Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more.Free Activated On Mac OS X DL. To make that moment happen, Fukunaga said he relied on the “Texas Switch”: the camera is first on Craig, but when it pans away from him, a double enters the shot to perform the stunt. Bond leaps on Primo and knocks him off his ride. Later in the sequence, Bond is cut off by Primo (Dali Benssalah), who tracks him down by motorcycle. Fukunaga said they had to be very “surgical” about shooting to make sure they captured all they needed within their time constraints. Scenes with this kind of stunt complexity are usually filmed with as many as five cameras, but often they only had two Imax ones to work with at a time. It limited how many the crew could use to cover the action.
The sequence was shot with Imax cameras, which presented a challenge because they’re so bulky. They used a bridge in the Italian town of Gravina in Puglia. Narrating the scene, the director Cary Joji Fukunaga said the locations that he, his production designer, Mark Tildesley, and his cinematographer, Linus Sandgren, found during scouting helped to drive the narrative direction. So all the punches have to land perfectly so that it looks like each one is actually connecting when, in reality, there was safety and space between them.” “Blofeld sends his regards.”
And then, when we cut up closer, we do that in one take. And as we pan over, it’s actually a stunt double running in, not Bond, to tackle Primo on the motorcycle. We see him try to outsmart them and outrun them, but they get a sense of where he’s headed. So we had to be very, I would say, surgical about how the camera moved, how many takes we could do before we were running out of time. Normally, you would have five cameras placed all over the place. Which is not a lot, normally, when you’re covering a big stunt. But sometimes we just had to do the stunt over and over again and just move the camera around, because you only had two, maybe three, working IMAX cameras at the time. I mean, the kind of cameras when you pick them up, it makes you want to swear. This sequence was shot on IMAX, which also meant that the movements of the cameras, the ease with which we could cover multiple angles, was hindered by the number of cameras we actually had. So we just literally designed the action sequence to the locations that we were finding. We had a drone, and we were flying the drone around the bridge to see, what could we do with it? Could he jump off, potentially? It could be an ambush site. It seemed like the perfect place to run a stunt. And I really loved this bridge in Gravina. So I went on a scout trip with Mark Tildesley, our production designer, and Linus Sandgren, cinematographer. This was one of those interesting situations where the locations drove the inspiration for story.
In this scene, we have Daniel Craig, playing James Bond, narrowly surviving a deadly attack by Specter at the Tomb of Vesper Lynd. I’m Cary Fukunaga, and I am the director of No Time to Die. Transcript ‘No Time to Die’ | Anatomy of a Scene The director Cary Joji Fukunaga narrates an action sequence from his film featuring Daniel Craig.
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