The Cinematography of NTTD - Linus Sandgren

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  • Posts: 6,665
    jake24 wrote: »
    The "color corrected" version kills the mood of the scene. But I understand why Bond fans don't like it when the films deviate from the traditional natural colors of the past films. Bond films altering the color scheme to reflect the mood is not something typically done.
    +1

    +2

    It might not be entirely to my taste, but I can appreciate the artistic license involved in creating it and the creative intent behind it enough to also not be a fan of the "colour corrected" version.

    +3.

    Are we seriously using this thread to re-litigate Hoyte's work on Spectre ?! Personally, I adore the visuals. They were very evocative of the whiskey-hued work of Gordon Willis on The Godfather. I went weak at the knees watching the scene in Spectre where Lucia goes home or Madeleine stands in the L'Americain hotel. Stunning work.

    Don’t you mean the oh so clever “piss color filter”? ;) Funnily, I remember fans made that same juvenile remark about the color grading of CR. In the trailers you could see how the colors looked naturally before the colors were tweaked for the final cut.

    Why is it a juvenile remark? pray tell. It is an artistic choice, and therefore open to debate and to be criticised by the one who don't find it used to a proper effect. Mind you, if they'd use it for some scenes that required said mood, I'd be all for it. But in Austria, did you like the snow's hue? Did they make proper used of the colour grading to diferentiate it from the desert scenes? Or does the whole film look as yellowish as Kleinman's titles?

    Not gonna drag this, but I resent that "juvenile remark" juvenile remark. After all, much more ridiculous matter are discussed here on a daily basis. Furthermore, I find that many, many viewers and fans agree on the subject.

    But hey, moving on. I still want this film to be as colourful and "alive" as, say, TB or GF.
  • MinionMinion Don't Hassle the Bond
    edited September 2019 Posts: 1,165
    Univex wrote: »
    jake24 wrote: »
    The "color corrected" version kills the mood of the scene. But I understand why Bond fans don't like it when the films deviate from the traditional natural colors of the past films. Bond films altering the color scheme to reflect the mood is not something typically done.
    +1

    +2

    It might not be entirely to my taste, but I can appreciate the artistic license involved in creating it and the creative intent behind it enough to also not be a fan of the "colour corrected" version.

    +3.

    Are we seriously using this thread to re-litigate Hoyte's work on Spectre ?! Personally, I adore the visuals. They were very evocative of the whiskey-hued work of Gordon Willis on The Godfather. I went weak at the knees watching the scene in Spectre where Lucia goes home or Madeleine stands in the L'Americain hotel. Stunning work.

    Don’t you mean the oh so clever “piss color filter”? ;) Funnily, I remember fans made that same juvenile remark about the color grading of CR. In the trailers you could see how the colors looked naturally before the colors were tweaked for the final cut.

    Why is it a juvenile remark? pray tell. It is an artistic choice, and therefore open to debate and to be criticised by the one who don't find it used to a proper effect. Mind you, if they'd use it for some scenes that required said mood, I'd be all for it. But in Austria, did you like the snow's hue? Did they make proper used of the colour grading to diferentiate it from the desert scenes? Or does the whole film look as yellowish as Kleinman's titles?

    Not gonna drag this, but I resent that "juvenile remark" juvenile remark. After all, much more ridiculous matter are discussed here on a daily basis. Furthermore, I find that many, many viewers and fans agree on the subject.

    But hey, moving on. I still want this film to be as colourful and "alive" as, say, TB or GF.
    Specifically, calling it a piss filter is juvenile.
  • Posts: 6,665
    Minion wrote: »
    Univex wrote: »
    jake24 wrote: »
    The "color corrected" version kills the mood of the scene. But I understand why Bond fans don't like it when the films deviate from the traditional natural colors of the past films. Bond films altering the color scheme to reflect the mood is not something typically done.
    +1

    +2

    It might not be entirely to my taste, but I can appreciate the artistic license involved in creating it and the creative intent behind it enough to also not be a fan of the "colour corrected" version.

    +3.

    Are we seriously using this thread to re-litigate Hoyte's work on Spectre ?! Personally, I adore the visuals. They were very evocative of the whiskey-hued work of Gordon Willis on The Godfather. I went weak at the knees watching the scene in Spectre where Lucia goes home or Madeleine stands in the L'Americain hotel. Stunning work.

    Don’t you mean the oh so clever “piss color filter”? ;) Funnily, I remember fans made that same juvenile remark about the color grading of CR. In the trailers you could see how the colors looked naturally before the colors were tweaked for the final cut.

