Podcast appearances and mentions of linus sandgren

Programming Note: Color & Coffee is taking a break for the holidays. We'll return in late-January 2025 with new episodes and return to our regular release schedule. A very sincere thanks to all our listeners for an amazing 2024 and for helping us spread the word about the show! -------------------------------------------In the final episode of 2024, we sit down with Matt Wallach, Senior Colorist at Company3, to dive into his remarkable career and groundbreaking work on films like No Time to Die, Saltburn, Don't Look Up, and more.Matt takes us on a fascinating journey from his early days in the camera department to becoming an in-demand finishing colorists, collaborating with some of the biggest names in filmmaking. He shares how he took advantage of the film digital transition, blending timeless techniques with cutting-edge workflows to support legendary DPs like Roger Deakins, ASC and Linus Sandgren, FSF, ASC.In this episode, we uncover the secrets behind Matt's success in building trust with top cinematographers, his unique approach to dailies and finishing, and how he navigates the ever-evolving world of filmmaking. From cultural and technical shifts in production to delivering stunning, cinematic images, this is a conversation full of insights and inspiration.So, grab your favorite cup of coffee, and tune in to this incredible discussion with Matt Wallach!Guest Links:IG - https://www.instagram.com/captaincinema/Website - https://www.company3.com/artists/matt-wallach/IMDB - https://www.imdb.com/name/nm3546742/Send us a textFlanders Scientific Inc. (FSI)Reference Displays for Editors, Colorists and DITSPixelToolsModern Color Grading Tools and Presets for DaVinci Resolve Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Like the show? Leave a review!This episode is brought to you by FSI and PixelToolsFollow Us on Social: Instagram @colorandcoffeepodcast YouTube @ColorandCoffee Produced by Bowdacious Media LLC

Watch the full video interview on YouTube here: https://www.youtube.com/watch?v=TKyL4zu2q8I SIGN UP FOR THE FILM COURAGE NEWSLETTER https://filmcourage.substack.com Illya Friedman is an entrepreneur, inventor, cinema technologist, studio builder, podcaster and producer. A renowned camera technologist spanning the eras of film, video and digital cameras, he worked on the team that invented the world's first 4K cinema camera. Illya got his start working professionally in the camera department in Hollywood in the early 1990s, and is the inventor of camera, lighting and optical products used by filmmakers of every level. Upon opening his company, Hot Rod Cameras, Illya became widely credited as a pioneer in the 'DSLR Filmmaking Revolution' and his L.A. based brick and mortar store sells cameras, lenses, lighting, grip and workflow tools to professionals and aspiring professionals alike. Hot Rod is a primary supplier to both the traditional entertainment industry, the new creator economy, and even performs full studio build outs. Along with co-host Ben Rock, Illya created the weekly Cinematography Podcast, which features interviews with hundreds of cinematographers, directors and filmmakers. Notable guests include Academy Award-winning DP's, such as Robert Richardson, Linus Sandgren, Robert Elswit and Vitorrio Storaro. The show also features prominent directors like Ron Howard, Antonie Fuqua, Ruben Fleischer and Randall Einhorn. Many guests of the podcast are also clients of Hot Rod Cameras. Occasionally, Illya produces feature films, his most recent is a fictional story about young skateboarders in Los Angeles, entitled Concrete Kids. It's streaming on Amazon Prime, Vudu, Roku, Tubi and other platforms. CONNECT WITH ILLYA FRIEDMAN https://hotrodcameras.com https://www.imdb.com/name/nm0295233 https://www.instagram.com/hotrodcameras https://www.youtube.com/c/Hotrodcameras https://twitter.com/hotrodcameras LISTEN TO ILLYA'S CINEMATOGRAPHY PODCAST https://www.camnoir.com https://www.facebook.com/cinepod https://www.instagram.com/thecinepod https://twitter.com/shortendz MORE VIDEOS LIKE THIS Honest Advice On Being A Professional Cinematographer - https://youtu.be/GdIcUV-F6sQ Cinematographer Greig Fraser Interview - Story Behind The Imagery - https://youtu.be/NFmABajxBjs Pro Cinematographer On How The Movie JOKER Was Made - https://youtu.be/MRHBLOvelis Why I Stopped Music For Filmmaking - https://youtu.be/AGXF9gco6fg CONNECT WITH FILM COURAGE http://www.FilmCourage.com SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage (Affiliates) ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *Disclaimer: This video and description contains affiliate links, which means that if you click on one of the product links, we'll receive a small commission. This helps support the channel and allows us to continue to make videos like this. Thank you for your support!

