American Cinematographer - December 2006 - 47

Left: Bond

roughly disarms
an

assailant.

Below: 007

attempts to
elude

a

machete-

wielding thug
during a handto-hand battle
that takes the
combatants
down four

flights

of stairs. The
stairwell set
was

built at

Barandov

Studios in

Prague. To
facilitate his

lighting, Meheux
asked

production
designer Peter
Lamont and the
art

department to

install windows

along one side
the set. "They

of

put in these

Techniscope's characteristics. "With
Techniscope, the increased depth of
field meant they were able to put
things like lampshades and tele¬
phone boxes in the foreground, and
they didn't appear amoebic - you
could actually see detail in them,"
notes Meheux. "In The Ipcress File,
there's a shot where a table lamp is
huge in the frame and a man's face
is in the top right-hand corner. I
really like that look. Part of the
dialogue in our opening sequence
was
done with very carefully
controlled shots that have huge
things in the foreground and faces
pushed to the corners of the frame.
Little things like that echo the Cold
War period of spy films."

anamorphic lenses, but you're still
using longer lenses, so the lack of
depth of field can be an issue. I've
done five films with Martin using
anamorphic lenses, but he likes to
work in a very kinetic way camerawise, and I'm

more

comfortable

doing that with Super 35."
The production, which had
six

camera

units in all, carried

Studio

Arricam

bodies and

an

(for handheld and
Steadicam work), as well as Arri

Arricam Lite

435s and 235s. Meheux chose sets

of

Cooke S4

primes and Angenieux
For the color mate¬
rial, he used two Kodak Vision
negatives, 500T 5279 and 200T
5274, and often overexposed them
slightly to add density. "I don't like
Imagon

of alternating
yellow and

white squares
that gave me a
very

interesting

effect when I lit

through them."

zooms.

The filmmakers' decision to

prompted by the
given. "There's a
certain elegance to anamorphic,"
Meheux says of the format used for
use

Super 35

fact that

most

a

DI

was

was a

Bond films, "but

some

of that

depends on the way directors work.
Today, and I think this is because of
television's

influence,

seem

to want

than

ever.

developed

the

camera

directors
in closer

I know Panavision has

close-focus

Primo
American

Cinematographer 45



American Cinematographer - December 2006

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