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Strategic Maneuvers
Principal photography commenced in Los Angeles on Monday, November 26, 2001. The film shot on location in and around the Los Angeles area. Locations include Greystone Mansion in Beverly Hills; Edison's Eagle Rock Electrical Substation; the newly renovated Grauman's Chinese Theatre and The Arena Nightclub in Hollywood; a defunct NASA-Boeing facility in Downey; the old Herald-Examiner Building, the Biltmore Hotel, the Grand Olympic Auditorium and the Orpheum Theatre in downtown Los Angeles; as well as Barker Hangar in Santa Monica. Exterior sets at Paramount Pictures and Warner Bros. Studios were also utilized. The company moved to soundstages at The Lot in West Hollywood for the second half of filming. Five days of second unit photography for the film's opening stunt sequence were completed in Moab, Utah after principal photography had wrapped in late April 2002.

"A tremendous amount of our film is about invention on the day," says Roach. "So we always need to be ready with a nimble crew, a lot of cameras and a lot of film so that we can capture the unexpected, like on safari. It's a spontaneous live comedy experience."

"Style can be funny," he says. "I was inspired by Woody Allen films like Sleeper and Manhattan which are hysterical while having great style. I came from being a cameraman, so I'm interested in defining a certain look for each film, but I know budget is always a consideration. You have to take the time and make the effort to test paint colors and sometimes redesign certain sets if they don't work properly at the outset, which can be costly; part of my job is to convince the studio it will be worth it in the end. To create funny style you have to work with people who embrace the idea of finding beauty in exaggeration and the absurd incongruous shot. Our crew was completely in synch with us on that score."

"It's an amazingly collaborative effort -- many hands touch Austin Powers before he goes on screen," says Mike Myers. "Without the many talented people on our crew, the dream Jay and I envision would never come to life. They are pioneers and inventors and artisans and I continuously marvel at how they turn our wildest notions into reality. I'm wonderfully indebted to them."

Director of photography Peter Deming shot the original Austin Powers International Man of Mystery. Deming was immediately attracted to the project after reading the original script. "I liked the idea of spoofing James Bond," he says. "I would love to shoot a James Bond movie, and I thought this might be as close as I'll ever get."

According to Jay Roach, "Peter can do anything. He has a great sense of both dramatic and comedic absurdity, so I count on him to fully embrace the film's concept and to light it as if he were lighting a David Lynch film or a Phil Kaufman movie. I can spring anything on him at the last minute; we'll light a scene for one camera and suddenly we've decided to switch to a totally different perspective with three cameras, and in 15 minutes he's ready to go and his light is absolutely beautiful."

"Jay, Mike and I looked at all the ‘James Bond,' ‘Matt Helm' and ‘In Like Flint' movies," Deming says, "and they all have a sense of style, even though the lighting is nothing that we wanted to do because these older films use a lot of hard light and harsh shadows."


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