Linus Sandgren is a Swedish cinematographer known for his collaborations with directors such as Damien Chazelle, David O. Russell and Gus Van Sant. In 2017 he won the Academy Award, BAFTA and Critics Choice Award for his cinematography on "La La Land".  For the Swedish premiere of his latest film, "Saltburn" directed by Emerald Fennell, Sandgren visited Stockholm International Film Festival to talk about his successful career during a Masterclass moderated by film journalist and festival programmer Jakob Åsell at Filmhuset. This episode is a recording of that Masterclass and is presented in collaboration with Stockholm International Film Festival and MovieZine.

On this episode, Barry and Mike pour themselves some bathwater cocktails and dance around their mansion in the nude as they discuss Emerald Fennell's new controversial film Saltburn. Topics discussed include the weirdness of Barry Keoghan, Emerald Fennell's major third act issues, and the cinematic skill of Linus Sandgren.

Academy award winning cinematographer Linus Sandgren joins us to talk about his incredible work on Emerald Fennell's visually stunning film Saltburn. Sandgren guides us through the gothic, vampiric style of the cinematography, how ugly & beauty work in tandem, their fascinating visual decisions regarding several twists in the film, and how he used 2 bathtubs for THAT scene that everyone is talking about. Saltburn will stream globally on Prime Video from December 22, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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Welcome to Soundstage Designer. I'm your host, Jamie Muffett, and in this episode, we're joined by the incredibly talented, Academy Award winning cinematographer, Linus Sandgren.We take a journey through Linus's career as we explore whether cinematography was always his dream and the unique challenges he faces in transitioning from still to moving images. Discover the delicate balance of relinquishing control while crafting mesmerizing visuals, and learn how he and director Emerald Fennell collaborated to shape the vision of Saltburn.Dive into the intentional choices behind shot transitions, seamlessly navigating between the grand and intensely personal. Linus shares insights into the creative process, discussing whether the jarring effect was intentional and how he committed to these extremes for maximum impact.Uncover the collaborative nature of cinematography as Linus emphasizes the importance of working in a team. Hear firsthand about the dynamic exchange of ideas and the synergy required to bring a director's vision to life on the screen.And what are the most crucial skills and personal traits needed to succeed in the industry. Whether you're a seasoned professional or a film enthusiast, this episode of Soundstage Designer offers a glimpse into the art and intricacies of cinematography that will leave you inspired and informed.For extra content, previews, and a whole lot more, follow us on social media.Instagram: https://www.instagram.com/soundstageinsiderTwitter: @SoundstageIn Hosted on Acast. See acast.com/privacy for more information.

Följ med när kulturredaktionens Lisa Bergström och Sveriges Radios USA-korrespondent Roger Wilson gör nedslag i några av filmhistoriens stora ögonblick: Hittar en åtta meter hög Marilyn Monroe i Palm Springs, letar upp svenskar som gjort karriär i Hollywood både förr och nu, och försöker återuppleva Hitchocks "Vertigo" på San Franciscos branta gator. I den första delen av Vykort från drömfabriken handlar det om svenskar som arbetar i Los Angeles och Hollywood.Skådespelaren Bo Svenson förklarar varför det skar sig med Quentin Tarantino.Lotta Losten och regissören David F Sandberg berättar om hur det är att gå från nollbudgetfilm till superhjälterulle.Oscarsbelönade filmfotografen Linus Sandgren förklarar varför riktiga filmarbetare aldrig hänger på Hollywood Boulevard. Ett reportage av Lisa Bergström och Roger WilsonProducent: Maria Götselius.

Följ med när kulturredaktionens Lisa Bergström och Sveriges Radios USA-korrespondent Roger Wilson gör nedslag i några av filmhistoriens stora ögonblick: Hittar en åtta meter hög Marilyn Monroe i Palm Springs, letar upp svenskar som gjort karriär i Hollywood både förr och nu, och försöker återuppleva Hitchocks "Vertigo" på San Franciscos branta gator. I den första delen av Vykort från drömfabriken handlar det om svenskar som arbetar i Los Angeles och Hollywood.Skådespelaren Bo Svenson förklarar varför det skar sig med Quentin Tarantino.Lotta Losten och regissören David F Sandberg berättar om hur det är att gå från nollbudgetfilm till superhjälterulle.Oscarsbelönade filmfotografen Linus Sandgren förklarar varför riktiga filmarbetare aldrig hänger på Hollywood Boulevard. Ett reportage av Lisa Bergström och Roger WilsonProducent: Maria Götselius.

