Let's delve into the fascinating world of cinematography and the choices that shape the visual language of films. Today, we're exploring the unique path taken by Linus Sandgren, the cinematographer behind 'Wuthering Heights', and his intriguing take on film formats.
The Power of Story-Driven Cinematography
In an era where digital dominance is the norm, Sandgren's approach stands out. He believes in letting the story dictate the format, a philosophy that guided his work on 'Wuthering Heights'. Emerald Fennell's vision for this reimagined classic demanded a tactile, impressionistic feel, and Sandgren delivered just that.
The Revival of VistaVision
What makes this particularly fascinating is the revival of an old format - VistaVision. This large 35mm film format offers a unique blend of high resolution and just the right amount of grain. It was the perfect choice for capturing the intricate details of the Yorkshire Moors and the lavish interiors of Edgar Linton's manor.
VistaVision had its heyday in the 1950s, but it's making a comeback. Its clarity and texture have attracted notable directors like Paul Thomas Anderson and Yorgos Lanthimos, offering a refreshing alternative to the digital sharpness that filmmakers have become accustomed to.
IMAX: Scope and Scale
Now, let's talk about IMAX. Sandgren's work on 'Dune: Part Three' showcases his strategic use of IMAX cameras to achieve the epic scale envisioned by Denis Villeneuve. He's not afraid to experiment, having previously used IMAX for select sequences in 'First Man' and 'No Time to Die'.
The challenge with IMAX, as Sandgren points out, is its weight and noise. However, advancements in technology, like the sound blimp used for 'The Odyssey', are addressing these issues. Sandgren is intrigued by the prospect of shooting an entire film with an IMAX camera, but he remains committed to his story-first approach.
The Battle Between Film and Digital
In my opinion, the debate between film and digital is an ongoing one. Sandgren champions celluloid, having used it extensively before 'Wuthering Heights'. He's open to digital, but he wants filmmakers to have the freedom to choose the best tool for their story.
The challenge, as he highlights, is convincing studios and financiers. Shooting on film comes with additional costs and processing time, but Sandgren believes there are creative ways to navigate these obstacles. He's faced resistance in the past, but his passion for storytelling-driven cinematography has prevailed.
A Thoughtful Conclusion
As Sandgren wisely states, "The format doesn't decide what the format should be. It's the story that asks for a format." This philosophy is a refreshing reminder that, in the world of cinematography, the story must always come first.
So, the next time you watch a film, pay attention to the format choices. They might just add an extra layer of depth to your cinematic experience.
