We felt like mercury-vapor has a tendency to match better to blue, so pinks, in contrast, create a more romantic feel, too.”, “So we used those mercury-vapor street light colors, but we put them inside things like the gas lights that we used for dressing the exterior sets. Already in the midst of preparations for the dance numbers with choreographer Mandy Moore, he met with the cinematographer and immediately brought him onto the project. The camera was supposed to react emotionally, and engage the audience with visual storytelling that is also emotional. From Simu Liu to Maitreyi Ramakrishnan, check out these popular and up-and-coming stars who are taking Hollywood by storm. He is known for his film collaborations with Damien Chazelle on La La Land and First Man and with David O. Russell on American Hustle and Joy. “I love the creation of the image.” We cover a lot of ground in our talk and touch on, among other things, Swedish films and sen… In stock. For lost in the beauty that is Hurwitz’s score, Sandgren’s cinematography, Stone/Gosling’s performances, and Chazelle’s loving direction is that the function of art is meant to make the viewer feel something, to emotionally resonate. It gives me a richer negative with more color and saturation. There are so many factors when you shoot any scene, but in this case, we had to shoot it on a crane when we had thought we were going to shoot on Steadicam originally. Because of the location and its many obstacles, like the median in the middle, we had to go to a crane setup. There was a lot of location work on La La Land, like the Mulholland and 110 sequences, and Sandgren’s camera acted in many ways as a dancer itself, fluidly following and interjecting its own choreographed movements, often with Sandgren on Steadicam. La La Land: Linus Sandgren On The Complexity Of The Project. Securing not only seven Golden Globe wins, one for every single nomination that the film received, La La Land is also currently tied with Titanic for most Academy Award nominations ever, including a nod for Best Cinematography for DoP Linus Sandgren, FSF, as well as Best Actress and Best Actor for stars Emma Stone and Ryan Gosling. And you have the sodium vapor and mercury vapor streetlights, where the sodium vapor are orange and the mercury vapor are more green/blue or cyan. “That had to be shot in the magic hour,” he says, “within a twenty minute timeframe, and Damien didn’t want to have anything to cut away to at all. 4.5 out of 5 stars 254. How ‘La La Land’ Cinematographer Linus Sandgren Taught His Cameras to Dance Oscar nominated cinematographer Linus Sandgren breaks down how … Sometimes it was quite frustrating. EPISODE 36 - LINUS SANDGREN - Cinematographer Team Deakins sits down for a conversation with cinematographer, Linus Sandgren (NO TIME TO DIE, FIRST MAN, LA LA LAND, JOY). Most of these dimming effects were performed manually, as well. And Hollywood, for us, was also a very anamorphic medium, with films from the fifties like a Star is Born and wide-screening format in 2.55:1 CinemaScope. 27 wins & 40 nominations. “The first meeting, we discussed a lot about the colors and the look of Los Angeles, being sort of a character itself,” explains Sandgren, “The romantic part of old Hollywood was a big influence for the film. Oscar-winning 'La La Land' and 'First Man' cinematographer Linus Sandgren will shoot 'Bond 25' and Greig Fraser will shoot Denis Villeneuve's 'Dune'. “I know I will get something in camera that has captured a richer world.”, “For example,” he says, “cyans are really prominent on a film negative, while on a digital camera, you have to add a lot more color to the lighting to get those colors, if you can even get them. Robyn: Made By Sweden. I love to have a contrasting color. V Los Angeles, městě plném nadějí a hvězd, Sebastian náhodou potkává Miu a spolu se vydávají daleko za hranice stereotypní každodennosti – do pohádkové země splněných snů La La Landu. In stock. We tried to hide the reality by creating an homage to romantic Hollywood movies.”, “Generally, the night exteriors, and club interiors,” he continues, “used more colorful lighting, but otherwise day exteriors, and brighter day interiors were color schemes that came from the art department. This item: La La Land [Blu-ray] [2017] by Ryan Gosling Blu-ray £6.08. Fresh from the highly esteemed drama Whiplash, director Damien Chazelle caught Linus Sandgren’s freeflowing, intrinsic camerawork in