American Cinematographer - August 2016 - 43

Unit photography by Jasin Boland, SMPSP; Melinda Sue Gordon, SMPSP; and Dawn Jones, courtesy of Universal Pictures.

Opposite and this
page, top: The
CIA's most lethal
former operative
(Matt Damon) is
drawn out of the
shadows to
uncover hidden
truths about his
past - and crosses
paths with agent
Heather Lee (Alicia
Vikander) - in the
latest chapter of
the Bourne
franchise, Jason
Bourne. Bottom:
Cinematographer
Barry Ackroyd, BSC
(left) and director
Paul Greengrass
(center) discuss
a scene.

- social realism, natural ways of
capturing things, simplicity of style,"
Ackroyd adds. "I tended towards British
documentary camera style, which
means long lens, very observational,
with a kind of intimacy we're good at
getting, [and Loach] knew my
background with social conscience."
Preparatory work on Jason
Bourne began in early June 2015.
Despite the scale of the film, Ackroyd
and Greengrass worked hard to
maintain their documentary style,
trying to "rein everything in, to stop
thinking it's a huge film," the
cinematographer recalls. "Paul asked me
to write a piece to send to Universal,
which would be our mission statement
about how the film would look."
The
resulting
document
referenced films such as The Parallax
View and The French Connection.
However, Ackroyd feels that these
features had in turn been influenced by
the work of documentarians Richard
Leacock and D.A. Pennebaker.
Ackroyd's favorite films include
Pennebaker's Dont Look Back, the 1967
Bob Dylan tour documentary; and
Robert Drew's 1960 political
documentary Primary, with cinematography by Leacock and Albert

Maysles. "These were the first films to set
the camera completely free in terms of
movement, and that in itself is a political
statement," Ackroyd enthuses. "Once
they put the camera on their shoulder,
they walked into this world of truth."
For Bourne, the cinematographer
notes, "We shot a lot, but we still used
technique. Occasionally we used dollies
and even cranes, but we mostly put the
camera in the hand. You get into the
story by being physically there; we
followed the chase and we followed the
story."
Perhaps unsurprisingly, Bourne
was shot with "three and sometimes four
www.theasc.com

cameras," says Ackroyd, who operated
one of them. He avoids formally
designating A, B and C cameras, with
the idea that every frame of footage from
every camera is potentially a contribution
of equal value. "I have a mind-set that
we're shooting 100 percent. Every
moment, every frame is crucial to this
film. People say, 'Why are you doing this
running around? They're only going to
use six frames.' The answer is, if you
know which six frames they are, well, you
can shoot six frames!"
Principal photography began on
Tenerife in August 2015, with the
Spanish island doubling for Athens,
August 2016

43



http://www.theasc.com

American Cinematographer - August 2016

Table of Contents for the Digital Edition of American Cinematographer - August 2016

Contents
American Cinematographer - August 2016 - Intro
American Cinematographer - August 2016 - Cover1
American Cinematographer - August 2016 - Cover2
American Cinematographer - August 2016 - 1
American Cinematographer - August 2016 - 2
American Cinematographer - August 2016 - Contents
American Cinematographer - August 2016 - 4
American Cinematographer - August 2016 - 5
American Cinematographer - August 2016 - 6
American Cinematographer - August 2016 - 7
American Cinematographer - August 2016 - 8
American Cinematographer - August 2016 - 9
American Cinematographer - August 2016 - 10
American Cinematographer - August 2016 - 11
American Cinematographer - August 2016 - 12
American Cinematographer - August 2016 - 13
American Cinematographer - August 2016 - 14
American Cinematographer - August 2016 - 15
American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
American Cinematographer - August 2016 - 20
American Cinematographer - August 2016 - 21
American Cinematographer - August 2016 - 22
American Cinematographer - August 2016 - 23
American Cinematographer - August 2016 - 24
American Cinematographer - August 2016 - 25
American Cinematographer - August 2016 - 26
American Cinematographer - August 2016 - 27
American Cinematographer - August 2016 - 28
American Cinematographer - August 2016 - 29
American Cinematographer - August 2016 - 30
American Cinematographer - August 2016 - 31
American Cinematographer - August 2016 - 32
American Cinematographer - August 2016 - 33
American Cinematographer - August 2016 - 34
American Cinematographer - August 2016 - 35
American Cinematographer - August 2016 - 36
American Cinematographer - August 2016 - 37
American Cinematographer - August 2016 - 38
American Cinematographer - August 2016 - 39
American Cinematographer - August 2016 - 40
American Cinematographer - August 2016 - 41
American Cinematographer - August 2016 - 42
American Cinematographer - August 2016 - 43
American Cinematographer - August 2016 - 44
American Cinematographer - August 2016 - 45
American Cinematographer - August 2016 - 46
American Cinematographer - August 2016 - 47
American Cinematographer - August 2016 - 48
American Cinematographer - August 2016 - 49
American Cinematographer - August 2016 - 50
American Cinematographer - August 2016 - 51
American Cinematographer - August 2016 - 52
American Cinematographer - August 2016 - 53
American Cinematographer - August 2016 - 54
American Cinematographer - August 2016 - 55
American Cinematographer - August 2016 - 56
American Cinematographer - August 2016 - 57
American Cinematographer - August 2016 - 58
American Cinematographer - August 2016 - 59
American Cinematographer - August 2016 - 60
American Cinematographer - August 2016 - 61
American Cinematographer - August 2016 - 62
American Cinematographer - August 2016 - 63
American Cinematographer - August 2016 - 64
American Cinematographer - August 2016 - 65
American Cinematographer - August 2016 - 66
American Cinematographer - August 2016 - 67
American Cinematographer - August 2016 - 68
American Cinematographer - August 2016 - 69
American Cinematographer - August 2016 - 70
American Cinematographer - August 2016 - 71
American Cinematographer - August 2016 - 72
American Cinematographer - August 2016 - 73
American Cinematographer - August 2016 - 74
American Cinematographer - August 2016 - 75
American Cinematographer - August 2016 - 76
American Cinematographer - August 2016 - 77
American Cinematographer - August 2016 - 78
American Cinematographer - August 2016 - 79
American Cinematographer - August 2016 - 80
American Cinematographer - August 2016 - 81
American Cinematographer - August 2016 - 82
American Cinematographer - August 2016 - 83
American Cinematographer - August 2016 - 84
American Cinematographer - August 2016 - 85
American Cinematographer - August 2016 - 86
American Cinematographer - August 2016 - 87
American Cinematographer - August 2016 - 88
American Cinematographer - August 2016 - Cover3
American Cinematographer - August 2016 - Cover4
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