American Cinematographer - June 2001 - 86

Memory and Loss
Right: The crew
prepares to
shoot the car
accident on a

bridge east of
Toronto, which
doubled for the
film's Chicago

setting.

in the

moving minivan, in a distinct
style that viewers would recall when
it

was

alluded to later in the film.

Sobocinski noted, "It's

a

strange shot

frame

see

lake, and we turn
his face, and he's lost,

a

but behind him is the
refers

the skyline
pull backs inside the car to

movie, which starts

wife, then

show his

red
lamp and a pole [outside the
window]. It's a very characteristic
place. We turn and see the skyline,
then we just hear the accident."
The

a

piece of shoreline,

a

achieved the shot via

crew

motion-control-style movement
executed with a Technocrane peek¬
ing into the back of the minivan,

and then

rear

seats

and doors

on

point of view [after the acci¬
dent]." Sobocinski explained that the

effect would make it
filmmakers

are

seem as

providing the trou¬

help him remember.
The

mise-en-scene

of the

crash sequence is actually based on a
real-life experience that Sobocinski
endured. "I had

a car

accident

removed. By using that method, the
crew could accurately repeat the shot

and almost the entire accident

in different environments and still

after it

allow the audience - if not Catch -
to

understand the reference

to

the

earlier incident.
"Later in the movie, Catch is in

his apartment trying to put together
what's happened to him, and he's

really lost," the cinematographer said.
"We then

use

movement,

and

next

that

we see

10 sequences

movement

same

camera

him in the

with the same
again. He'll be in the

if the

bled character with visual motifs to

a

which had its

skyline. That

the second shot in the

to

first you see a leg, and the camera
moves toward it, then we see Catch's

-

84 June 2001

against

around and

once,

[in the
film] is designed from what I saw

happened," he noted. "The
pan and fade is how I could hear
people talking to me, but I lost
consciousness then woke up, and it
was suddenly night. In the film, we
start at magic hour then go to black,
and

then

come

back

and hear

[Sharon] talking to the camera
Catch

-

at

-

Sobocinski cheated death
the occasion of his
and his

to

night."
own car

on

accident,

feelings from that horrific

event

carried

crash

scene.

over

into the fictional

"Piotr almost

passed

away [then], but he told me his expe¬
rience of near-death was very bliss¬

ful," Mandoki recalls. "As his four
friends
looked

dying in the car - he
only survivor - everything
overexposed, like white, and

he

in

was

the

was

were

a

state

where

none

of the

human

pain, neither physical nor
was present. There was
no fear or anguish. We used that
experience in the movie."

emotional,

Toward the end of the film,
with Catch's memory returning, the
filmmakers show the crash again, but
this time with

more

visual informa¬

tion than the audience

originally
given. The crew used a variablespeed, multi-remote turntable to
provide an overall sense of what was
happening inside the minivan
during the moments leading up to
the accident. Sobocinski explained,
"We put Jim Caviezel in the center of
this special 'Chinese table.' Both he
and the camera were doing a 360,
which creates this feeling that he's
inside the car and sees everything.
We see the whole family - his child
was



American Cinematographer - June 2001

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