the David O Russell films Joy and American Hustle. In our latest Through the Lens installment, Sandgren talks us through two very different scenes in the film. Sometimes we also lit the background with the same or similar colors that we painted the backgrounds with. Director of Photography – Linus Sandgren ‘La La Land’s Oscar winning cinematography is mostly known for being visually striking through it’s use of bright colours, wide lens and the camera movement. “What we took from those musicals a lot, visually, was the aesthetics of old Hollywood,” he says. Linus Sandgren Released this last December, the Lionsgate musical La La Land has gone on to gross more than $340 million, eleven times its original budget of $30 million. £5.00 Next page. Sandgren had also been quite impressed by Whiplash, and was very enthusiastic to work with the director. The same with the kitchen, we used cool white colors to contrast against the gold. 'La La Land' cinematographer Linus Sandgren details his approach in shooting long, continuous takes, moving between crane and steadicam. It was on the set of La La Land that Chazelle first told Sandgren about his next movie — the story of legendary astronaut Neil Armstrong and the events leading up to humanity’s first steps on the moon, called First Man. He also chose to light very intimately, employing classic Hollywood lighting techniques like spotlights, which helped him to separate characters from the background and also acted as a visual metaphor for the hopes, dreams and aspirations of the main characters, largely actors and musicians trying to make it big in Los Angeles. Feb 23, 2017 - Song and dance Linus Sandgren FSF / La La Land Song and dance Linus Sandgren FSF / La La Land Although it was produced for a modest $30million, La La Land Perhaps that is enough, you never know!”, March 10, 2021 - 9:31 pm by Micheal S. Johnson, Looking For Inspiration – Peter Holland – StartUp. £19.99 Drive (Special Edition) [DVD] Ryan Gosling. What other items do customers buy after viewing this item? He wanted it to be in one single take. They decided that the aesthetics of the film were going to be inspired not just by the romanticism of classic Hollywood but also the techniques and classic lighting. Sandgren says he utilized a number of light systems, preferring a lot of single point sources like 6K HMI, to make the city scenes seem a little gritty with a enhanced contrast, as well as large overhead Condors for diffusely lit street scenes. Indeed, the camera in “La La Land” has a mind of its own, but Sandgren was brought in because of his keen ability to follow the emotions of a scene rather than the physics of it, able to ground scenes in reality even when they deliver the extraordinary as Chazelle’s third film does early and often. We shot the entire final sequence between 7:20 and 7:40 in the evening.”. Linus Sandgren with the award for best cinematography for La La Land in the press room at the 89th Academy Awards held at the Dolby Theatre in... Writer/director David O. Russell attends a Q&A and retrospective of his films at Aero Theatre on February 12, 2014 in Santa Monica, California. Sandgren has shot several music videos, but as his first musical, he admits that the learning curve was one of the reasons that he was so intrigued in shooting La La Land with Chazelle. Buy movie tickets in over 60 countries at http://movie-times.net. Page 1 of 1 Start over Page 1 of 1 . The production also worked with covered wagons, strips of lights that are diffused with silks, most often placed on the floors or hidden from beneath. The production had four electricians just for the dimmers. on Jan 18, 2017 Damien Chazelle, La La Land, Linus Sandgren Early in La La Land, Emma Stone’s aspiring actress rises from a restaurant conversation about the unpleasantness of contemporary moviegoing and sprints to the Rialto Theatre to take in Rebel Without a Cause with Ryan Gosling’s intractably traditionalist jazz pianist. Sandgren says that he and Chazelle would collaborate on each scene with Mary Zophres, the costume designer, and David Wasco and Sandy Wasco, the production designer and set decorator, to decide what is important to each sequence, and whether or not color decisions would fall to set design, like backdrop, or to lighting and costume design. I always feel like you should start with one light and see what you get. He is best known for his work with Damien Chazelle on La La Land (2016) and