På söndag är det Oscarsgala i Los Angeles. Men det räcker inte med att en film är bra för att den ska vinna en gyllene statyett. Kampanjerna bakom kostar miljontals dollar. "Bjuder du inte på bra mat och sprit, så kommer ingen och ser din film", säger den rutinerade prisstrategen och konsulten Sara Vahabi när P1 Kultur träffar henne i Los Angeles. "Och kommer inte jurymedlemmarna och ser filmen är du körd. Eyeballs on the movie, är det som gäller", säger hon. 20 miljoner dollar brukade det kosta att göra en kampanj för bästa film. Nu har strömningstjänsterna, med ännu tjockare plånböcker, ritat om kartan. Så bakom glädjetårarna när tacktalet väl kan hållas, ligger ett enormt jobb och mycket pengar. Du träffar också filmfotografen Linus Sandgren och hör historien om tacktalet han höll efter att mottagit en Oscar för fotot till filmen "La La Land".Följ med Roger Wilson och Lisa Bergström till Los Angeles för att syna jakten på en Oscar i sömmarna. Det börjar på The Academy Museum och den speciella avdelning som finns där för just tacktalen.VILKA CHANSER HAR RUBEN ÖSTLUND ATT VINNA OSCAR?Vilka chanser har förresten Ruben Östlund att få Oscars för "Triangle of Sadness"? Tre nomineringar har filmen. USA-korrespondent Roger Wilson håller upp ett finger i luften - direkt från i Los Angeles.SHAZAM! DAVID F SANDBERG OCH DJIMON HOUNSOU I STUDION!David F Sandberg är från Jönköping och har på tio år gått från att göra korta skräckfilmer till att regissera stora Hollywoodproduktioner. Nu är han i Sverige för att marknadsföra superhjältekomedin "Shazam! Fury of the gods". Tillsammans med skådespelaren Djimon Hounsou, en väletablerad slitvarg i Hollywood som varit nominerat till Oscars två gånger och som spelar trollkarl i nya Shazamfilmen, besöker han P1 Kulturs studio för att prata om vilken roll superhjältarna spelar för oss idag.GUDFADERN ÄR KUNGEN AV MAFFIAFILMERMarlon Brando tackade nej till sin Oscar för rollen som Don Corleone i Francis Ford Coppolas "Gudfadern". Gangsterhistorier hade aldrig filmats så påkostat och med sådan ambition som i filmbolaget Paramounts "Gudfadern". Satsningen gick hem. Det blev en av sjuttiotalets största succéer och den är lika beundrad än idag. I veckans Klassiker ser filmkritikern Mårten Blomkvist tillbaka på en maffiafilm som influerat alla som kommit efter.Programledare: Lisa BergströmProducent: Anna Tullberg

Han vann en Oscar för fotot i "La la land". Nu är han bioaktuell med "Babylon". Lisa Bergström och Roger Wilson följde med Hollywoodsvensken Linus Sandgren på jakt efter filmmagi i bergen runt Los Angeles.

