“It wasn’t just for the sake of going dark, but some places are built wanting to be dark, and some were more interesting. We had a whole discussion about the action scene in the storm at the end, on the sea wall. You think, “Well, how much do you want to see? What’s interesting, and what can we practically do?”
I talked to Denis about it and said, “I don’t think we want to see very much. They’re flying. They don’t really see the water below until they crash.” When they’re on the sea wall, the waves come at you, and suddenly they’re revealed in the light coming from the vehicle. But you don’t have another light that’s showing you all the depth of the background.
So it’s the idea of the darkness, and really pushing that—pushing the fact that there’s large areas of blackness in the frame. But you’re not necessarily saying something is very dark overall. You just have pools of light.” — Roger Deakins
