- It's a big honour you know to be offered to do a Bond film
but it was really the talk I had with Kerry.
I was so happy for his approach to it.
He also had the view of what Bond should
be and what he wanted to do with it that
really responded to me.
In Matera it's quite beautiful all the time
but especially if it's sunny.
Bringing in the romantic action that is
rich and colorful
and harsh bright daylight and sun
which creates a very contrasty look in the in the city.
Or maybe perhaps very much heightened
but still connected to reality.
That town that we found in Italy had not only both the romantic picturesque
qualities that fit very well for the
beginning of that sequence but it also
were made in stone so that it would be a
very hard location to sort of have
action sequences within.
And therefore that location I thought was really a
beautiful spot because it could give us
first the romantic Italy and then we
could throw the audience straight into a very brutal and hard action.
Bond movies for us felt like anamorphic 35
is like what the franchise lives in.
It's like the wide scope of the screen and
that you get lush colors shooting on film.
That was sort of a no-brainer for us in
the discussions and we already connected
on that early on.
"- You're late."
- Kerry also said that he wished that we
could expand that even further.
Part of that was also to shoot on anamorphic 35
but also IMAX 15 per film cameras for certain sequences.
That's why we decided to shoot sequences in the film in IMAX.
They're framed in 2.40:1. It's anamorphic 35.
And then it's IMAX. It's sharper and more detailed obviously in 2.40:1.
But if you're in an IMAX theater you feel like even more (inaudible).
We put IMAX cameras on motorcycles.
You would think like right away that an IMAX
camera that weighs like 80 pounds could
not be on a dirt bike but actually can.
And so the reason for IMAX in this film
has to do with opening up the peripheral
viewing for the audience and to be even
more engulfed in the scenes, you know.
That was really the intention to maximize the experience for the audience really.
We had quite a bit to do in Matera with the stun planning.
We obviously have to lock down that whole town in order to perform these stunts.
So that was all planned out ahead of time and rehearsed.
I'm not sure if we had like a six seven
cameras on that scene and also a drone to shoot it.
That was part also of the whole filming where Kerry really loved
to capture everything in-camera as much
as possible and that's obviously a lot
of the theme on the Bond movie is to
actually do the stunts for real and do
what you see actually happens in front of the camera.
It's a huge effort from production
to putting that in front of the camera
in the budget that we got to build all
these beautiful sets, you know.
It was amazing, you know, to
be part of doing such grand stunts where
you have the resources to actually do
them on those kind of locations.
It was obviously a great honor I think
to shoot one of the Bond films.
It's a challenge obviously and that's what is fun I think.
It's fun to take on challenges.
Things they haven't done before and it was with a great joy I got
into it rather than fear.
Things that may seema little harder
than normal is sort of great to do I think to challenge yourself.