Courtney Solomon

0:16I know who you are, beautiful wife, and an ability, few others have. I have you to await further instructions. Drive away now. So coming back from your movie, I just got in the car and just started speeding home. I've never driven more dangerous in my entire life. And so I don't know whether to thank you

1:01or want to hit you from me. No, I mean, you know, that's not what I was trying to get. I would think that you'd actually drive slow after watching that meeting. I want to be Ethan. Yeah. I'm gonna be at the end of my automatic gear shift, which does nothing, but I still felt like, thank you though. No, you're welcome. You're welcome, I'm glad. It must've been fun. Like, I wish I was there beside you holding that camera. That would've been so much fun to be shooting that car as it was going around. Which camera? I mean, there were a lot of cameras. Let's go with the red. The main one. Yeah. Yeah, that would've been a lot of fun. It was a lot of fun to do. It was scary because, I mean, you know, everything's real in the movie. None of the stunts you saw are CG. There's not one crash that CG in the movie. So it was a cool experience, but you're holding your breath at the same time because these guys can actually die. And stuntmen want to please you.

1:48Stuntmen want to surpass your expectations. I mean, it's in their character. It's in their makeup. So when you say, I want to go grade, and I want you to go 80 miles an hour, and I want you to smash it. I want you to go 40 feet in the air. They want to go 60 feet in the air. So you just never know what's gonna happen. But it was a rush. It was cold too. It was like Toronto in the winter. As you were in Toronto very well. Yes, I do know. I'm from Toronto. So we had negative eight to negative 12 Celsius every night, and we were always shooting through the night. Right. Is it easier as a director to make everything take place in one day? No, I think it's just specific to the story of the movie. I mean, I think, you know, time-wise, continuity-wise, it's easier except to continuity with the car was a very hard thing, because it's constantly getting further and further wrecked

2:34as we go through the story. But it just depends on the story of the movie. Sometimes, I mean, I love a movie like Forrest Gump that spans a whole lifetime. You know, that's an amazing movie, and that's definitely not one night. How many cars were used? Talking about the car getting progressively damaged. Well, on the real Shelby's, there were two. One got totally trashed by mistake, head-on collision. Is that in the film? Did you get to use that as part of something? Art of it is, in that sequence where they've just blown up the power plant and they're going down the street, there's this one quick shot, really quick, where a white car comes towards the camera, and Selena ducks down. It's really fast, and the reason we cut it so fast is because the next second had actually impacted. And so you're actually, there's about five of those shots in the movie where we actually used things that went wrong,

3:22but just used a piece of it right before it went wrong. Like, and, you know, it looks great in the movie. For example, when Ethan's in the day chasing, going down into the aqueduct and the cop cars in front of him, and you see him screech on the brakes and then go down the hill right at the beginning of the movie, that first chase, that was actually an accident. And we just cut it out an instant before the accident, and let you see the rest of it. So you're looking at it in the theater and you're thinking, God, he's going to hit that car. Well, he really did. So we had about another eight, like made up shall be stunt cars, and then 130 cars of police cars and motorcycle stuff were wrecked in the course of the movie. I want to, I could just geek out with you about all the cameras used in this film.

4:08So really quickly, how did you decide which cameras to use? Well, I mean, basically, as far as the ones on the car, they were vows, and we decided for the resolution, they were the best ones to use, and they were attached to the cars. Red cams, obviously, for the main footage. Iconics, we used in different spots. I'm trying to think what else we used. Was it hard to cut them all together? They just work. Some didn't, and some did. I mean, a lot of the problem with the smaller cameras, and we used, you know, 70s. Part of the problem with those little cameras is that they've got such a wide lens, you know? And so we had to light these streets. So we had these huge lights up in the air, and they'd pick them up sometimes. And you just have such a wide feel that it, you know, just becomes like a blur and like a mess.

4:55So sometimes the footage is just completely unusable. But most of the time, it held up pretty well, and you can melt that low-res footage with the reds, and, you know, it makes for this cool feel for the movie, and didn't bother us at all. And, you know, we were sitting there having discussions about, well, should we bring the red resolution down? Should we affect, you know, it differently, for example? Like, so it's all more consistent. And we just thought, well, we'll go with it, because we know he's using street cams sometimes. He's tapping into everything. He's got the cams in the car, and you give us forgiveness when you know we go to the red cam, mostly when Marani, then Selena, and for some of the stump where we want like a main shot of it. No, it melted together really well in the end, actually. Color correction was a bit of a nightmare. Yeah, like that was a bit of a nightmare,

5:42because what you get out of the red, and what you get out of the GoPro, just live in two different spaces entirely. But we managed to put it together. I got to let you go, so five quick questions. One word answers. Film or digital? Digital. Kubrick or Hitchcock? Hitchcock. London or McCartney? Lennon. Favorite camera used on this film? Red. And one word, getaway. One word, getaway? And one word, some of the movies. Intense. Do exactly as I say, and your wife lives. She's beautiful. Refuse or get caught. The game's over. She dies. The clock is ticking.

6:29What happens when this is done? Why would he even give her back to you? Seems like an obvious choice to me. Hold on. But I give you a moment to think about it. I'm not dying for you. Right. That she is all right. Ooh. And where this is going to be over? What? Your answer.