FYC: Cinematographer DAN LAUSTSEN talks the lighting and lensing of JOHN WICK: CHAPTER 4 – Exclusive Interview

Cinematographer DAN LAUSTSEN has been an integral part of the JOHN WICK franchise since joining forces with director Chad Stahelski for “John Wick: Chapter 2”. With each of the past three films pushing the limits of excellence on every level, Dan has upped the cinematographic ante with superlative lighting and lensing and with JOHN WICK: CHAPTER 4 dazzles with visual storytelling as only he and Chad can do.

SYNOPSIS: John Wick uncovers a path to defeating The High Table. But before he can earn his freedom, Wick must face off against a new enemy with powerful alliances across the globe and forces that turn old friends into foes.

JOHN WICK: CHAPTER 4 is directed by Chad Stahelski with script by Shay Hatten and Michael Finch based on characters by Derek Kolstad and stars Keanu Reeves, Ian McShane, Lance Reddick, Laurence Fishburne, Donnie Yen, Clancy Brown, Scott Adkins, among others.

In this exclusive interview, Dan discusses at length the considerations and challenges of the cinematography of JOHN WICK: CHAPTER 4, including not limited to:

the beauty and immersive qualities of the lighting and cinematography
painterly cinematic elements
challenges of creating a visually stunning and action-packed film and how playing with light and lens makes the action more breathtaking
working with production designer Kevin Kavanaugh to create a colorful palette and organic lighting that enhance fight scenes and add depth to the film
lighting design of the nightclub with a focus on organic and practical considerations in tandem with the waterfalls
the focus on a realistic atmosphere through lighting and color palette changes in the nightclub fight sequence, utilizing the expansive location space, blue and red and spinning lights; prismatic result
crane and dolly work to capture the action in the water
challenges of shooting in Paris and the need to include many of the city’s landmarks; nighttime shoots
preparation and practical effects used to create the climactic Paris chase scene
the apartment fight scene; overhead shots, challenges of shooting in one long take, lighting cues, rehearsals
importance of pre-lighting for fight scenes (two weeks of pre-lighting for the “Top Shot” sequence alone)
lighting techniques in filmmaking; highlighting single-source lighting and contrast in daytime sequences
the importance of highlighting and keeping the face visible, particularly in low-light scenes
collaborating with director Chad Stahelski and the importance of understanding the director’s vision and working together as a team to create a cohesive piece of art
and more!

TAKE A LISTEN. . .

by debbie elias, exclusive interview 10/25/2023