![]() ![]() ILM was also responsible for the third act. Then it’s a case of paring things down in the edit and refining until we get the completed sequence.” We decided to put the edit together as we were shooting the process work so we knew that everything was going to cut together okay. Because everything was previs, we knew what the angles were going to have to be. We scanned and photographed Fez and the vehicles down the whole route because we knew that there was going to be process back at Pinewood for all of the dialogue between our principals. Dan walked around Fez and said, ‘We could do this with the tuk-tuks right here.’ On the basis of that, we were able to previs the sequence. ![]() But the script didn’t describe specific action beats. The dialogue needed to happen, so we roughly knew how long the sequence had to be, as well as where we were going in and out of it. which was Fez in Morocco, Dan went there. Once we figured out where we wanted to shoot the tuk-tuk. Dan Bradley is an incredibly experienced second unit director. “I’ve worked with Ben Cooke, who was Supervising Stunt Coordinator a couple of times. We did a CG takeover of the tuk-tuk that he leapt from and have a CG van colliding into it.” Stunts were a crucial partner. “We have a guy in a tuk-tuk who will then jump into the other tuk-tuk. “That was shot in Morocco,” Whitehurst reveals. The actual tunnel itself is CG as well,” Whitehurst says.Ī signature stunt is Indiana Jones leaping from tuk-tuk to tuk-tuk during the street chase in Tangiers. Then we had a long black tent that extended out so he could ride a horse down, so we were able to shoot the plates. We had a beautiful set build at Pinewood of the whole station and a little bit into the tunnel. If it means pushing in and getting close because narratively and dramatically that is going to have the most impact, we should do that.” Among the action sequences is Indiana Jones trying to outrun a subway train while riding horseback. I don’t want anyone to ever feel compromised. “The important thing was being able to accommodate how they wanted to shoot it. “There are probably more closeups of a 40-year-old Indiana Jones in this movie than there are in all of Indiana Jones and the Last Crusade,” Whitehurst observes. Filmmaker Mangold and frequent cinematographer Phedon Papamichael favor using wide lenses for closeup shots resulting in more of the surrounding environment appearing in the frame. ![]()
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