The production of the upcoming movieSaltburnbyEmerald Fennellhas officially begun, the Oscar-winning director revealed in a new Tweet. The image shared by Fennell shows the movie’s clapboard which features her name as director and confirms Academy Award-winner DPLinus Sandgrenis taking a seat behind the camera.
Saltburnis described as a “story of obsession” which revolves around an aristocratic English family. The movie castsEuphoriafameJacob Elordialong withThe BatmanstarBarry Keoghanand Oscar nomineeRosamund Pike. However, further details of the movie are currently being kept tightly under wraps.
ThePromising Young Womandirector is teaming up with Swedish cinematographer Sandgren who is well-known for his beautifully crafted camera work, unconventional formats, and for a visual style that ultimately benefits the films. He has an illustrious career collaborating with various directors likeDamien ChazelleonLa La LandandFirst Man,David O. Russell’sAmerican HustleandJoy, andGus Van Sant’sPromised Landamong many others.
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Most recently he filmedCary Joji Fukunaga’s flickNo Time To DiemarkingDaniel Craig’s last outing asJames BondandAdam McKay’s Oscar-nominatedDon’t Look Upfeaturing a stellar star cast includingLeonardo Di Caprio,Jennifer Lawrence,Timothee Chalamet, andMeryl Steepamong others. Given the diversity of the projects that Sandgren takes up, he shared his simple visual rule in a prior interview withMusicbed, he said, “Whatever the choice, there must be a reason. Why is it a dolly shot? Why is it not a crane? There needs to be a reason for every last detail of the shot.”
Sandgren picked up an Oscar and BAFTA award for Chazelle’sLa La Land,which he shot in the classic Cinemascope ratio of 2.55:1. For his next with Chazelle, the cinematographer perfectly recreated the Moon landing inFirst Manby blending 16mm handheld footage seamlessly with IMAX. However, he admitted toForbesthat his most challenging project came along withNo Time To Diewith globetrotting locations and explosive action sequences. He said:
“You want to be artistic and think about everything from an artistic point-of-view but also out of the narrative and the storyline, it has to be relevant to the story and what’s going on. So, our intention for the scenes were always based on, “What’s the intention of the scene and how can we enhance and tell the story visually in the same way?” Sometimes, it would be through the camera, how the camera moves, or if it should be more of a handheld immersive way or sweeping, big dolly moves or helicopter moves.”
Given, the magic Sandgren creates onscreen one can only imagine the visual treatSaltburnwill be. Currently, there are no further details available about the project. Check out Fennell’s tweet down below.