    Why is it a juvenile remark? pray tell. It is an artistic choice, and therefore open to debate and to be criticised by the one who don't find it used to a proper effect. Mind you, if they'd use it for some scenes that required said mood, I'd be all for it. But in Austria, did you like the snow's hue? Did they make proper used of the colour grading to diferentiate it from the desert scenes? Or does the whole film look as yellowish as Kleinman's titles?

    Not gonna drag this, but I resent that "juvenile remark" juvenile remark. After all, much more ridiculous matter are discussed here on a daily basis. Furthermore, I find that many, many viewers and fans agree on the subject.

    But hey, moving on. I still want this film to be as colourful and "alive" as, say, TB or GF.
    Specifically, calling it a piss filter is juvenile.

    Oh, I see. Yeah, it is. But it seems everyone wants to kill symbolism nowadays. Don’t be so literal. Semiology is an easy victim these days. Still, yeah, a bit juvenile.
  • So……finally……at long last we have our first glimpse of Linus Sandgren’s work on NTDD. (Well over a year since they announce involvement!)

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    It’s stunning.

    Interestingly, Sandgren hasn’t opted for the grainy filmic look that he displayed in movies like American Hustle, Joy or First Man.

    The film is most reminiscent to that more colourful, lush La La Land. Which is very very interesting. It seems to be that Fukunaga wanted to move away from the more ‘gritty’ look of his own True Detective and make something more opulent.

    If you are looking for a comparator in the Bond series – this looks not dissimilar to CR…………

    Shots such as the money shot of Crag in a tuxedo have a look of an expensive perfume ad. Which is no insult. The cinematography in those adverts is stunning. There is something classically Bondian – but modern and sexy.
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,459
    Stunning indeed, this glimpse we have been given. I am still betting on Linus and Cary to give us a very fine Bond film. I think this one will have colors and mood and colors and framing and tracking shot(s) and color and a feeling of vibrancy throbbing through it that had been lacking in Spectre. All the film shots I have seen so far are beautiful. I'm very psyched!
  • Posts: 17,241
    So far, so good. These few glimpses looks much more interesting than the visuals of SP. Those left me cold from the PTS all the way to the end credits.
  • Posts: 725
    Spectre has great cinematography from an 'objective' standpoint. But did it really fit a roaring James Bond checklist adventure Spectre aspired to be? It seemed more fitting for a cerebral film like Tinker Tailor Soldier Spy, which, incidentally, the same man lensed.
  • edited December 2019 Posts: 1,215
    The look of this film is absolutely lush. I love the glossy, vibrant glow Sandgren and Fukunaga have established here. The opening shot of Bond and the one of Nomi in the Aston look almost dreamlike. Definitely feels more akin to the rich visual opulence we saw in CR, versus the crystalline slickness that was Skyfall, and the muted moodiness of Spectre.

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  • Maybe it says something about my own personal taste, but I have distinct fondness for a more muted palette. In fact, I thought SP was gorgeous.

    I actually think that a recent spy film that had a terrific look was Fallout. I loved that chilly, moody look. I associate greys, blacks and blues with proper espionage films. Bond is more about ‘glamour’ and ‘opulence’ – but I think it can still play with those shades of darkness.

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    In fact, the DP for that film, Rob Hardy also show Black Widow. Marvel films have such homogenous cinematography. But this one feels more distinct if the recent trailer is anything to go by…..I’m digging its vibe


  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,000
    Spectre has great cinematography from an 'objective' standpoint. But did it really fit a roaring James Bond checklist adventure Spectre aspired to be? It seemed more fitting for a cerebral film like Tinker Tailor Soldier Spy, which, incidentally, the same man lensed.

    I think the photography actually worked for SP specifically, but wouldn't have been fitting for other films. I don't think Bond should have a uniform style of photography for every film. If anything, it makes it more exciting to see a new director of photography come on board to give a different feel that compliments the story. It's exciting to see the new footage of NTTD because it looks different from SP, whereas it may not have felt fresh if SP had the same style before. The newness is what makes it fresh.
  • edited December 2019 Posts: 163
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    This has a very classic, almost vintage look to me. It immediately made me think of Breakfast at Tiffany's in some way. And also the old Bond films, of course. I also love that blue "Bond Carousel" (I wonder what that's about) shot. My only concern is that there seems to be a slight lack of cohesion between a few shots in this teaser, but I'm sure it will be corrected in the final cut. Although some of it doesn't have to do with cinematography entirely, it's also about image composition.

    Another frame that pleases me is this one. In part because I kinda knew how it was going to look when they announced Matera as a location. That church reminds me of The Godfather 2, when they show the town of Corleone and cinematography wise is a little like the Sienna scene in QoS, with enhanced color separation and a little of the Skyfall Grand Bazaar vibe as well, considering the bike.

