“We’re all used to stunt movies. But to really keep your main character and his emotions as the center of the story, that’s what keeps the audience connected. If it’s just action, you tune ou…
and cinematographer Phedon Papamichael have refined a “classic, old school” approach to filmmaking, focusing most of all on performance, while also crafting extremely precise, cinematic compositions., the pair sought to immerse viewers in the experience of race car driver Ken Miles, played by Christian Bale, as he traveled in a “little bucket of bolts” at breakneck speeds.
In early testing, we realized the most effective way is just mounting these cameras, keeping the main character, Ken Miles, at the center of all the action. Also with the lenses we used, we had these expanded anamorphics, which were a prototype. We went into production with lenses that had never been used, and they gave you the ability to have these large-format [shots].
In other scenarios, we were pursuing them in a Porsche, but not with an arm on it, because the arm, going around those turns at those speeds, basically the g-force would make the arm very hard to control and get these things. One device we did use is an elevator rig; it’s basically a column that’s hard mounted to the front or back of the car, and allows the camera to travel up and down, so you can put the lens inches off the ground, and then it can shoot up to eight feet.
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