The Cinematography Podcast Episode 152: Cinematographer Dan Laustsen

Cinematographer Dan Laustsen’s latest movie with director Guillermo del Toro is the film noir psychological thriller, Nightmare Alley. Unlike many of del Toro’s previous films, Nightmare Alley features no monsters or creatures, exploring instead the drama of the monsters within humans. Dan and del Toro had extensive prep and discussion about how to tell the story in a classic film noir way, except with lush vibrant colors instead of in black and white. Part of the movie takes place in the carnival world, so del Toro and Dan had extensive discussions about the color palette. Del Toro had a very precise idea of what colors he wanted and he uses very little color correction in post. Dan decided to paint with light, and draw attention to the beautiful sets as much as possible. The movie was shot mainly at night and indoors so they were able to carefully control the lighting. They chose to light using mainly a single source, and lit the character of Lilith Ritter, played by Cate Blanchett, like a classic movie star. Her lighting was important to the storytelling so the audience sees her as a powerful force in the film. In fact, the lights would also move on a dolly track with Blanchett, or Dan would use a small 1K as a follow spot. For the camerawork, Dan and del Toro wanted all of the shots in Nightmare Alley to be on the move-everything is shot either on a dolly, with a Steadicam or from a crane.

Del Toro & Dan first began working together on Mimic, and they found what Dan considers a similar European sensibility of lighting with a single source, keeping things very dark and having the courage to not show everything. The two didn’t work together again until Crimson Peak but del Toro and Dan have a great rapport, and Dan found that they could pick right back up again.

Find Dan Laustsen: Instagram @dan.laustsen

You can see Nightmare Alley in theaters.

Close Focus: Spider-Man: No Way Home has now had the third biggest worldwide opening of all time, and seems to prove that people will come back to the theater especially for big event movies.

Illya’s short end: The DZOFilm Vespid lenses are an incredible set of lenses that run from 16 to 135mm, and you can now buy a full eight lens set at Hot Rod Cameras.

Ben’s short end: Dexter New Blood on Showtime is very good.

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Sponsored by Assemble: Sign up for Assemble’s production management software and get one month FREE! Use code “cinepod” to take advantage of this offer. Be sure to watch our YouTube video of Nate Watkin showing how Assemble works!

Sponsored by DZOFilm: The 16mm Vespid lens is now available. If you’re looking for high quality, low cost lenses, the Vespids are lightweight and provide full frame coverage. You can buy them at Hot Rod Cameras.

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Podcast Credits:

Editor in Chief:  Illya Friedman Email: editor@camnoir.com
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Ben Rock

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Producer: Alana Kode

Editor: Ben Katz

Composer: Kays Al-Atrakchi

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