We welcome cinematographer Linus Sandgren, ASC, FSC for his third time on the podcast. On his latest film, Babylon, Linus was happy to work with director Damien Chazelle again. The two had previously collaborated on La La Land and First Man. In all of his films, Chazelle thinks musically, and camera movement is essential to his films instead of just relying on editing. Linus liked Babylon's script- though it was long, it had many fast moving pieces, and the story was told in a refreshing, unconventional way. He thought of it as a 2.0 version of La La Land- it expressed Chazelle's love of cinema, and despite some of the dark places the story goes, he felt an affection for the characters in Babylon. Like La La Land, Linus combined long takes with complicated camera moves, while also using handheld verité techniques they developed on First Man. To prep for the film, Linus and Chazelle watched several Los Angeles-period films together, such as Chinatown, There Will Be Blood, and Boogie Nights. The movie combines absolutely maximalist wide shots to intimate closeups and tracking shots on specific characters, in order to keep the film emotional. One of the biggest and most spectacular scenes in Babylon is the 32-minute pre-title opening sequence, depicting a wild Bel Air party complete with revelers, cocaine, and an elephant. They shot it in the lobby of the Theatre at Ace Hotel in Los Angeles, crammed with hundreds of extras. Chazelle wanted a really high angle on the party, but they couldn't fit a crane into the space, so Linus rigged a cable cam corner to corner from above to capture the action. They spent a long time blocking and rehearsing the party sequence, filming the overhead shots, then shot with a Steadicam through the party the second day. Babylon is about the early days of cinema, when the silent movie era is transitioning to sound. The crew had to show the process of shooting film in the first days of “talkies” and the filmmaking equipment of the time had to be historically accurate. Though Linus didn't use vintage film cameras on the movie, the production designer found film cameras to use as props and they were able to use old arclights that were fitted with HMIs so they actually worked on set. Find Linus Sandgren: Instagram @linussandgren_dp Babylon can be seen in theaters nationwide. Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Acclaimed cinematographer Linus Sandgren just happens to have two Oscar nominated films out right now- the new James Bond movie, No Time to Die and the Adam McKay satire, Don't Look Up. Both films are extremely different from each other, and Linus was excited to work on both. Linus says that working on a Bond film is about creating a heightened reality, escapist adventure that romanticizes action and espionage. Don't Look Up is also about creating a type of heightened reality, but in an absurd, satirical way that tells the truth. Linus was very excited to shoot No Time to Die with director Cary Joji Fukunaga. Linus always tries to find a story and script that he hasn't done before, and it was a new challenge for him to take on a film with so much action. They focused on making it their own Bond, rather than looking at previous James Bond films. No Time to Die even begins differently from past Bond films- instead of an action set piece, Linus and Fukunaga chose to create a horror movie feeling in the opening. For the opening sequences of No Time to Die, Linus set the creepy tone, choosing monochromatic grays and icy blue skies, and a very isolated location. By contrast, the very next action sequence featuring Bond is full of harsh bright sun washed in yellows and browns. For every film Linus shoots, he likes to have keywords for the emotions in the script to guide him in prep for different scenes, such as horror, grief, loss, humor, etc. and decides how to address those emotions visually. Linus and Fukunaga also discussed the expectations of a Bond film: an entertaining action-packed joyride, but still have No Time To Die act as a final chapter wrapping up Daniel Craig's arc as James Bond. Don't Look Up is a disaster-movie satire film directed by Adam McKay. Linus felt the script was terrific and horrific at the same time, and it was clear to him that McKay wanted to comment on how people's personal and political agendas cause them to ignore glaring problems, such as climate change, and hijack the actual solution that could save lives. Linus felt like it was an important and hilarious film to shoot. He decided that the visuals should feel like a political thriller, because the comedy and satire would come through in the writing. Linus would dolly in to create tension, use longer zooms to compress the shots, then go close up with a macro lens in order to get right on a character's eyes. The shoot required a lot of extras, which was made even more challenging with COVID protocols. Linus had to be creative to figure out how to shoot with fewer extras, using longer lenses so the physical distancing wouldn't be as apparent, and they often re-used the same actors in different scenes since they were in a quarantine bubble together. Find Linus Sandgren: Instagram @linussandgren_dp You can purchase and stream No Time to Die on AppleTV, Amazon, Vudu, or your preferred service. Don't Look Up is available on Netflix. Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep158/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Arri: https://www.arrirental.com/en The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Guest: Linus Sandgren, Cinematographer, No Time To Die As James Bond launches on movie screens across the world, we're thrilled to welcome Academy Award-winning cinematographer Linus Sandgren to the podcast. Wim and Jim explore with Linus many of the exciting action sequences in No Time To Die and why he's excited for the future of cinema.

