You know that feeling when the sun starts to dip behind the Santa Monica mountains and the whole sky turns this bruised, electric violet? That’s the color of cinematography in La La Land. It isn't just a movie about jazz or acting or "making it" in Hollywood. Honestly, it’s a love letter to a specific kind of light that doesn't really exist in the real world, except for maybe twenty minutes a day during a California summer.
Linus Sandgren, the DP who ended up taking home an Oscar for this, didn't just point a camera at Emma Stone and Ryan Gosling. He basically staged a rebellion against the digital age. While everyone else was rushing toward the convenience of 8K digital sensors, Sandgren and director Damien Chazelle went the other way. They shot the whole thing on 35mm film. Specifically, they used Panavision equipment and shot in CinemaScope (2.55:1), which is that super-wide, old-school format that makes everything look like a postcard from 1954.
It’s bold. It’s risky. It’s expensive.
The Single Take Obsession
People always talk about the opening scene on the freeway. You've seen it. "Another Day of Sun." It looks like one continuous, breathless shot where people are jumping on car roofs and doing backflips in the heat. It wasn't actually one single take—there are hidden cuts in there—but the cinematography in La La Land thrives on that "oner" energy.
Sandgren used a Bolt CineBot—a high-speed robotic camera arm—for some of the most complex movements. But a lot of it was just sheer grit. Take the "A Lovely Night" sequence. That’s the one where Mia and Sebastian dance on the hill at Griffith Park. They didn't have green screens. They didn't have CGI skies. They had a "blue hour" window of about 30 minutes.
They shot it over two nights.
If someone messed up a step, or the light faded too fast, the day was wasted. They did about five takes a night. The version you see in the film is take four from the second night. The sweat is real. The fading light is real. That’s why it feels so grounded despite the fact that they’re literally breaking into a choreographed tap routine.
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Why the Colors Look "Wrong" (On Purpose)
In most modern movies, skin tones are kept "natural." Not here. Sandgren and Chazelle used a technique involving colored gels on the lights to drench scenes in primary colors. Think about the scene in the jazz club, or the hallway in Mia’s apartment. It’s saturated. It’s almost aggressive.
They were chasing a look called Technicolor.
Back in the day, Technicolor used a three-strip process that made reds pop like a fire engine and blues look deep enough to swim in. By using modern Kodak film stocks but lighting with those vintage sensibilities, the cinematography in La La Land manages to feel nostalgic and modern at the exact same time. It’s a trick of the eye. You feel like you're watching a classic MGM musical, but the camera is moving with the agility of a GoPro.
The Camera as a Character
Usually, a camera is a silent observer. In this movie? It’s basically a third lead.
During the musical numbers, the camera doesn't just sit back. It zooms. It whips. It moves in time with the percussion of the music. In the scene "Start a Fire," where John Legend is performing, the camera work changes completely. It becomes more frantic, more "pop video," more commercial. It’s a subtle way of showing how Sebastian feels out of place in that musical world. The camera's behavior tells you more about his internal conflict than the dialogue does.
Floating in the Observatory
We have to talk about the Griffith Observatory. When Mia and Sebastian float into the air, the cinematography in La La Land shifts from "heightened reality" to "pure fantasy."
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To get that shot, they used wirework, obviously. But the lighting is what sells it. Sandgren used very soft, diffused sources to make the actors look like they were glowing from within. It’s a technique that echoes the way stars like Judy Garland were lit in the 40s. It’s soft-focus romanticism.
Contrast that with the "Audition" scene at the end. The camera is tight on Emma Stone's face. No flashy movements. No dancing. Just a slow, slow zoom. The lighting dims around her until she’s the only thing left in the universe. It’s a masterclass in using light to create intimacy. You aren't just watching a girl sing; you're inside her dream.
The Technical Magic of the Epilogue
The "What If" sequence at the end is a marathon of cinematography. It’s basically a ten-minute recap of the entire movie if everything had gone perfectly.
The transitions here are insane.
They used theatrical lighting cues—literally turning off lights on a set to transition to the next scene—rather than relying on digital wipes. This gives it a tactile, "stagey" feel that honors the history of the Hollywood musical. It’s incredibly difficult to time. The DP, the gaffers, and the actors have to be in perfect sync.
What You Can Learn From It
If you’re a filmmaker or just a fan, the biggest takeaway from the cinematography in La La Land is the power of the "Long Take." It builds tension. It forces the audience to live in the moment with the characters.
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- Don't fear the film grain. Digital is sharp, but film has a "soul" that fits romantic narratives.
- Use color to define mood. Don't just settle for white light. Use greens for anxiety, purples for romance, and yellows for hope.
- Move with purpose. A camera move should follow a beat or an emotion, not just because you have a cool gimbal.
The film is a reminder that technical perfection isn't the goal. Emotion is. Sometimes a slight wobble in a handheld shot or a lens flare that wasn't planned adds more to the story than a sterile, "perfect" image ever could.
To really understand how this works, go back and watch the "City of Stars" pier scene. Watch the way the purple light hits the water. Notice how the camera stays at a distance, making the moment feel private, almost like we're eavesdropping. That’s the real magic. It isn't just about the gear; it's about the feeling.
Next time you're watching a movie, look at the shadows. Are they "crushed" and black, or do they have a bit of blue in them? In La La Land, the shadows are almost always alive with color. It’s a world where even the darkness has a bit of neon in it.
Your Cinematography Deep Dive
To get the most out of studying this film, try these specific steps:
- Watch the "Audition" scene on mute. Focus entirely on how the light changes on Emma Stone's face. Notice when the background disappears and ask yourself why the DP chose that exact moment.
- Compare it to The Umbrellas of Cherbourg. This was Chazelle’s biggest influence. You’ll see where the bold, monochromatic room colors came from.
- Look for the "Whip Pans." These are those fast camera turns. Count how many times they happen during the jazz sequences. They’re timed to the drums. It’s a great way to see how cinematography and editing work together.
Ultimately, the movie succeeds because it doesn't try to be "realistic." It tries to be "truthful" to how love and ambition feel. Those things are bright, messy, and a little bit blurry around the edges. Exactly like 35mm film.