No Time To Die Is All About enhanced Reality Says 007 Cinematographer

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No Time to Die is preoccupied with asking what James Bond has left to give in the modern age, until late in the film when he delivers what could be described as a mission statement -- in a sudden purpose-filled closeup on Craig's war-weary face and steely blue eyes. Still, there's an intimate scale as well. In the Daniel Craig era, it's epic as well. A James Bond movie isn't just any movie. Just ask Linus Sandgren, the director of photography for No Time to Die.

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COVID-19 infections continue to spread across the Hunter New England Local Health District, where 65 new cases were recorded in Lake Macquarie, Maitland, Newcastle, Cessnock, as well as in Gunnedah, where stay-at-home orders have been extended until October 11. He's also worked with director David O. Films with distinctive looks, all of them. Sandgren, 48, came to the world of 007 with an impressive resume over the past decade. Russell on American Hustle and Joy, and with Lasse Hallström on The Hundred Foot Journey.

Working with director Damien Chazelle, he was the director of photography for Neil Armstrong biopic First Man, and for La La Land -- Sandgren won the Academy Award for best cinematography for that color-saturated film. For instance, when Spectre terrorists launch a devastating attack on London early in No Time to Die, the sky is cast an improbable purple, suggesting that this is a fantasy world adjacent to our own, a demimonde of larger-than-life heroes and villains.

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