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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