NO TIME TO DIE not only elevates the 007 universe, but it is filled with stunningly beautiful and logistically challenging cinematography. Director of Photographer Linus Sandgren FSF ASC talks lighting, lensing, locations and of course STUNTS! Linus and Go Creative Show host, Ben Consoli, discuss finding the spirit of James Bond and using hand-held IMAX cameras to blend classic 007 storytelling with new filmmaking technologies. Subscribe Now! What you will learn in this episode Visual approach to James Bond movies (00:51) Pre-lighting sets using miniatures (07:58) Shooting on IMAX handheld (13:41) Grounding stunts in reality (21:31) Filming in various locations around the world (24:59) Challenges and logistics of NO TIME TO DIE (33:38) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links NO TIME TO DIE IMDb NO TIME TO DIE trailer Follow Our Guest Linus Sandgren's IMDb Linus Sandgren's website Linus Sandgren's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Coming off of an Academy Award win for "La La Land," Swedish cinematographer Linus Sandgren is one of the most in-demand DPs working in Hollywood today. His most prominent film to date is his latest, a James Bond film and his first collaboration with director Cary Joji Fukunaga on "No Time To Die." Linus was kind enough to talk about his approach to the film, respecting other films in the franchise, what it was like working with Cary, and more! Be sure to take a listen down below and see the film on the biggest screen you can find in theaters to take in Linus's excellent work fully. Enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

This mini bonus episode features two awesome guests who both worked on the new James Bond film, Linus Sandgren the cinematographer, and Chris Corbould the special effects supervisor. In this episode, we talk about... How the process went shooting the movie on film and how they chose which sections to film differently for IMAX. Setting the mood for different scenes by carefully choosing the filming location. Behind the scenes thoughts about some of the really cool shots in the film. How the team approached shooting close-ups for so many different actors, from a technical standpoint. Links to Resources: No Time to Die - https://www.imdb.com/title/tt2382320/  iPhone 13 Review - https://www.youtube.com/watch?v=ZXUENXWD_gw  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at editor@nofilmschool.com!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Cinematographer for the much anticipated James Bond film, 'No Time to Die', shares how he worked with the Director, Production Designer, and the Special Effects Supervisor to carry on the legacy of the Bond franchise in Daniel Craig's last hurrah as 007. 'In this podcast series, Carolyn Giardina, Tech Editor for The Hollywood Reporter, extends her coverage of the filmmaking crafts. She will be talking with the cinematographers, editors, production designers, composers, visual effects supervisors, and other leading artists that bring the magic of motion pictures to theaters. Subscribe now to receive episodes of this inspired new series that shines a light on the artists that spend most of their time behind the screen. Hosted by: Carolyn Giardina Produced by: Matthew Whitehurst 13:04 Learn more about your ad choices. Visit megaphone.fm/adchoices

James Bond er igjen tilbake på kinolerretet, og i denne podkastepisoden diskuterer vi No Time to Die. Dette er femte og siste gang at skuespiller Daniel Craig gestalter verdens mest berømte hemmelige agent. Med amerikansk-japanske Cary Joji Fukunaga i registolen, svenske Linus Sandgren bak kamera og Hans Zimmers navn på partituret – bare for å nevne noen av de involverte filmkunstnerne – lå mye til rette for at No Time to Die kunne bli en verdig opptur og avslutning på Craig-epoken i filmserien om 007, som begynte med Dr. No i 1962 og nå teller totalt 25 filmer. Ved mikrofonene sitter Karsten Meinich, Roskva Koritzinsky og Thor Joachim Haga, tre av Montages' mer «vanlig interesserte» i James Bond, så i vår spoilerfylte podkastsamtale nedenfor blir det ikke detaljert nerding på mikroskopisk nivå, men derimot en grundig og åpen vurdering fra panelet av hvordan No Time to Die fungerer (eller ikke fungerer) som Bond- og underholdningsfilm, og hva det er ved James Bond-seriens konvensjoner man ønsker å få servert som vanlig, og hva som har godt av en modernisering. Sentrale punkter i handlingen blir nødvendigvis avslørt – det er vanskelig å diskutere denne filmen på en meningsfylt måte uten å peke på sentrale ting i filmens tredje akt – så vent med å høre denne episoden til du har sett No Time to Die. God lytting!

