American Cinematographer - April 2020 - 31

possible," says Sandgren. "I also
always try to find metaphorical inspiration for the lighting from the various themes in the story or from the
characters themselves."
But Fukunaga also sought
consistency. "The bigger questions
were around how to give each of the
film's expansive locations a unique
look while making it feel like the same
film," Fukunaga says. "It was about
finding that balance." The filmmakers
certainly wanted to emphasize the
contrast between the warmth of
Jamaica and Italy, and the cold, nearly
monochromatic feel of Norway and of
such institutional interiors as the
chamber where former SPECTRE
head Ernst Stavro Blofeld (Christoph
Waltz) speaks with Bond.
The production was captured
on a combination of 35mm and 65mm
film negative. The filmmakers wanted
smooth transitions between the two
gauges, so entire sequences were
designed for one format or the other,
with no intercutting. The extended
pre-credit sequence (shot in Norway),
in which Safin hunts down victims on
a frozen lake, will play in Imax in
theaters that are so equipped, and
then the first scene following the credits is anamorphic widescreen. Other
Imax sequences include a car chase in
ancient Matera, Italy, and an action
scene in Cuba involving Bond and
Nomi (Lashana Lynch) - a fellow
double-0 agent with elite skills, who's
promised to give the super spy a run
for his money.
"Framing for 1.43 while protecting for 2:40 is not as challenging as
you might think," Sandgren notes. "It
can be a lot of work to make sure the
sets are covered in all formats, but
regarding the composition, the 2:40:1
aspect ratio in the center of the image
will still be where your eyes are looking when the movie is projected in
Imax. The additional top and bottom
of the Imax frame is really the periphery; it's used for atmosphere and to
[further] immerse the audience in the
movie.
➔

p Safin (Rami Malek) makes his
way across a frozen lake.
t Sandgren lines up an Imax
camera while filming on location in
Norway. q The cinematographer
and crew ready an Imax camera
while shooting in Italy.

"Achieving the charm of a Bond movie is so much easier [when shooting on]
film [because you can] work impressionistically with the image, and colors are
richer," says Sandgren. "Cary and I were determined that that was the right way to
go, and I think everyone agrees it was the right decision. The producers were very
supportive in wanting to accommodate our creative wishes."
Fukunaga adds, "We didn't test any digital cameras - I wasn't interested in it
for this movie."
www.ascmag.com

April 2020

31



http://www.ascmag.com

American Cinematographer - April 2020

Table of Contents for the Digital Edition of American Cinematographer - April 2020

Contents
American Cinematographer - April 2020 - 1
American Cinematographer - April 2020 - Cover1
American Cinematographer - April 2020 - Cover2
American Cinematographer - April 2020 - 1
American Cinematographer - April 2020 - Contents
American Cinematographer - April 2020 - 3
American Cinematographer - April 2020 - 4
American Cinematographer - April 2020 - 5
American Cinematographer - April 2020 - 6
American Cinematographer - April 2020 - 7
American Cinematographer - April 2020 - 8
American Cinematographer - April 2020 - 9
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American Cinematographer - April 2020 - 11
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American Cinematographer - April 2020 - 17
American Cinematographer - April 2020 - 18
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American Cinematographer - April 2020 - 21
American Cinematographer - April 2020 - 22
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American Cinematographer - April 2020 - 24
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American Cinematographer - April 2020 - 26
American Cinematographer - April 2020 - 27
American Cinematographer - April 2020 - 28
American Cinematographer - April 2020 - 29
American Cinematographer - April 2020 - 30
American Cinematographer - April 2020 - 31
American Cinematographer - April 2020 - 32
American Cinematographer - April 2020 - 32a
American Cinematographer - April 2020 - 32b
American Cinematographer - April 2020 - 32c
American Cinematographer - April 2020 - 32d
American Cinematographer - April 2020 - 32e
American Cinematographer - April 2020 - 32f
American Cinematographer - April 2020 - 32g
American Cinematographer - April 2020 - 32h
American Cinematographer - April 2020 - 32i
American Cinematographer - April 2020 - 32j
American Cinematographer - April 2020 - 32k
American Cinematographer - April 2020 - 32l
American Cinematographer - April 2020 - 33
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