his collaboration with David O Russell on the films American Hustle (2013) and Joy (2015). Don't wait in line! Talentovaného jazzového pianistu a nadějnou herečku čeká vzrušující dobrodružství, které se ani náhodou nepodobá jejich skutečným životům. DVD. Shooting the extended dance sequence at the location, largely in natural light, Sandgren faced a number of limitations like shifting shadows and a massive concrete median that restricted his camera and crane movements. That way, in the DI (digital intermediate), you don’t have to add more saturation. “The opening number,” Sandgren continues, “is all real, but we couldn’t do it in one single take. “There’s always a risk shooting greenscreen that those things are going to look fake, and we decided that even if there were going to be any visual effects, they would be glass paintings on set. But the crane casts shadows, so if we did that all in one long, single take, that there would have been shadowing of the dancers. He is known for his use of unique and unconventional formats, shooting Van Sant's Promised Land in 4-perf Super 35mm 1.3x anamorphic for a 1.85:1 aspect ratio. Linus Sandgren is an Academy Award winning Swedish cinematographer. Cinematographer Linus Sandgren and director Damien Chazelle make no secret of the fact that they wanted the camera movement in La La Land to feel like another character in this love song to Los Angeles. Linus Sandgren, en chemise blanche, sur le tournage de "La La Land" The camera as a third character “Damien Chazelle introduced the film to me as a film about the dreams that people have –and especially about achieving them,” explains Linus Sandgren. Now Playing: La La Land: Linus Sandgren On The Complexity Of The Project. When the camera follows Emma into the Hollywood party, for example, she walks out towards a swimming pool, and we’re following her while the tempo increases. It’s a classic effect, as well.”, “The opening number,” Sandgren continues, “is all real, but we couldn’t do it in one single take.”, “We shot the entire final sequence between 7:20 and 7:40 in the evening.”, Sandgren said they had a similar approach to shooting the now iconic dance scene on Mulholland Drive. Share Alamy images with your team and customers. For the aforementioned Mulholland dance scene, for example, he had a huge truck loaded with fifteen 6K HMI units enhanced with green gels to give backlight while Emma Stone and Ryan Gosling are walking up the street to the Mulholland dance number. Sent from and sold by Amazon. Cars and trucks are stuck and snarled and everyone suddenly pulls to a stop. It looks set to be a box office sensation too. He laughs that shooting film over digital was no extra challenge for him. So we would add gas streetlights, or we would light to be a little more theatrical. “Like the Italian restaurant where Ryan Gosling plays piano,” he says, “That was meant to feel like a cozy, Italian restaurant where people don’t really speak loudly. Summary: Mia (Emma Stone), an aspiring actress, serves lattes to movie stars in between auditions, and Sebastian (Ryan Gosling), a dedicated jazz musician, scrapes by playing cocktail piano gigs in dingy bars, but as success mounts they are faced … Linus Sandgren FSF, ASC (born December 5, 1972) is a Swedish cinematographer, known for his collaborations with directors Damien Chazelle, David O. Russell, Gus Van Sant, and the duo of Måns Mårlind and Björn Stein. The palette is largely golden colors, so we worked a lot with practicals there, using cool-white behind the bar to give contrast to the golds and reds. “We create the spotlight on them and all the light dims away,” he says, metaphorically, “and it becomes between us, the viewers, and the character. is awash with bright, saturated colors that harken back to the sweeping 1950s and ’60s Hollywood musicals of yore. In stock. La La Land. I think that the more you capture in-camera, the more the audience will feel it’s real.” Opening with what appears to be a seamless single take that lasts nearly five minutes, for example, Sandgren sets the stage in La La Land with a masterful dance sequence that required shutting down both the north- and southbound 110 Highway in Los Angeles. Cyan’s kind of nice to counter with some reds, for instance.”. Create a lightbox › All Images Released this last December, the Lionsgate musical La La Land has gone on to gross more than $340 million, eleven times its original budget of $30 million. We had rehearsed for days before using iPhones and stuff, but for that particular scene we rehearsed with crane and camera and dancers the entire day, and then we started shooting. 