The American Society of Cinematographers

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Return to Table of Contents December 2008 Return to Table of Contents
Let the Right One In
Page 2
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The cinematographer shot the picture on three Fuji Eterna film stocks, 250D 8563, 250T 8553 and 500T 8573, all of which he considers “versatile, grainless” stocks that deliver a good base for digital-intermediate work. “Most labs here in Scandinavia have stopped using more adventurous chemical processes, and today’s film stocks are created to leave as many options as possible open for digital post. I think that’s a pity, because doing strong work is often about daring to stick with your initial choices.” He admits, however, that the DI allowed him to fine-tune shots in Let the Right One In in ways that weren’t possible on set because of the production’s low budget. “After the negative was developed at Nordisk Film, we did a 2K scan at The Chimney Pot in Stockholm, and during the grade, [colorist] Mats Holmgren saved my ass on several occasions with his extremely sensitive and reliable control over the grading machines.”

Ultimately, shooting Let the Right One In allowed van Hoytema to explore a range of visual possibilities. “Sometimes filmmaking is about being very pragmatic and restraining yourself, and sometimes it’s about being intuitive and letting yourself go. I see part of my task as being sensitive to hunches that are not always obvious or logical.”


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