Green: This was one of the few frames we didn’t storyboard. We didn’t know that the glass break would be that big enough of a hole to be able to see through it; we didn’t know that that view from the pub was that barren. There’s so nothing out there, which is really incredible. The light’s doing really magnificent things. We just lucked out with the car crash, which we didn’t have time to move. If we were a big Hollywood movie, we’d have time to move the car, but we literally had 20 minutes of dusk or whatever, so we had to just shoot through that door. It happened to line up exactly that the car was where it needed to be. The boys could fight on the left. The girls could hug on the right. We could have this beautiful image that showed those two worlds.
It was a horrible timing thing. We got two nights of dusk—half an hour, maybe an hour for two nights. We had to crash a car and have a fight and do all these things in that amount of time, which meant, again, only four or five shots.
Latham: This is one of only two scenes where we used two cameras, purely for time reasons. I can’t remember exactly how it played out. I feel like someone was dressing the door, and then the door closed. I was like, “Hey. Check this out. This is quite interesting.” [Laughs] We were very fortunate in that the car landed in the right spot and et cetera. In terms of achieving that, we did a lot of technical rehearsal time prior. We had a backup car, but we only crashed the one car. So it’s a one-take wonder in terms of the actual accident, because we also knew that to reset that car would take something like two hours to do. We didn’t have that time.
Kitty and I had a lot of conversations about what time of day what scene would be. We really wanted to move into dawn, because you needed that delineation that time has jumped between her taking a shot at the bar and then waking up and the guys have come back. Without that, it gets very confusing. In terms of achieving it, the simple way of saying it is essentially it’s just different shades of blue and different intensities of light coming through the window. At the earliest crack of dawn, it’s very blue. The light coming through the window is not affecting the set or the subjects as much as later on. Each time we moved from downstairs to upstairs, the shade of blue would be less and the intensity would be brighter. Then when we came back down, it would essentially do the same thing.
David Canfield
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