March 6, 2024

Jenelle Riley, Variety’s Deputy Awards and Features Editor, discusses the 2024 Academy Awards nominations

Long-time friend and colleague Jenelle Riley of Variety magazine chats with Ben and Illya for our fifth annual Oscar nominations special. With a focus on cinematography, they discuss what they liked, what will win, what should win, and their favorite movies of the year that may have been overlooked. They also talk about the past year in movies, Oscar campaigning and the accusations of film “snubs.”

Here’s a rundown of some of the films and topics discussed in this episode. Listen to our recent interviews with the nominated DPs as well as other films of note!

Spike Lee, who won an ASC Board of Governors award
Hoyte Van Hoytema, Oppenheimer, who also won an ASC award for theatrical feature film
Ed Lachman, El Conde
Matty Libatique, Maestro
Robbie Ryan, Poor Things
Rodrigo Prieto, Martin Scorsese Killers of the Flower Moon
Barbie, Ryan Gosling
Nyad, Anette Bening
The Holdovers (DP Eigil Bryld) , Alexander Payne, Da’Vine Joy Randolph
Past Lives (DP Shabier Kirchner), Greta Lee
American Fiction (DP Cristina Dunlap)
Wonka
Saltburn (DP Linus Sandgren)
The Killer (DP Eric Messerschmidt)
May/December

Find Jenelle Riley on Instagram and X: @jenelleriley
and Variety: https://variety.com/

Sponsored by Hot Rod Cameras www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

December 14, 2023

Saltburn cinematographer Linus Sandgren, ASC, FSF

Cinematographer Linus Sandgren believes that films don’t always have to look pretty. “A film should look appropriate for the story we’re telling. It’s about communicating the emotions of the film. And that can be ugly.” For his latest project, Saltburn, the beautiful images counterbalance the evil within the main character, Oliver Quick. Oliver is an outsider at Oxford who grows obsessed with Felix Catton and his friends, who are effortlessly born to power and privilege. Director Emerald Fennell wanted to create a “vampire movie without vampires” due to Oliver’s ability to latch on to Felix and his family.

Linus met with Fennell, who described her vision of the film. She was influenced by the rich colors in Caravaggio paintings, the early vampire film Nosferatu, and Hitchcock movies for suspense and voyeurism. It was important to tell the story as though the viewer is observing the film from a distance, as if it were a painting. To create the language, Linus found images of paintings and photography that were light-specific to put into a lookbook. They chose to shoot on Kodak film that emphasized the red spectrum, and for a portrait style look, Linus shot in the nearly square aspect ratio of 1.33:1.

With the exception of shooting around Oxford University, Saltburn was almost entirely filmed at one estate in Northamptonshire. Linus and the team scouted around the grounds and inside the building, thinking like a painter to decide on shot composition, lighting, furniture placement and blocking for the actors. Outdoors in daylight at the Saltburn estate, it’s summer, so Linus felt inspired by fashion photography, impressionist paintings and the square framing and colors of a Polaroid picture. He captured the Gothic feel of the grounds at night, adding to the suspense of Oliver’s encounter with Felix’s sister Venetia and the showdown he has with Felix in the maze. 

Saltburn is currently in theaters.

Find Linus Sandgren: Instagram @linussandgren_dp

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz