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Linus Sandgren Podcasts

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9 of The Best Podcast Episodes for Linus Sandgren. A collection of podcasts episodes with or about Linus Sandgren, often where they are interviewed.

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9 of The Best Podcast Episodes for Linus Sandgren. A collection of podcasts episodes with or about Linus Sandgren, often where they are interviewed.

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War Stories Vol. 4: Tales from the Set featuring Quyen Tran, Mike Figgis, Dan Laustsen, Abe Martinez, Bill Wages, Larry Fong, Vanja Černjul, Rachel Morrison, Linus Sandgren, Stefan Ciupek, Matty Libatique

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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
Oct 09 2020 · 33mins
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Linus Sandgren - Cinematographer

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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

Aug 12 2020 · 1hr 29mins

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Ep 35 – Linus Sandgren, ASC, FSF – The Oscar Winning Cinematographer Talks First Man, Damien Chazelle, Gus Van Sant, David O. Russell and Storyboarding

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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.
May 23 2019 · 40mins
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#107: Linus Sandgren X Saman Kesh - "Refreshing Yourself"

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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

Nov 18 2018 · 1hr 8mins
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Episode 123: cinematographer Linus Sandgren (“First Man”) + an update on the Oscar race!

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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?
Oct 19 2018 · 35mins
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Cinematographer Linus Sandgren, FSF, Shoots the Moon for First Man

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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 movie — the story of legendary astronaut Neil Armstrong and the events leading up to humanity’s first steps on the moon, called First Man. In those earliest conversations, Chazelle told Sandgren he wanted a gritty, yet stylized, documentary approach to telling what is, simultaneously, an intimate personal portrait and an epic story, all rolled into one.

“Damien was working with [screenwriter] Josh Singer on the script while we were shooting La La Land, and we soon started talking about how he wanted to do the film,” Sandgren recently told contributor Michael Goldman during a conversation for Studio’s Podcasts from the Front Lines series. “He wanted to approach it in a documentary style kind of way, which I was very intrigued by since it was the counter opposite of La La Land. So one of the very first things we talked about was that we had to tell the story about these [famous] events, and yet show the backstory that [the public] is not that familiar with, where we see the sacrifice and hard work all these people put into the [Apollo 11 moon mission]. He wanted to do it in an authentic way, so he felt a type of documentary approach, where we could go handheld with zooms, would [help achieve] some sort of authenticity, and he also wanted it to feel like it was true to the period. Those two visions made him come up with this idea of shooting Super 16mm in cinéma vérité style. But it evolved as we were talking into something else, as well, where we wanted to capture different aspects of the film in different ways.”

Thus, filmmakers strategically utilized a mixture of Super 16mm, 35mm, and Imax film formats for different sections of the movie. But, at its foundation, Sandgren says, “we still wanted to think about it as a 16mm type documentary from the ’60s or ’70s, but with a more cinematic approach in terms of storytelling with the camera.”

Among the many challenges posed by the project was how best to light various sections. Overall, a general principle employed, according to Sandgren, was to “maintain the aesthetics of ’70s filmmakers like Gordon Willis and Alan J. Pakula and their films,” he says. “We wanted to be a little more cinematically expressive than just [lighting] as though it were a documentary without thinking about it. In our case, we wanted to work with solitude and death as themes. Therefore, for lighting, we wanted to work with black blacks, with going black being a theme for death. So making it all realistic was a basic goal for lighting, but cinematically expressive.”

The biggest lighting challenge involved the moon landing sequences, since realism was such an important requirement. Sandgren says filmmakers decided to shoot the moon scenes outside at night on a gigantic set created by production designer Nathan Crowley at a massive rock quarry in the Atlanta area. The problem, however, was figuring out what kind of lighting would allow Sandgren to light in a way that replicated the movement and impact of the sun hitting the moon as it actually did during the Apollo 11 mission in 1969.

“During the moon mission, the height of the sun was always the same,” he says. “So lighting with multiple sources to cover the entire area would, I thought, look fake. Therefore my goal was to light it all with one single source, to create one single shadow. We did tests with Luminys, which makes the Softsun, which is a 100,000-watt lamp. We put two together, about 500 feet away, to see how it would look. It was pretty good, but a little soft shadow, though. So I asked [Luminys Chairman/CTO] David Pringle, who was there for the test, to explain, could he make a 200K version? He got quite inspired and came back to me the next day and said they could make one. That was what we really needed to get the exposure right and also get a single source.”

That was hardly the end of the innovation in terms of the cinematography on First Man. To hear more about the challenges and solutions involved with the project, listen to the full podcast conversation.

Look for a new episode of Podcasts from the Front Lines every month at StudioDaily.com. Visit our archive of past episodes for more stories from the trenches of modern movie-making.

The post Cinematographer Linus Sandgren, FSF, Shoots the Moon for First Man appeared first on Studio Daily.

Oct 11 2018 · 42mins
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Vinnarpodden - Med Linus Sandgren

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Med Linus Sandgren  - Filmfotograf

Han är världens främste filmfotograf och ställer nästan aldrig upp på intervju. Är man nervös att skrika ”BRYYYYT!” till Ryan Gosling? Hur mycket guld är det i en Oscars-statyett? Vad kan vi svennebananer göra bättre på Instagram?

Jul 04 2018 · 52mins
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Battle of the Sexes / Linus Sandgren, FSF, Episode #82

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

Oct 10 2017 · 33mins
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Linus Sandgren, FSF: The DP who used film to paint with color on "La La Land"

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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!
Feb 18 2017 · 38mins