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Q4 2022

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Matthew Gentile and Matt Allen. P H OT O : M I C H A E L K R U L I K 56 C I N E M O N T A G E F E A T U R E many of the core camera moves we planned are actually in the movie. Gentile: Working on a budget, we found that the previz for anything complex was very helpful. You want to know your shots for a boat party because you're going to be on the water, and you're not going to be able to do it forever. There's a lot of geography to keep track of in an armored truck robbery or a SWAT invasion. We had a couple of days where it was two cameras shooting, and one day to get each scene. The previz allowed me to know exactly what beats I needed and how to establish geography. Then it gave me the space to be flexible on the day. Allen: Part of the collaboration with Matthew is "be prepared but be flexible." Matthew had a strong vision but allowed me to try things. One example of that great collaboration was when we needed a little bit more of a spike towards the end of the film, so we took some creative license when Jason is on the run. The individual scenes were working well as scripted, but we real- ized we could scramble them up and have things happen simultaneously. When they were intercut, it added more dimension and emotion to what was happening. We called it "the third act scramble." We also wanted to go a little bigger and better with a chase sequence, so we were able to do a bit of previz before Matthew went back out for pickups and got the shots to create a full chase with vehicles. Gentile: He's being overly modest. It was his idea. It was a non-linear film, but the third act in the script was linear. There was no real chase, and Matt realized we needed something there. So he got stock footage from other movies and engineered a chase for me to see. Then I said, "Oh." So in a way, SEE PAGE 83

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