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In some ways it was worse than the coalmine we used in .
At least in the coalmine you were underground and had a 20-foot wide tunnel, whereas in the house we had five or six-foot wide corridors.
There’s a trick in there – it is really two shots, but we put it together as one shot. The script is written from people’s nostalgic memories too, including my own, and the D. P had a lot of influence (that’s Andrew de Groot), as did other people who knew the house and the era.
So it was the nature of it to have the effect of looking through one person’s eyes, creating a dreamy quality tinged with nostalgia.
It became impossible, so by the second or third day of the shoot with the dollies slowing us down, we changed over to a lot of Steadycam work.
It was supposed to have a dreamy quality to it, so it was perhaps by coincidence that that happened, though the actual aspect of the NASA footage wasn’t incorporated until the editing stage.
But even on a sub-conscious level, the whole thing did fit into that “space-feel”.
That made it a lot easier – in fact probably made a lot of the shots possible.
We always tried to choreograph the actors’ movements with the camera movements also, so that we were always looking for counter-movements, as if the camera were a person on the move, rather than a person sitting in the corner watching it all.