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The production of the upcoming movie Saltburn by Emerald Fennell has officially begun, the Oscar-winning director revealed in a new Tweet. The image shared by Fennell shows the movie’s clapboard which features her name as director and confirms Academy Award-winner DP Linus Sandgren is taking a seat behind the camera.
Saltburn is described as a “story of obsession” which revolves around an aristocratic English family. The movie casts Euphoria fame Jacob Elordi along with The Batman star Barry Keoghan and Oscar nominee Rosamund Pike. However, further details of the movie are currently being kept tightly under wraps.
The Promising Young Woman director is teaming up with Swedish cinematographer Sandgren who is well-known for his beautifully crafted camera work, unconventional formats, and for a visual style that ultimately benefits the films. He has an illustrious career collaborating with various directors like Damien Chazelle on La La Land and First Man, David O. Russell’s American Hustle and Joy, and Gus Van Sant’s Promised Land among many others.
Most recently he filmed Cary Joji Fukunaga’s flick No Time To Die marking Daniel Craig’s last outing as James Bond and Adam McKay’s Oscar-nominated Don’t Look Up featuring a stellar star cast including Leonardo Di Caprio, Jennifer Lawrence, Timothee Chalamet, and Meryl Steep among others. Given the diversity of the projects that Sandgren takes up, he shared his simple visual rule in a prior interview with Musicbed, he said, “Whatever the choice, there must be a reason. Why is it a dolly shot? Why is it not a crane? There needs to be a reason for every last detail of the shot.”
Sandgren picked up an Oscar and BAFTA award for Chazelle’s La La Land, which he shot in the classic Cinemascope ratio of 2.55:1. For his next with Chazelle, the cinematographer perfectly recreated the Moon landing in First Man by blending 16mm handheld footage seamlessly with IMAX. However, he admitted to Forbes that his most challenging project came along with No Time To Die with globetrotting locations and explosive action sequences. He said:
“You want to be artistic and think about everything from an artistic point-of-view but also out of the narrative and the storyline, it has to be relevant to the story and what’s going on. So, our intention for the scenes were always based on, “What’s the intention of the scene and how can we enhance and tell the story visually in the same way?” Sometimes, it would be through the camera, how the camera moves, or if it should be more of a handheld immersive way or sweeping, big dolly moves or helicopter moves.”
Given, the magic Sandgren creates onscreen one can only imagine the visual treat Saltburn will be. Currently, there are no further details available about the project. Check out Fennell’s tweet down below.