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    The trailer is going to tell us more tomorrow, but my guess from what we have so far is that they went for a lot of things inspired from the Craig era, this one being his last and then some new and more modern stuff as well.

    The last shot @battleshipgreygt posted though, that one gives me mixed feelings. Reminds me of a Madonna album cover.

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  • Some of these images legit remind me of Sandgren's work on La La Land....and I bloody love it

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  • The best looking Craig Bond film I'd say. Can't wait to view it at the IMAX.
  • The best looking Craig Bond film I'd say. Can't wait to view it at the IMAX.
    It's up there! Not sure I like it more than Skyfall but time will tell. I'm going to try and see this movie on the biggest screen I can when it comes out!
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,000
    For as great as SKYFALL looked, I think it's possible for a film to one up Deakins. Sandgren is no slouch.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,009
    For as great as SKYFALL looked, I think it's possible for a film to one up Deakins. Sandgren is no slouch.

    That's for sure. There's a lot of images stuck in mind after that trailer today. Sandgren has managed to make even some of the most colourful images seem incredibly eerie.
  • DenbighDenbigh UK
    Posts: 5,834
    To me the cinematography is a mixture of Casino Royale and Skyfall, but with a modern edge. CR was gritty, and SF was glamorous.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,000
    Denbigh wrote: »
    To me the cinematography is a mixture of Casino Royale and Skyfall, but with a modern edge. CR was gritty, and SF was glamorous.

    Pretty much. Also the return of Craig having noticeable facial wounds, which Mendes backed away from.
  • Posts: 1,680
    Wonder what mendes thinks of the new film
  • Posts: 725
    The best looking Craig Bond film I'd say. Can't wait to view it at the IMAX.

    I think Skyfall is still better. But that's no knock. It's hard to better Deakins. This is the second best looking though. I think all Craig films look good. Even the worst looking of the lot, Quantum, has some glorious shots.
  • I think there's been a change in Craig's run to up the glamour in terms of cinematography. The one thing you can say about all four, now five, is that they are beautifully shot and are wanting to add to the style of Bond.
  • DenbighDenbigh UK
    edited December 2019 Posts: 5,834
    The cinematography in Skyfall was quite revolutionary I think. Films like John Wick, Atomic Blonde, and even MI: Fallout wouldn't have been what they were without Skyfall, in my honest opinion :)
    I do love the cinematography in No Time to Die from what we've seen, but there's something about the neatness and the suaveness of Skyfall that just appeals more and more every time, but No Time to Die comes in close second... so far. We'll see if my thoughts change in April :)
  • edited December 2019 Posts: 725
    At least we are solar systems away from the made for TV look that plagued the Brosnan films. Let us thank the makers for that.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited December 2019 Posts: 8,009
    At least we are solar systems away from the made for TV look that plagued the Brosnan films. Let us thank the makers for that.

    There's nothing "made for TV" about the Brosnan films' cinematography. I'd watch more TV films if that were the case.
  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,000
    TND and TWINE are among the blandest looking IMO.

    DAD at least pops in terms of color, and GE just legitimately great.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited December 2019 Posts: 8,009
    TND and TWINE are among the blandest looking IMO.

    DAD at least pops in terms of color, and GE just legitimately great.

    TWINE is the weakest in terms of colour palette, but even then it has some decent compositions running through it. I actually quite like the clinical look of TND, myself.

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    But I'd agree that the Craig era has by far surpassed not only those films but also most of its peers in the same genre currently.

    NTTD actually has a strong bit of colour pop not dissimilar to DAD, but I imagine (with confidence) that colour is where the similarities end.

  • MakeshiftPythonMakeshiftPython “Baja?!”
    Posts: 8,000
    TND uses too much smoke on the lighting for my tastes. It sort of added to that Americanized feel, as it was pretty trendy to fill the sets with smoke in the 80s and 90s as it was felt it gave “atmosphere”.
  • Posts: 3,160
    Not very fond of the teal look (screengrabs from Pierce2Daniel) that is being used in way too many movies.



  • JamesCraigJamesCraig Ancient Rome
    edited December 2019 Posts: 3,497
    This trailer already looks better than the whole of SP.

    "I see your true colors" --> yes, but are kinda dull brown... :-S
  • Jordo007Jordo007 Merseyside
    Posts: 2,483
    If the trailer is anything to go by we're in for a real treat with this film, in terms of cinematography. The colours are so rich and vibrant.
    My Mrs mentioned it when she saw the trailer, it really does feel more relatable to Casino and Quantum for the colours displayed
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