Wuthering Heights DP Linus Sandgren Strengthens VistaVision’s Revival Amid IMAX Innovations
Cinematographer Linus Sandgren, known for his work on Wuthering Heights, emphasizes the importance of storytelling in determining film format. His collaboration with director Emerald Fennell marks a significant shift in how classic narratives are visually represented, particularly in the context of modern filmmaking techniques.
A Shift in Cinematic Vision
Sandgren, a Swedish director of photography, has a penchant for shooting in IMAX. However, Fennell’s vision for her adaptation of Emily Brontë’s classic novel diverges from the grandiose style typically associated with IMAX. The film, featuring Margot Robbie as Cathy Earnshaw and Jacob Elordi as Heathcliff, aims for a tactile, impressionistic quality. This artistic direction led to the decision to primarily utilize standard 35 mm film, contrasting with the expansive visual style of Dune: Part Three, directed by Denis Villeneuve.
The Choice of VistaVision
For capturing the sweeping landscapes of the Yorkshire Moors and the opulent interiors of Edgar Linton’s manor, the filmmakers sought a format that would deliver high resolution without sacrificing the grain that characterizes film. Standard 65 mm and IMAX formats failed to meet these dual requirements. Consequently, Sandgren and Fennell opted for VistaVision, a large 35 mm film format that offers high resolution while maintaining a level of grain consistent with the film’s overall aesthetic.
Sandgren noted that different formats evoke varying emotional responses. He stated that testing 65 mm revealed a lack of grain, prompting the team to revert to 35 mm for its textural qualities. He explained that the technical rationale for choosing VistaVision was to enhance the detail in landscape shots, ensuring that small elements were visible and impactful.
The Resurgence of VistaVision
VistaVision, which enjoyed popularity in the 1950s, saw a decline until its revival in recent projects, including Brady Corbet’s The Brutalist. Since then, it has been employed in notable films such as Paul Thomas Anderson’s One Battle After Another and Yorgos Lanthimos’ Bugonia. Upcoming projects from directors like Alejandro González Iñárritu, M. Night Shyamalan, and Greta Gerwig also plan to utilize this format. In an era where traditional moviegoing faces challenges, VistaVision, alongside IMAX, presents a compelling alternative to the predominance of digital formats.
Sandgren highlighted that the clarity offered by VistaVision appeals to filmmakers accustomed to the sharpness of digital imagery. He remarked that directors who favor digital’s crispness can achieve similar results with film formats like VistaVision.
Balancing Formats in Future Projects
In his work on Dune: Part Three, Sandgren strategically employed IMAX cameras to capture the expansive scope envisioned by Villeneuve. He previously utilized IMAX for select sequences in First Man and No Time to Die. While IMAX provides a larger and clearer image, it often lacks the texture inherent in VistaVision.
Sandgren has contributed feedback to IMAX in their efforts to refine camera technology. However, he has yet to use the updated camera system developed by Christopher Nolan and Hoyte van Hoytema for their upcoming film, The Odyssey. Historically, IMAX cameras have been criticized for their weight and noise, which complicates their use during dialogue scenes. Recent innovations, including sound blimps, aim to mitigate these issues, allowing for quieter operation.
Sandgren expressed enthusiasm about the potential of shooting an entire film with IMAX cameras, but he maintains that the script should dictate format choices.
The Philosophy Behind Format Selection
Sandgren articulated a philosophy that prioritizes narrative over marketing considerations when selecting film formats. He emphasized that the story should dictate the format rather than the other way around, viewing the chosen format as a tool to enhance the storytelling experience.
He recounted experiences where he had to advocate for shooting on film rather than digital, noting the challenges posed by budget constraints. He believes that with creative problem-solving, it is possible to navigate the financial implications of shooting on film.
Conclusion
Sandgren’s commitment to celluloid is evident in his body of work prior to Wuthering Heights. While he remains open to digital formats when necessary, he advocates for filmmakers to have access to a diverse array of tools. His insights reflect a broader conversation about the future of film and the importance of preserving traditional techniques in an increasingly digital landscape.
As reported by www.hollywoodreporter.com.
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Published on 2026-05-09 01:21:00 • By FAME Delivered News Desk