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SHOOTER

About The Production
Filled wall-to-wall with car chases, foot chases, shootouts and high-wire outdoor action sequences, the production of "Shooter” was rife with the kinds of logistical challenges that director Antoine Fuqua relishes. With locations spanning from British Columbia, where the breathtaking, alpine environment provided an awe-inspiring backdrop, to the major U.S. cities of Washington, D.C., Philadelphia and Baltimore – and with intricate stunts and choreographed action required at every turn – the undertaking was massive.

Throughout, Fuqua worked closely with a team of visual artists noted for their keen skills in creating visceral, electrifying action, including director of photography Peter Menzies, Jr. ("Lara Croft: Tomb Raider,” "Die Hard With a Vengeance”) and production designer Dennis Washington ("The Fugitive”).

Some of the film's most visually stunning and exciting moments come at the climax atop a frozen glacier, where Swagger has a rendezvous, at long last, with the men who set up him up to take the fall. This sequence was shot high atop Rainbow Glacier, near the resort town of Whistler, British Columbia – a gorgeously primal locale, but one not necessarily well-suited for filmmaking.

Accessible only by helicopter, the first issue was simply getting the cast and crew to the glacier for the fiveday shoot. "Just getting there was incredibly complicated,” explains di Bonaventura. "The choppers can only take five or four people at a time and we had to have 70 to 80 people up there, plus a lot of heavy equipment, so there was constant ferrying around, and there are only a certain number of hours pilots can fly.”

He continues: "We had to factor in how much gear each person would require to survive for several days up on the side of this glacier. We also had to figure out how to provide bathroom facilities in the middle of nowhere, and how to keep our cast from getting frozen up. Of course, we knew the weather could quickly turn fierce and dangerous at any minute, so we kept our fingers crossed. It was a really amazing adventure.”

For Antoine Fuqua, the location had to work because it was just too perfect not to use to its fullest potential. "I kept saying ‘I've gotta shoot on this glacier, I've gotta shoot on this glacier,'” Fuqua recalls. "It's just so spectacular. When you're there, above the clouds and on top of nothing but ice, it's like being in another world. Visually, for me, I just couldn't see doing it anywhere else.”

Still, the director put in a lot of extra effort to assure the cast and crew's safety, even in such unpredictable conditions. "You have to realize that, once you're helicoptered up, you're literally stuck on this glacier which is filled with serious dangers,” he explains. "Storms can come in at any time and you have to watch out for all the crevasses. But safety was our biggest focus. People were always tethered and we took our time. Every shot moved 50 to 75 percent slower than normal.”

The camerawork itself was quite daring on the glacier. "I actually had to get on a helicopter and use the helicopter as a dolly quite a bit to literally move around,” Fuqua continues. "It was very challenging to get the helicopter balanced on the ground without hitting the ice. Also, because of the glacier, your perspective can be completely thrown off. What you think is far away is really close and what you think is really close is far away. You're up on this white sheet of ice all day, your eyes start to burn and it's hard to keep things in perspective. So you really have to focus that much more.”

Elaborate scenes utilizing helicopters, numerous guntoting mercenaries and several large explosions also took place in Mission, BC, about ninety minutes from Vancouver, which stood in for Bob Lee Swagger's mountain-top ra

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