The James Bond films have always been the epitome of style and innovation. In this episode, we'll explore what goes into crafting the glamour and the action that has become synonymous with the franchise. Bond isn't Bond without a number of beautiful cars, ingenious gadgets, an extraordinary wardrobe, astonishing sets and action sequences that have you on the edge of your seat. With the help of guests including cinematographer Linus Sandgren, special effects supervisor Chris Corbould, costume designer Suttirat Larlarb, director Cary Fukunaga, as well as Daniel Craig and members of the cast, we'll hear what is required behind-the-scenes in order to make Bond, Bond. You can also be the first to hear exclusive score from Hans Zimmer released by Decca Records. No Time To Die is in cinemas from September 30th. Watch the James Bond Collection – Available on DVD, Blu-ray and digital platforms worldwide. No Time To Die: The Official James Bond Podcast is produced by Somethin' Else in association with Metro Goldwyn Mayer Studios, Universal Pictures International, United Artists Releasing and Eon Productions. See acast.com/privacy for privacy and opt-out information.

Special: The Cinematography Podcast- War Stories Vol. 4 In our fourth War Stories Special, we feature eleven guest's harrowing, hilarious or heartwarming stories they had while on set, or a formative career experience that led them to cinematography. Find full interviews with each of our featured cinematographers in our archives! Cinematographer Quyen Tran on her life-changing experience after 9/11 in New York; Mike Figgis and a nearly disastrous screening of Timecode; Dan Laustsen tells the story of how his sister influenced him to go to film school; Abe Martinez serendipitously found the perfect house while staying in Kenya; Bill Wages was dissuaded early on from becoming a National Geographic Magazine photographer; Larry Fong talks about getting his big break with JJ Abrams on Lost; Vanja Černjul on his secret to decompressing after wrapping on a big shoot; Rachel Morrison's story of making a huge mistake as a set P.A. with Matty Libatique; Linus Sandgren on his early days working as a gaffer with a seasoned electrician; Stefan Ciupek talks about the blooper in the single-take film, Russian Ark; and finally, Matty Libatique on getting real concert footage for A Star Is Born. Do you have a War Story you'd like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram! Find out even more about this episode, with extensive show notes and links: http://camnoir.com/warstories4/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

EPISODE 36 - LINUS SANDGREN - Cinematographer Team Deakins sits down for a conversation with cinematographer, Linus Sandgren. “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 sensibilities, working minimally, how important it is to find the right approach for each movie. He also goes into detail about how he develops the look with the director. He tells us about working with David O Russell and does a deep dive on the making of FIRST MAN which you don’t want to miss! And finally, of course, we talk a bit about shooting a Bond movie. A fascinating conversation with a talented image-maker! RECOMMENDED EPISODE VIEWING: First Man, 6 Souls

Swedish cinematographer Linus Sandgren talks to Illya about his extensive career working with high profile directors like Damien Chazelle on First Man and La La Land, Gus Van Sant on Promised Land, and David O. Russell on the films American Hustle and Joy. For the film First Man, Linus used 16mm, 35mm and IMAX formats to portray different looks throughout the movie. While working on Promised Land, he and director Gus Van Sant decided to use Super 35mm 1.3x anamorphic. He also discusses lighting choices and his passion for drawing his own storyboards.

