Frankenstein on one lens: why Laustsen stayed on the 24mm
For Frankenstein, cinematographer Dan Laustsen and Guillermo del Toro committed to Alexa 65 almost end to end, and shot roughly 90-95% of the movie on a Leitz Thalia 24mm. The wide angle covers big moves into close-ups without the distortion that would punish a closer focal length on large format.
Laustsen has described lighting from outside the sets so the camera can stay mobile and blacks stay truly black: a painterly, single-source instinct carried through a gothic-romantic story. Storyboards, in del Toro's framing, break down elements; they do not freeze the animal.
One lens is not a gimmick when the format and the move are designed around it. It is a decision that forces consistency.
Go deeper on Kingdom of Dreams
- → EP 275: Dan Laustsen on s
- → EP 277: Juan Sarmiento on The Voice of Hind Rajab
- → EP 285: Alicia Robbins on Bridgerton
Browse more cinematography conversations in the Kingdom of Dreams archive.
Headline inspired by reporting at Filmmaker Magazine (Matt Mulcahey's interview with Dan Laustsen) and related Dolby / ASC conversations. Full pieces remain on their sites; this page is our craft lens and episode guide. Read the source at Filmmaker Magazine ↗