◗ Love and War Zemeckis discusses a scene with Pitt. close as possible to the actors - keeping my first AC Olly Tellett and Toby Eedy on B camera on their toes!" "The idea was to create a circular camera move that never stops during the entire scene," Burgess says. "We cut up the car so we could create the illusion that the cameras are in the car with the characters. Bob and I believe you need to keep the audience in the characters' 62 world and feel what they are going through. Bob came up with this idea over the weekend just before shooting. I then sent out an email to my team - meaning key grip Tommaso Mele, operator Pete Cavaciuti and gaffer Perry Evans, along with visual-effects supervisor Kevin Baillie - and we worked together on a plan to execute the concept. I figured circular dolly track with two cameras on short zoom lenses was the best way to go. We needed to vary the focal length as the cameras moved around the track to maintain the illusion of being inside the car. We also used our big LED panels with images of the desert moving as the windstorm closed in and darked our car. Lenses got tighter as the pace of the move quickened to match the passion of the scene heating up. Kevin Baillie worked on getting the images on the LED panels right to match what is happening outside the car. This is a great example of how the cinematographer and the visual-effects producer work together to bring life to the concept." The largest set by far was the exterior airfield, about the size of a football field, built on the Cardington stages for the movie's dramatic climax in the rain. "We built a section of the airfield with grass and mud and aircraft," Zemeckis says, "and had Rain Birds hanging from the ceiling, with the lightshttp://www.shapecamera.com/ac