American Cinematographer - June 2006 - 48

Secret

Above: One of
the show's

special Smart
rigs motors
through Paris.

car

Five Smart

cars

modified

were

for the shoot

by

father-son stunt

coordinators

Remy and
Dominique
Julienne. Below:
Director Ron

Howard checks
out a

body rig

attached to actor

Jean-Yves

Berteloot, who

plays the
manservant

Remy.

History

camera pushes
in toward him. A lot of times you do

the Louvre

that

French

pulls the trigger, the
on a

dance floor, but

we

did it

with these slider

streets

was

shooting

on

the

of Paris and the attendant

bureaucracy. Paris has no
centralized film office, so permits

plates.
noting that we
averaged 30 setups a day while work¬
ing a continuous day, meaning we
worked a 10-hour day with no break

the first district and goes one block
into the second district, there's a

for lunch," adds Totino. "Food

whole different

"It's worth

was

more

to

be

district. "If a

we

Totino,

no

Neveu's

challenging than

wanted

provided and everybody ate, but
day and

worked 10 hours per
more."
Even

had

Louvre

obtained

from

each

driving shot happens in

set

of rules," says

referring to Langdon and
nighttime escape from the
in Neveu's car. "Also, they
lighting diagrams of the

street scenes

three months before

filming! That

was

difficult, because
light
something the director hadn't
rehearsed yet, and there was a chance
he might block it in a very different
way than was discussed in the
preliminary scout." Totino managed
this by overcompensating. "I'd imag¬
ine every scenario and put all those
details in the plan for the permit," he
we

had

to

determine how we'd

recalls. Then he would subtract

equipment as blocking took shape.
Parisian-style preplanning "is some¬
thing we're not used to," he adds. "In
America, if you
and

want to

have a street closure
light on each end
you just do it on the

put a

of the street,

day."
The

districts'

restrictions

influenced how Totino lit the interior
of Neveu's

car.

"We wanted

to

be

the bottom end of the meter, and
a

lot of

what

streets we were

at
on

restricted in

lights we could rig," says Evans.
some we could
get a cherrypicker and a bit of ambience work¬
ing, but others wouldn't let us use
any equipment. In those cases, we
"On

44 June 2006



American Cinematographer - June 2006

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