Julien Alary: Grading Louder Than Bombs

Julian Alary
We sat down with colourist Julian Alary to talk all about Louder Than Bombs, and his work with director Joachim Trier and cinematographer Jakob Ihre.
Louder Than Bombs - Julian Alary - So The Theory Goes
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What was your creative process like working on Louder Than Bombs?

Louder Than Bombs was shot on film. When you get a negative scanned 35mm, I often find that the look is already there, within a very simple process of adding contrast from the flat scan. Of course, if the director/cinematographer says that this scene was supposed to be a lot darker/ moody than when it was shot then you would have to change the scene accordingly, but this didn’t happen very much on LTB.

I come from early telecine old-school grading. I know what an analog image looks like when it comes straight out of the lab and into cinemas. This was what we tried to do on Louder Than Bombs. Simplicity is the essential process: contrast, nice skin tones and nothing fancy. And that is my trademark – a natural look.

We can work on a scene for a whole day to make it right. With Joachim Trier and Jakob Ihre, it’s always to keep the light clean. The walls should be white, the skin should be right and the mood should reflect the given atmosphere in the scene.

How would you describe the look of the film?

The look of the film is hopefully analog. As it would be if it went through a lab process. A print look.

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