Shake up those martinis because Episode 20 of The Words Are Not Enough is a 2 PART SPECIAL!In Part 1 Griffin (@griffschiller) and Brody (@brodyserravalli) discuss the following:Tomorrow Never Lies1. Bond may be Heading to Norway after-all* Yesterday a Norwegian Bond fan site by the name of James Bond-Magasinet teased "huge Bond 25 news" and today it would seem we have gotten it in the form of a statement from the Norwegian Film Institute. In corroboration with some rumours that were circulating last month, the NFI has been offered a 47 million NOK (Norwegian Krone) grant to a project going by the name "B25" as part of a Tax Incentive Scheme to draw projects with an large international reach to the Scandinavian country (which is about 5.5 million USD). In the statement, Stine Helgeland, the NIF's Executive Director, said “We are pleased that filming of the film with the preliminary title B25 is considering being shot in Norway,” adding that the grant would be “the largest in the incentive scheme's history.” Past recipients of the grant include Paul Greengrass' 22 July (receiving 17.1mil NOK) and Mission Impossible Fallout (receiving 6.3mil NOK). Truenorth Norway were named as the applicants on the grant and it is said that Truenorth would handle production services in Norway for EON.2. Bond 25 to shoot on Digital* Keeping with Scandinavian theme for today's Bond 25 news, Bond 25 cinematographer, Linus Sandgren, seems to have confirmed to ScreenDaily that Bond 25 will be shot on digital during an interview for his latest film, First Man. This would make Bond 25 the second film the franchise to be shoot entirely on digital, following Roger Deakins much-celebrated work on Skyfall. This would also mark a departure for Sandgren, who has almost exclusively shot on film for his American projects.3. Bond in Spain?* According to a report from Archivo 007, Gregg Wilson, the son of Bond producer-Michael G. Wilson, has been spotted in Cadiz, Spain, prompting speculation that he may be there location-scouting for Bond 25 as he has been involved in scouting locations for the series since Die Another Day. Speaking of, Bond fans will remember Cadiz from Die Another Day, where it stood in for Cuba. Cadiz is also set to appear in EON's upcoming feature, The Rhythm Section, which is what may have sparked EON's interest in the location for Bond 25.4. Will Craig be back for Bond 26?* According to an insider at The Sun, despite the rumours surrounding who will step into Bond's shoulder holster after Daniel Craig, Barbara Broccoli has not seriously considered a single name that has been floated, nor has she or her brother and co-producer, Michael G Willson, drawn up a shortlist of names for potential successors. This insider claims that Broccoli has done this out of "loyalty" to Craig, as she supposedly feels looking for a replacement while Craig is still in the job would be "disrespectful" - adding that Broccoli "cannot look beyond Daniel" as "she values everything h has done for the franchise in the past decade". Furthermore, this insider claims that EON has not even officially ruled out Craig doing a sixth film after Bond 25 - although no further information about this detail was given. It's worth noting that The Sun claims this source has dropped several other big Bond scoops in the past but declined to reveal which ones.* With McQuarrie coming back for M:I 7 and 8, potentially a two-parter, Craig's return for 26 could signal that EON intends to do a similar two-part story with 25-26, or at the very least, plans to go head to head with M:I in 2022 with their own "finale".5. Richard Madden Rumours Never Die* Moving on to even more tenuous Bond 26 rumours, according to Express, we may be closer to Richard Madden taking on the role of 007 than previously thought. According to Lorraine Kelly, she bumped into Madden at a Nation Television Award... --- Support this podcast: https://anchor.fm/the-words-are-not-enough/support

In this episode I cover the recent announcement by Bond 25 cinematographer Linus Sandgren that he will shoot digitally. It also looks like the next Bond film is headed for Norway. And a 007 exhibition will open in New York in March. You can watch or listen to 007 Daily at: https://jamesbonddossier.com/listen https://jamesbonddossier.com/watch And my book on 007's drinks is available from https://jamesbonddossier.com or from Amazon.

"HOLD THE PRESSES! This just in..." Episode 19 of The Words Are Not Enough is a Bond 25 Emergency News Update!In this episode Griffin (@griffschiller) and Brody (@brodyserravalli) discuss the following:1. Bond 25 has found a DP* Earlier in the week, Variety's Kristopher Tapley broke the story that Academy Award-winning Swedish DP, Linus Sandgren (best know for La La Land and First Man) will be joining Bond 25 as Director of Photography, saying "It appears Linus Sandgren is shooting the next Bond". IndieWire has now confirmed this story, citing Sandgren himself as their source. 2. Seydoux to return* The Daily Mail's Baz Bamigboye reported that Cary Fukunaga had confirmed Lea Seydoux's return to the franchise, offering the concise comment "Lea will be returning".* Variety's Justin Kroll then corroborated Bamigboye's reporting, stating that a source had confirmed the story to Variety. * What this return could mean for 25 (continuation of Spectre's story) * What kind of role will Madeleine play in the movie (OHMSS-style death speculated among fans) - we weigh in * Confirms that Monica Bellucci probably won't be returning as rumoured (although does confirm they were looking to bring a Bond girl back for 25 - something Barbara Broccoli has been trying to do since TND)3. Casting call for two women and a villain* Kroll also reported that "EON is looking for two other actresses - one would play an MI6 agent who works with Bond and another, a mystery woman - as well as the Bond villain."* Alleged insiders then added that "Rami Malek was being eyed for the [villain] role, but his schedule on the last season of Mr Robot, which shoots from March through July, makes it unlikely he will be able to take the gig, even if EON offered him the part". * Does this mean Blofelwill not be returning as the villain?4. Harris, Whishaw, and Fiennes to return* In his conversation with Cary Fukunaga, Baz Bamigboye also confirmed that Ralph Fiennes, Ben Whishaw, and Naomi Harris would be returning as M, Q, and Moneypenny respectively. Cary seemed eager to work with the returning crew and the rest of the British talent likely to fill out the cast saying "You have some of the best actors in the world here, why wouldn't I have the best coming back?!" * Interesting that Rory Kinnear as Bill Tanner was not included in that list of MI6 regulars returning as he has been a staple of the Craig era Vauxhall.5. Cary Fukunaga suggested to be writing Bond 25 in addition to directing* In Justin Kroll's Variety piece, Cary Fukunaga is reported to now be writing Bond 25. In the article, Fukunaga is listed as the sole writer two times and no reference is made to any other writers. Bamigboye suggested that Purvis and Wade were on-board to write and that Fukunaga was having "major input" in the direction of the script, but this does not appear to have been based off of new information obtained during his interview with Fukunaga. It is very likely Bamigboye is basing this off of the uncited rumour that Bond 25 would be going back to using the Purvis and Wade treatment following John Hodge's departure. Fukunaga rewriting the film lines up with his earlier comments from last week about the film still being written. * Confirms earlier story that EON were looking for a writer/director for Bond 25 * If Purvis and Wade are in fact out - were EON looking for a writer/director because they were keen to rewrite/replace their original treatment6. Norway as a Bond 25 filming location* Norwegian outlet, Bergens Tidende, has reported that a filmed dubbed "B25" has applied for a 25% subsidy of costs intensive for filming in Noway. This was then corroborated by Norwegian film commissioner Adrian Mitchell who spoke to Oslo newspaper, Dagsavisen, and said the following "I can confirm that we have been in contact with... --- Support this podcast: https://anchor.fm/the-words-are-not-enough/support

