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| This shot shows one of the few practical sets used in the production. After seven months of editing and composite work, the filmmakers employed more traditional methods when they returned to London for two weeks of additional pick-ups and reshoots last December. Cinematographer Erik Adkins notes that it was a refreshing break to shoot this scene, in which Polly sweet-talks her editor, because he didn’t have to imagine what the background would look like. | ||
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© 2004 American Cinematographer. | |