4.8 out of 5 stars 30. He says that he always uses a lot of practicals within a scene to give a source for colors and shadowing, even if they’re not adding any useful light to a scene. If that is the goal of art, then La La Land … Whether you're ready for the return of your favorite show or need to catch up, May is packed with an array of returning series. “They made everything in-camera back then,” he explains. V Los Angeles, meste plnom nádejí a hviezd, Sebastian (Ryan Gosling) náhodou stretne Miu a spolu sa vydajú ďaleko za hranice stereotypu všedných dní – až do rozprávkovej krajiny splnených snov menom La La Land. If you don’t have a contrasting color, you can get a little too muddy with smaller lights or practicals. Even doing complicated light gags in a later movie theater sequence required grips and electricians physically creating shadows in front of the light sources. “Shooting so much on location,” he laughs, “we would decide on a location, and then look at it and say, ‘How can we make this look like it’s all shot on a backlot (laughs)’. Damien really wanted this film to feel like Los Angeles was quite blue, as well. Those kind of obstacles throughout the shoot were, I think, the more tricky ones to deal with, and we had to trust our ability to get there eventually.”, “Sometimes it was quite frustrating. Sent from and sold by Chalkys UK. Sent from and sold by Amazon. The Greatest Showman [Blu-ray] Movie Plus Sing-along [2017] (Without Cardboard Slip Cover) by Hugh Jackman Blu-ray £5.28. Otherwise, shooting digitally, you may have to key colors and try to pull more out of them.”, For interiors, lighting differed by scene, but Sandgren tried to stay naturalistic. Linus Sandgren is an Academy Award winning Swedish cinematographer. Two Condors with daylight-colored LEDs were used above and channeled through green-gelled softboxes. For overhead lighting in the club, they had an LED blanket light that was daylight but balanced to 4000K, near tungsten, to match the nighttime atmosphere, as well as to act as a dimmable spot light that would launch a piano sequence. He would then enhance this main source of light through complementary or contrasting colors via lighting. "La La Land," the romantic musical starring Emma Stone and Ryan Gosling as two star crossed lovers trying to make it in the dog eat dog world of … Unit photography by Dale Robinette. Previous page. “I like to work simply,” Sandgren says, “as simple as possible! Those kind of obstacles throughout the shoot were, I think, the more tricky ones to deal with, and we had to trust our ability to get there eventually.”. Blame part of this sensory overload on the work of Swedish cinematographer Linus Sandgren. “I think what we really aimed for was to try to achieve that technicolor look in camera. Blu-ray. The camera also had to be a bit of a musical instrument, because we didn’t want to just shoot it, but actually shoot in a way that the camera moved along, landing on a beat, and moving away again, or raising up with the frame to the music.”, “We had planned this all out, but when we shot, it was really hard to actually nail those rhythms,” Sandgren laughs, “because, the crane doesn’t always move as quickly as it needs to, or it’s hard to change direction on a crane or camera while it’s already in motion. That was more important to us than more well-known musicals, like, Singing in the Rain, which is actually a 4:3 aspect ratio.”. A Star Is Born [Blu-ray] [2018] by Bradley Cooper Blu-ray £7.99. Linus Sandgren FSF / La La Land - British Cinematographer Although it was produced for a modest $30million, La La Land has big production panache. The director had an entire library of musicals that they looked to for inspiration, and the team chose to shoot Kodak 5219 500T and Kodak 5207 250D for daytime exteriors, filmming with the Panavision Panaflex Millennium XL2 camera and classic Panavision C-Series anamorphics and Panavision E-Series lenses. Talentovaného jazzového pianistu a nádejnú herečku čaká vzrušujúce dobrodružstvo, ktoré sa ani náhodou nepodobá na ich skutočné životy. We already had two whip pans in the choreography, and in those two 180-degree pans, we did a quick cut during each. Blu-ray. And in those discussions, we connected, and had a very