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Lubezki modified his softbox strategy while shooting the film’s climactic sequence, which occurs at a stylized windmill whose design was inspired by a scene in Alfred Hitchcok’s 1940 espionage thriller Foreign Correspondent. "We lit the scene with one source, a longer softbox placed to the side [of the windmill] rather than overhead. The windmill was so tall that if I had used a toplight the highest part of the structure would have been four stops brighter than the bottom."