American Cinematographer - August 2016 - 44

◗

To Be Bourne

Top: Bourne reunites with Nicky (Julia Stiles). Middle and bottom: Ackroyd and crew shoot
scenes for an action sequence set in Greece.

44

August 2016

American Cinematographer

Greece. Moving to the U.K., the
production proceeded to shoot locations
in London and interiors at Warner Bros.
Studios Leavesden, then moved on to
Berlin and Washington, D.C., all before
the end of the year. Sequences set on the
Las Vegas Strip went before the camera
in January 2016, with some final
photography in the U.K. in February.
Throughout this schedule, the
production maintained "predominantly
British crew wherever we went," notes
Ackroyd. Core collaborators included
Greengrass regulars such as editor and
co-writer Christopher Rouse, and coproducer and 1st AD Chris Carreras.
Ackroyd's team of operators
included Christopher TJ McGuire, who
also operated Steadicam; longtime
collaborator Oliver Driscoll; and Josh
Medak, an American who was brought
on for the Las Vegas shoot. The operators
frequently switched out camera positions
in order to bring a fresh approach to each
angle. "Often you rotate around,"
Ackroyd explains. "[Greengrass] might
say, 'Barry, take that position and do it
your way.'" One memorable piece of
direction, however, came toward the end
of the shoot at the end of a long day; the
cinematographer remembers the director
saying, "I can see just what you're thinking
when I look at the shot. You're not
thinking the right thing."
The filmmakers inevitably
embraced the happy accidents of
handheld camerawork, but without
making any attempt to cause them
deliberately. "The first thing I tell people
is, 'Don't get hung up on right and wrong.
Just try,'" says Ackroyd. "It's often the
time you're trying hardest when you get
the magic. If you f--- it up on purpose it
will look like that, but if you really try
hard and it's on the edge, that's when it's
exciting. That's the stuff that Chris
[Rouse] will pick."
Regarding formats, Ackroyd says
the original intention was to shoot
entirely on film, but with the final script
it became clear that there would be
significant night exteriors with complex
stunts and physical effects. Bourne was
therefore shot approximately half-and-



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
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American Cinematographer - August 2016 - 14
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American Cinematographer - August 2016 - 16
American Cinematographer - August 2016 - 17
American Cinematographer - August 2016 - 18
American Cinematographer - August 2016 - 19
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American Cinematographer - August 2016 - 21
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American Cinematographer - August 2016 - 45
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