American Cinematographer - February 2015 - 77
home of Bond productions - could not
accommodate them, so the GoldenEye
team made use of an abandoned aircraftengine factory in Leavesden, England - a
site that would eventually become a stateof-the-art Warner Bros. studio complex.
Surrounding the factory were extensive
grounds and a runway, which Méheux
recalls being used by three units simultaneously. "At one end they were doing parts of
the tank chase, midway down was the
model unit - this was before CGI was so
common - and at the other end was the
main unit shooting the opening scene," he
says. "Panavision tells me I still hold the
record for the most amount of equipment
deployed in Europe on one day - we had
more than 35 cameras and anamorphic
lenses, all in use."
Méheux has fond memories of
working with Campbell on The Mask of
Zorro, starring Antonio Banderas. He
notes, "As an English boy born in Sidcup,
you never think you're going to shoot a
Western. The idea for me was to make it
look like Hollywood Technicolor, and I
think I achieved that. Banderas is a great
sword fighter, so we could shoot the fights
at knee length or full length - many of
them in one shot - rather than just doing
close-ups and flashing blades."
After Méheux shot a second Zorro
film with Campbell, the director was
offered another Bond film and again asked
Méheux to shoot it for him. Casino Royale
(AC Dec. '06) was a critical and commercial hit, and starred Daniel Craig in his
debut as the British spy. From the opening
sequence, filmed in stark black-and-white,
it was clear the film represented a bold and
uncompromising reboot of the series,
ushering in the current era of Bond films.
For the opening sequence, Méheux
elected to shoot real black-and-white,
using Eastman Double-X 5222. "Blackand-white stock is variable," he says. "It has
to be specially ordered and it's difficult to
get processed. You can't use the color bath;
you [need to] have a separate bath set up
and ready. I had an agreement with Deluxe
London that I would save the dailies up so
they could do it in just a couple of batches,
rather than every day. The other thing
with black-and-white is that it affects
Top (from left): First AC Jasper Fforde, director David Jones and Méheux on set for The Trial in
Prague. Middle: Méheux and crew prepare Moscow's Red Square for a night sequence in
The Saint. Bottom: First AC Nicolas Marion and Méheux frame the Eiffel Tower for The Smurfs 2.
www.theasc.com
February 2015
77
http://www.theasc.com
American Cinematographer - February 2015
Table of Contents for the Digital Edition of American Cinematographer - February 2015
Contents
American Cinematographer - February 2015 - Cover1
American Cinematographer - February 2015 - Cover2
American Cinematographer - February 2015 - 1
American Cinematographer - February 2015 - 2
American Cinematographer - February 2015 - Contents
American Cinematographer - February 2015 - 4
American Cinematographer - February 2015 - 5
American Cinematographer - February 2015 - 6
American Cinematographer - February 2015 - 7
American Cinematographer - February 2015 - 8
American Cinematographer - February 2015 - 9
American Cinematographer - February 2015 - 10
American Cinematographer - February 2015 - 11
American Cinematographer - February 2015 - 12
American Cinematographer - February 2015 - 13
American Cinematographer - February 2015 - 14
American Cinematographer - February 2015 - 14a
American Cinematographer - February 2015 - 14b
American Cinematographer - February 2015 - 15
American Cinematographer - February 2015 - 16
American Cinematographer - February 2015 - 17
American Cinematographer - February 2015 - 18
American Cinematographer - February 2015 - 19
American Cinematographer - February 2015 - 20
American Cinematographer - February 2015 - 21
American Cinematographer - February 2015 - 22
American Cinematographer - February 2015 - 23
American Cinematographer - February 2015 - 24
American Cinematographer - February 2015 - 25
American Cinematographer - February 2015 - 26
American Cinematographer - February 2015 - 27
American Cinematographer - February 2015 - 28
American Cinematographer - February 2015 - 29
American Cinematographer - February 2015 - 30
American Cinematographer - February 2015 - 31
American Cinematographer - February 2015 - 32
American Cinematographer - February 2015 - 33
American Cinematographer - February 2015 - 34
American Cinematographer - February 2015 - 35
American Cinematographer - February 2015 - 36
American Cinematographer - February 2015 - 37
American Cinematographer - February 2015 - 38
American Cinematographer - February 2015 - 39
American Cinematographer - February 2015 - 40
American Cinematographer - February 2015 - 41
American Cinematographer - February 2015 - 42
American Cinematographer - February 2015 - 43
American Cinematographer - February 2015 - 44
American Cinematographer - February 2015 - 45
American Cinematographer - February 2015 - 46
American Cinematographer - February 2015 - 47
American Cinematographer - February 2015 - 48
American Cinematographer - February 2015 - 49
American Cinematographer - February 2015 - 50
American Cinematographer - February 2015 - 51
American Cinematographer - February 2015 - 52
American Cinematographer - February 2015 - 53
American Cinematographer - February 2015 - 54
American Cinematographer - February 2015 - 55
American Cinematographer - February 2015 - 56
American Cinematographer - February 2015 - 57
American Cinematographer - February 2015 - 58
American Cinematographer - February 2015 - 59
American Cinematographer - February 2015 - 60
American Cinematographer - February 2015 - 61
American Cinematographer - February 2015 - 62
American Cinematographer - February 2015 - 63
American Cinematographer - February 2015 - 64
American Cinematographer - February 2015 - 65
American Cinematographer - February 2015 - 66
American Cinematographer - February 2015 - 67
American Cinematographer - February 2015 - 68
American Cinematographer - February 2015 - 69
American Cinematographer - February 2015 - 70
American Cinematographer - February 2015 - 71
American Cinematographer - February 2015 - 72
American Cinematographer - February 2015 - 73
American Cinematographer - February 2015 - 74
American Cinematographer - February 2015 - 75
American Cinematographer - February 2015 - 76
American Cinematographer - February 2015 - 77
American Cinematographer - February 2015 - 78
American Cinematographer - February 2015 - 79
American Cinematographer - February 2015 - 80
American Cinematographer - February 2015 - 81
American Cinematographer - February 2015 - 82
American Cinematographer - February 2015 - 83
American Cinematographer - February 2015 - 84
American Cinematographer - February 2015 - 85
American Cinematographer - February 2015 - 86
American Cinematographer - February 2015 - 87
American Cinematographer - February 2015 - 88
American Cinematographer - February 2015 - Cover3
American Cinematographer - February 2015 - Cover4
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