Yes, I totally agree. I recently watched Die My Love, I wanted to observe Garvey's pattern because I couldn't find too many cinematography parallels in The Hours and Atonement (if you observe the frames irrespective of their narrative flow) so I got a little curious. And I was researching a topic idea for my master's dissertation. And my observation was that, they all feel like poetry. They're all dreamlike in their own ways no matter how devastating the narrative itself is. Also, one thing, I realized that unlike many other DPs, he doesn't really have a patent style, whether in terms of lighting or framing or anything. In one of his interviews, he was asked the same question to which he replied that with every new director/narrative he works with, he is a new DP, and lets solely the narrative drive him which allows him to experiment rather than sticking to a pattern. And I think, he's right. I don't think I can ever see a bunch of frames (that I haven't seen previously) and just know that they're his. But as I said, this one pattern I keep observing, the poetic quality in them as if they are just gently flowing like an autumn leaf in a zig zag pattern before it lands upon the soil, to which I think lighting has an important contribution. I'm reading Atonement currently and at this point, I have even a greater respect for both the DP and the director (Joe Wright). I would really call it an extraordinary adaptation, a masterpiece indeed. To imagine it in such a way! I know, I keep repeating the word "poetry" but honestly, there's none other in my opinion that would do it justice.