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THE BOURNE LEGACY – Production Notes - I Watch Mike

THE BOURNE LEGACY – Production Notes - I Watch Mike

Marta and Aaron navigate

Marta and Aaron navigate the streets of Manila. It turns out that #3 isn’t the only one that Cross (aka #5) should be concerned about. Byer hedged his bets that Outcome would not be the endgame. He has another program in motion, and it is known as LARX. Changchien, who, in the role of LARX #3, an operative based in Bangkok, had to be comfortable with speed and with great heights. “I think of LARX as the decathlete of spies,” laughs Changchien, a theater actor who recently starred in Predators. In order to prepare for the role, Changchien traveled from his native New York to L.A., where he rehearsed with 2nd unit director Dan Bradley’s team for several weeks. In this boot camp, Changchien learned the fundamentals of parkour—how to move around obstacles with speed and efficiency—practiced jumps from great heights and completed an intensive course in stunt driving. That would come in handy as his character chases Marta and Aaron through the narrow, crowded streets of Manila. Fans will also be treated to cameos from several characters from earlier Bourne films, including series favorites Albert Finney as Dr. Albert Hirsch, Joan Allen as Pam Landy, David Strathairn as Noah Vosen and Scott Glenn as Ezra Kramer. 28 Shooting Across the Globe: Locations and Design In November 2010, while writing the screenplay, Gilroy journeyed around the world to visit the locations where his story would be set, just as he did for the other Bourne films. From the Canadian Rockies to Southeast Asia, he tailored the action to the specific locales. He reflects: “The great ride for the past 12 years has been getting on a plane and taking these incredibly specific and unusual tours of places that no one else would ever see because you’re looking at them from a Bourne point of view.” According to Crowley, who once again accompanied Gilroy on the tour, the series has been unique in the manner in which it showcases parts of the world rarely seen in cinema. He notes: “We were one of the very first big movies to shoot in Berlin, and there had only been a couple of contemporary Hollywood shows before us in Moscow.” The Bourne Legacy would be no exception. Gilroy chose to broaden the story to a setting beyond Europe, where much of the previous three films had taken place. “Pat and I traveled all over Southeast Asia and scouted,” Gilroy continues. “And then I wrote into the specific, real locations. That’s how we’ve always done it. There isn’t an action sequence in any of these films that hasn’t been written into the place itself.” As The Bourne Legacy rockets from Washington, D.C. and Manhattan to Alaska and Southeast Asia, Gilroy retains the spirit of the previous Bourne films. “It wants to feel like the world we really live in,” the director says. “We go to exotic places, but we don’t glamorize them. It’s a realistic approach to action, and it will be familiar in all those ways.”

Weiner appreciates the detail the writer/director gives to this story. He offers: “Some of the locations for this movie are not places people go to every day. The fact that it is real and gritty and that we are close and in-your-face gives a perspective that you don’t find in the guidebooks.” Helping Gilroy to construct this world were key contributors to the film’s visual style: production designer Kevin Thompson, who crafted Michael Clayton and Duplicity with Gilroy, and cinematographer Robert Elswit, the Academy Award ®-winning DP for There Will Be Blood whose previous work also includes Michael Clayton and Duplicity, as well as The Town and Mission: Impossible—Ghost Protocol, both with Renner. Discussing Thompson, Gilroy commends: “Kevin’s built up a very, very strong body of work, and we formed an essential collaboration over the course of Clayton and Duplicity, but I think Legacy is going to show a lot of people that there’s nothing he can’t tackle. Legacy was a huge design project that went from bigtime stage work through location building and then into Manila and all of its challenges—all of that with the mandate of staying absolutely photo-real at all times. It was the highest degree of difficulty, and he crushed it.” The director was just as pleased to join Elswit for another project. Gilroy says: “Working with Robert on these three films has been about the best collaboration I can imagine. He’s the remarkable combination of deep experience, imaginative freedom and sled-dog endurance. We’d been through the shit together so many times before this film started, and thank God, because I can’t imagine trying to do something this long and large with someone who wasn’t at your side in every way.” Elswit and 2nd unit director Bradley could shoot all the footage in the world, but if it wasn’t cut together correctly, there would be no scene. Joining the team as editor was another member of the Gilroy family, John Gilroy, the director’s fellow collaborator on his last two films. Notes John Gilroy of his working relationship with his brother Tony: “I work with Tony essentially 29 the same way that I work with other directors. I try to understand their vision of the film and get on that same wavelength. If I can make their vision my own, I have a real compass to navigate me through the editing process. With Tony, that sort of deep understanding between director and editor came very early on and has stayed with us and grown through all three films. We have very similar sensibilities, and most of the time we see eye to eye on things.” Tony Gilroy returns: “John is a machine. It’s a complex movie, and we shot in a weird order. The pace is relentless, and we were shooting a great deal of film. The need to know exactly where you stand and what you owe is essential. But he’s not just cutting and reviewing material as we go; he’s building sequences and road testing scenes that are coming at us with a con sistent level of detail that’s shocking sometimes. He’s a total filmmaker. I can’t imagine even trying this without him beside me.” War Rooms and “Southern” Mansions: Filming in New York After two days of filming in Seoul, South Korea, principal photography began at Kaufman Astoria Studios in Queens, New York, where all of the movie’s stage work—including D.C. interiors—was shot. Filming began with scenes involving Byer and his team at the Virginia-based NRAG, the group that designed the government’s program of killer spies. As Bourne’s exploits go public, Byer’s experts use every mode of technology available to minimize the damage. Here, Thompson’s crew built the crisis suite, the small amphitheater where Byer’s team holes up for days. Crowley describes the film set as “like 25 people playing high-speed chess.” At Kaufman, Thompson built the lab where Marta engages in her pioneering work. The designer’s biggest set, however, was three stories high on Kaufman’s largest stage. Here, he created Marta’s home in the Maryland woods, which he didn’t initially plan to build. “We started

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