the lighting simple hopefully allowed them the space and atmosphere needed to focus on their work without getting caught up in technicalities.