Sven Nykvist

[laughs]

Uh, s- uh, you know, like, uh, Sven Nykvist, um, you know, a longtime, uh, Bergman, uh, collaborator here, killing it.

Um, love the, um, sequences that are like really familiar and kinda in his pocket where he's, you know, playing with this chiaroscuro thing where the blacks are crazy black and the highlights are, are, um, you know, it, it's just he has a way of thinking through black and white, um, and lighting that's just like fucking incredible.

You know, even like when Max von Sydow's like walking through a hallway, you know, he'll pass through like a couple different shades of like light and i- you know, there's a, like a, a real, um, just interest in the, the, the perfection here.

Mm-hmm

...

but yeah, just to say like, you know, it's the Sven Nykvist like Ingmar Bergman formula, but also it gets a little like, a little nutty.

A little nutty in ways that like I don't know that I can point to other Bergman films and say, "Ah, you know." Th- there's a moment when they're in the castle and obviously Max von Sydow's character is like distressed.

In exile and everything.

Interestingly, I didn't know the cinematography is by Sven Nykvist, his, um-

Yeah

...

He worked with a guy called Gordon Willist, who shot The Godfather.

He shot with Sven Nykvist, who, you know, one of the great cinematographers.

But in recent years, Judd Apatow, he's been hiring Janusz Kaminski, who's Spielberg's DOP.

So all of a sudden, there is an expectation for comedies to look good.

The idea that soft lighting means it's flat is watch the work of Subrata Mitra.

Watch the work of Sven Nykvist.

It's just not true.

You have this kind of groping in the dark for for solutions to a problem that is far more diffuse.