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Mar 4, 2020 · It’s a glorious sequence, enhanced by McQuarrie’s discovery of the ‘pursuit arm’, a camera car that allows enormous flexibility while driving at frankly irresponsible speeds.
In today’s installment, McQuarrie talks about his writing process, procrastination, his favorite shot in the film, how the dream sequence came about, creating action scenes without score,...
Jul 15, 2023 · Christopher McQuarrie Breaks Down the Making of 'Mission: Impossible – Dead Reckoning Part One’ and Why AI is the Villain in Exclusive Q&A. By Tamera Jones. Published Jul 15, 2023. Link copied ...
- Authority Editor
May 23, 2023 · In the end, McQuarrie and co. shot a majority of the sequence in the United Kingdom, where they managed to send a 70-ton train crashing into an English quarry.
- The opening sequence in the Bering Sea is unfolding on February 29th, per the onscreen text. That was a touch by co-writer Erik Jendresen. “Erik is a nautical genius, a lover of the sea, lives on a boat.”
- Most of the men on the submarine are far from professional actors, and “many of them were cast solely on their faces.” Not only do they look the part of a submarine crew, but McQuarrie wanted viewers to quickly identify with and care about these nameless folks.
- McQuarrie’s preference when editing is to do so in silence with none of the film’s audio playing. Hamilton took to the conceit quickly which explains (in part, at least) why this film marks their fourth collaboration.
- They tracked the levels of sweat among the crew during the opening submarine sequence “in true Tony Scott fashion” with McQuarrie referring to them as Sweat-Con 1, Sweat-Con 2, etc.
Jul 6, 2023 · His approach is to establish emotional connections early, and then maintain them by ‘turning up the pressure on the characters throughout the story.’. Letting The Story Drive The Visuals. While discussing his approach to filmmaking, Chris states that he’s ‘not in pursuit of a style.’.
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Jul 30, 2015 · I took the underwater sequence and the motorcycle chase and put them back to back, creating one monster action sequence in the middle of the movie. When I did that, it created a great relentless setpiece, but I blew up the movie—suddenly, characters’ motives that made sense in the previous draft didn’t work anymore.
