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In a sense, Greengrass is saying that you don’t need the whole, unedited picture to know what’s going on. What’s important to notice is that Greengrass doesn’t only do this during the action sequences.
He films every scene like this — whether it involves car crashes and shootouts or something as simple as a person walking through a hotel lobby.
“She’s a good girl and she’s trying to do the right thing, which is nice,” Zucker previewed.
“The B storyline is we’re trying to reconnect again.” Zucker joked that her soap fans will enjoy watching “because I’m in it! ” But there’s also one more reason she thinks fans should check out her new movie, and Zucker laughed as she confided: “It airs on my parents’ 50th anniversary!
When Bourne arrives at his destination, a dusty illegal fighting ring in the middle of nowhere, Greengrass ratchets up the noise of the environment.
The crowd grows louder, and scattered voices drift in and out, like overheard snippets of conversation.
As was the case in the last two films to star Bourne, this introduction is presented in a jittery frenzy, the "shaky cam" aesthetic for which the franchise has become both known and, in some cases, reviled.” before explaining the real reason why they will enjoy the new thriller. “Soaps have kidnappings and detective issues and comas and accidents,” she mused, “so I think it’s the same kind of vibe. The camera, meanwhile, continues to pan rapidly through the scene, cutting back and forth between the crowd and Bourne — his hands, his body, his watchful eyes.These are the shards of information he’s picking up from his surroundings; the movie is simply sharing them with us.
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Multiple letters suggested that the ’s editing was bad enough to cause physical illness, while some complained of the style’s influence on other action filmmakers. It’s a style that recalls Steven Spielberg’s opening sequence for and the intimate, intense work of director John Cassavetes.