Linus Sandgren is a Oscar and Academy Award winning Swedish cinematographer best known for his work on the films La La Land (2016), First Man (2018), and American Hustle (2013). www.artistdecoded.com

This week on Pop Culture Confidential Oscar winning cinematographer Linus Sandgren talks about his incredible work on “First Man” Damien Chazelle’s new movie about Neil Armstrong. And: Gregory Ellwood covers movies and awards on The Playlist.net and is the host of the 4 Quadrant Podcast. Gregory joins us with an update on the Oscar race! From Lady Gaga’s star turn in “A Star is Born”, to Nicole Kidman’s in 2 powerful roles, Spike Lee is back and Christian Bale transforms himself, yet again, playing Dick Cheney in “Vice”… who are the frontrunners?

As he finished shooting La La Land, earning himself an Academy Award in the process, cinematographer Linus Sandgren, FSF, learned his next project, also in partnership with director Damien Chazelle, was going to be a far different creature. It was on the set of La La Land that Chazelle first told Sandgren about his next […] The post Cinematographer Linus Sandgren, FSF, Shoots the Moon for First Man appeared first on Studio Daily.

Cinematographer Linus Sandgren, FSF details shooting the true-life comedic drama for directors Jonathan Dayton and Valerie Faris.

Cinematographer Linus Sandgren, FSF details shooting the true-life comedic drama for directors Jonathan Dayton and Valerie Faris.

Nattens Oscarsgala kommer att gå till historien för ett stort misstag. Men vad betyder det att priset för bästa film gick till "Moonlight och inte till "La La Land"? Svenska "En man som heter Ove" fick se sig besegrad av den iranska filmen "The Salesman" i kategorin bästa icke-engelskspråkiga film, men den svenske fotografen Linus Sandgren kunde lämna galan med en Oscar för sin "La La Land"-insats. Vi funderar också över vad som egentligen hände när fel film lästes upp som vinnare i kategorin bästa film, och vad det innebär att priset gick till just "Moonlight". För att reda ut den långa Oscarsnattens färd mot dag finns kulturredaktionens kritiker Roger Wilson samt filmjournalisten Karin Svensson i studion. Dessutom möter vi den svenske filmfotolegendaren Jörgen Persson. Programledare: Gunnar Bolin Producent: Mattias Berg

La La Land is a film of such joy and beauty, it's almost hard to describe- but let's try anyway: exquisite, magical, bright, colorful and soaked in a passion for cinema that is rare in movies today. It felt like a new format of musical that blew us away. We were so honored to be able to chat with DP, Linus Sandgren about how he achieved the beautiful look on film. Do not miss this episode, Linus shares with us all about how it was made!