American Cinematographer - December 1999 - 74

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sequence was
turned out well."
In

ways, Apted and
easier time of it when

some

in after the second unit
"By the time we
got to shooting those scenes, they
had usually been cut together, so we
knew exactly what shots we had to
do, which made things easier," Biddle
remembers. "In general, the shots
that they left over for us to do were all
of the ones featuring Pierce, so it was
an
absolutely precise job."
Of course, shooting what
came

had shot the stunts.

its

series of actors' inserts

difficulties, particu¬
larly in terms of making those closeups feel integrated into the overall
action. For Biddle, the key to these
creates

own

dilemmas is

35 MM

positioned things will
with it. The boat
difficult, but I think it

us get away

amounts to a

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but hopefully, the action

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Biddle had

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"You have

repeat what the second unit has
done," Biddle explains. "That is, you

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you then wouldn't have the big stunts.

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I think the best way to

approach these
exactly the same
way as you would do a standard wide
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become more exciting, so when you
cut to the insert shot, it just looks as if
it's part of the sequence, and you
might find that you can use a bit
inserts is to do them

There are both 1000 ft. and 400 ft. displacement type maga¬
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WHY NOT SEE THE WHOLE PICTURE?
The

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of it in the scene."

Despite the epic scale of The
Is Not Enough, certain
sequences are quite intimate, and
required Biddle to rely on finesse
World

rather than broad strokes. In

such

sequence, Bond
Christmas fones make

inside 007's inflatable
Film

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Director's

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American Cinematographer - December 1999

Table of Contents for the Digital Edition of American Cinematographer - December 1999