DAN LAUSTSEN

The Principle

Dan Laustsen, born in Denmark and a member of both the Danish (DFF) and American (ASC) societies of cinematographers, is a master of controlled darkness — a DP who builds images the way a cathedral builder constructs vaults: with massive, deliberate structure designed to contain and direct light through specific openings. His career-defining partnership with Guillermo del Toro has produced some of the most visually sumptuous genre films of the 21st century, including The Shape of Water (2017), which won del Toro the Best Director Oscar and earned Laustsen a Best Cinematography nomination.

Laustsen's philosophy is rooted in European painting and the Danish tradition of working with darkness as a positive element. He does not fight shadow; he sculpts with it. His frames are frequently composed so that 60-70% of the image is in deep shadow or richly saturated color, with light entering through motivated sources — candles, practicals, windows, neon tubes — that create islands of visibility within pools of darkness. This approach gives his images a three-dimensional depth that feels almost stereoscopic, as layers of light and dark stack through the frame.

His range is broader than the del Toro films alone suggest. The John Wick franchise (Chapters 2 and

1. 1.demanded a completely different register — kinetic, neon-drenched, shot for clarity of action

within maximalist color — while Brotherhood of the Wolf combined period horror with martial arts choreography. What unites these projects is Laustsen's commitment to the idea that EVERY frame must be compositionally complete, that light must always serve narrative and emotional purpose, and that beauty and dread are not opposites but companions.

Light

Candlelight and Period Darkness

Crimson Peak (2015, del Toro): Laustsen built the film's visual identity around the idea of a house that BREATHES — Allerdale Hall, the crumbling gothic mansion, required light that felt organic and alive. He used hundreds of practical candles supplemented by hidden tungsten sources to create the amber-gold warmth of the inhabited spaces, while the corridors and basement were lit with cold, desaturated daylight filtering through holes in the roof and walls. The famous red clay that seeps through the floors was lit from below with warm practicals, making the house itself appear to bleed. Edith's (Mia Wasikowska) white nightgown becomes a reflective surface that catches and carries candlelight through dark hallways, making her a moving source of illumination. Laustsen rated his film stock to hold detail in the deep shadows while allowing the candles to bloom slightly, creating halos of warmth surrounded by velvety black.

Underwater Color and Aquatic Light

The Shape of Water (2017, del Toro): The film's color world is built on the opposition between teal-green (water, the creature, desire, freedom) and amber-gold (the world above, Elisa's apartment, warmth, domesticity). Laustsen lit the government laboratory with cold overhead fluorescents that cast a sickly institutional green across every surface, but within that sterile environment, the water in the creature's tank was lit with a deeper, richer teal that suggests something alive and mysterious beneath the bureaucratic surface. Elisa's apartment above the cinema is bathed in warm amber from practicals and the glow of the movie screen below, establishing her emotional world before a word is spoken. The climactic flooding sequence required Laustsen to create the illusion of an entire room submerged — he used overhead softboxes through blue-green gels, combined with interactive water reflections projected onto walls and ceilings, to transform the apartment into an underwater space without requiring the actors to actually be submerged for every shot.

Neon as Combat Choreography

John Wick: Chapter 2 (2017, Stahelski): The Continental Hotel sequences and the Rome catacombs demanded a completely different Laustsen — one working with saturated neon color as a tool for spatial orientation within complex action choreography. The hall-of-mirrors sequence in the Wick films uses red, blue, and white neon to create a labyrinth where reflections multiply and the audience must parse real from reflected, foreground from background. Laustsen placed LED and neon sources WITHIN the set architecture rather than lighting from outside, so that as Wick moves through space, the color shifts on his body, mapping his physical journey through colored zones. The practical neon also serves a functional purpose: it provides enough ambient light to shoot the fight choreography at wide apertures with deep enough focus to see the action clearly, while the color contrast ensures figures remain legible against backgrounds.

Color

Gothic saturation within darkness. Laustsen's color philosophy is defined by rich, deeply saturated hues that emerge from dark surroundings — not bright colors in bright light, but intense colors in low light. This creates what he calls a "jewel box" effect: small areas of vivid color (the red of Crimson Peak's clay, the teal of Shape of Water's tank, the gold of candlelight) set against large areas of near-black. His palette is never pastel or washed-out; even his desaturated work in Nightmare Alley retains deep, inky blacks and muted jewel tones. The color grading typically pushes shadows toward cool blue or teal while keeping warm sources true to their amber-gold temperature, creating a consistent thermal separation between "safe" warm spaces and "threatening" cool ones. In the John Wick films, the palette explodes into fully saturated neon — magenta, cyan, amber — but the same principle applies: color is used structurally, to define zones and emotional states, never decoratively.

Composition / Camera

Symmetry and depth. Laustsen shares del Toro's love of symmetrical, architecturally composed frames that use practical depth — hallways receding into darkness, doorframes within doorframes, staircases spiraling downward. His compositions frequently employ a layered depth structure: a foreground element in shadow, a mid-ground subject lit by the primary source, and a background that falls away into either deep darkness or a contrasting color temperature. In The Shape of Water, overhead shots looking down into the laboratory tank use the circular geometry of the tank itself as a compositional frame-within-frame. Camera movement in the del Toro films tends toward slow, deliberate dollies and cranes that reveal space gradually — the camera ENTERS rooms rather than cutting into them — while the John Wick films demand faster tracking, Steadicam, and handheld work that maintains spatial clarity through the colored-light zoning rather than through classical composition.

Specifications

1. 1.Build light from darkness. Begin with a near-black frame and add light only through

motivated sources — candles, practicals, windows, neon. At least half the frame should remain in deep shadow. Darkness is not absence; it is the primary material.

1. 1.Separate warm and cool into narrative zones. Amber-gold for safety, intimacy, and

domesticity. Teal-blue-green for mystery, threat, and the supernatural. The color temperature of a space tells the audience where they are emotionally before the scene begins.

1. 1.Use neon and saturated color as spatial architecture. In action sequences, colored light

defines zones of space. As figures move through colored areas, the shifting hue on their bodies maps their physical trajectory for the audience.

1. 1.Compose in layers of depth. Every frame should have at least three depth planes —

foreground shadow, mid-ground subject, background recession. Use doorframes, hallways, and architectural elements to create frames-within-frames.

1. 1.Let practicals bloom. Candles, lamps, and neon tubes should be visible in frame and allowed

to glow slightly beyond their natural boundaries. The visible source of light anchors the image in physical reality even when the overall design is highly stylized.