similar view.” They decided that the aesthetics of the film were going to be inspired not just by the romanticism of classic Hollywood but also the techniques and classic lighting. Visuals for the project are rooted in the golden-era Hollywood song-and-dance classics like An American in Paris and A Star is Born , but transformed by modern sensibilities and equipment. I’m using a lot of practicals, but the practicals are more there to give set decoration and a little more glow to a scene, and then from there you work in a little more lighting, but I don’t like too much light. Like on the pier, those gas lights don’t exist at Hermosa Beach, but we added them to get a more a timeless feel to the pier, as well as a more romantic color palette against the pink sky. La La Land [Blu-ray] [2017] Ryan Gosling. I have one exact beat where the stuntman is supposed to do a flip from the roof and land in the water. We’d also cool with green/blue lights in general, so the colors would burst over the natural urban colors of the city. La La Land: City of Stars February 27, 2017 Mark Dillon Linus Sandgren, FSF infuses Los Angeles with heightened reality and a colorful glow in writer-director Damien Chazelle’s musical throwback. From ‘Black Widow’ to ‘House of Gucci’: Upcoming Films That Could Appear in Next Year’s Below-the-Line Oscar Categories, 2021 Oscars: Best Cinematography pits 4 rookies against 1 veteran nominee, American Society of Cinematographers 2021 Nominees: ‘Nomadland,’ ‘Cherry,’ and More, 9 Biggest Surprises From the 2017 Oscars Best Picture Presentation, 2017 BAFTA Awards: Top Moments From the Ceremony, Volvo Drive-E feat. 4.8 out of 5 stars 154. He worked with Gus Van Sant on Promised Land where he shot the film in a unique format, Super 35mm 1.3x anamorphic. He is best known for his work with Damien Chazelle on La La Land (2016) and his collaboration with David O Russell on the films American Hustle (2013) and Joy (2015). He also worked with Gus Van Sant on Promised Land where he shot the film in a unique format, Super 35mm 1.3x ... Another The majority of the film was shot on 35mm 2x anamorphic wide lens 2.55:1 CinemaScope. La La Land is a 2016 American musical romantic comedy-drama film written and directed by Damien Chazelle.It stars Ryan Gosling as a jazz pianist and Emma Stone as an aspiring actress, who meet and fall in love while pursuing their dreams in Los Angeles. Linus Sandgren (born December 5, 1972) is a Swedish cinematographer. This takes place—where else—amidst a traffic jam on the freeway. For example, she explains that “b. So we decided instead of doing, like, blue moonlight, which perhaps would have been used in an old Hollywood movie, we felt that we wanted to define Los Angeles as a mercury-vapor night rather than a sodium-vapor environment. £6.00 Whiplash (2 DISCS - UHD & BD) [Blu-ray] [2020] Miles Teller. But as FilmSchoolRejects’s Zosha Millman explains, each color also has a distinctive meaning within the narrative. Even in the subtle use of palettes, certain color tones, like shades of green, are just so rich with film, so I felt like it was a better opportunity to shoot with film. “Throughout the film we used essentially green to add to daylight lights,” he says, “to shift for nighttime scenics to make the skies more pink, and to maintain that palette of cyans, and blues, and pinks.” He also thanks the film stock and camera choice for such wonderful color saturation. Linus Sandgren, FSF, whose credits include American Hustle and Promised Land, earned his first Academy Award® nomination on La La Land – one of 14 Oscar® nominations for the acclaimed film. Then the camera had to land at the same time in the water, and each time, either the stuntman, or the camera, was never on beat. La La Land opens with a show-stopping number in which the stars don’t even participate. So we had to rehearse everything, a lot, and play it risky in the moment. it was an approach to try to give authenticity to the footage. The style of the lighting helped to make it all more theatrical, as well.”. Sandgren also used color not only as a throwback to the halcyon days of monochromatic dance numbers, but also as a way to remove the subjects visually from the background, and even to separate sets, as he did with a frenetic dance number featuring Emma Stone and her friends as they are getting ready for the same pool party in the Hollywood Hills. 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