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Shooting Across The Globe
Bringing back much of the same filmmaking team behind the earlier episodes was necessary to help Greengrass achieve the right texture for this film. "It's an exciting, suspenseful thriller; it's got great action,” says Greengrass. "But it's got to have this labyrinthine, conspiratorial plot set in European locations. It requires a lot of handheld camera and hands-on filmmaking to capture that urgent feel. The expression of that is a mixture of the people who've come together to make this film.”

Returning creative collaborators include Oliver Wood, the cinematographer on all three films, and The Bourne Supremacy's editor, Christopher Rouse. "Visually there's a strong continuity between the Bourne movies,” says producer Crowley. "You want the viewers to feel like they have never seen those places in the way you're presenting to them now—that it's dangerous wherever you are.

"The camera is there to record and observe,” he continues. "Much of what Bourne is about is paranoia. This floating camera is entirely subjective, which gives you this sense of a limited point of view. There are always people who want to kill Jason Bourne, and there have been since he came off the Italian fishing boat in the first movie.”

Production on The Bourne Ultimatum racked up more transportation miles than the first two films combined. Much like Blackbriar operatives, the company had to remain nimble and adaptable, melding easily into different cultures, climates and countries—without drawing too much attention to itself during the course of production. "Elements of the Ludlum novels I always appreciated were his locations,” comments Marshall. "We've carried that into the movies by taking the audience on a journey and showing them what these places are actually like, not just the tourist areas.”

Whether filming at Heathrow or JFK airports, shooting in the Gare du Nord or Waterloo train stations, driving along in Madrid with Nicky or racing through the streets of New York City with Paz in his Touareg, travel was extensive for the production. The more than 250 people working behind the camera required an experienced crew that could secure locations, equipment and local crews as well as work with people in multiple languages—all to allow filming in seven countries and on three continents. Tangier

Principal photography for The Bourne Ultimatum commenced in the working-class city of Tangier, Morocco, located on the North African coast at the western entrance of the Straits of Gibraltar—where the Mediterranean meets the Atlantic Ocean. While in the second installment of the series, Berlin served as backdrop for post- Cold War intrigue, The Bourne Ultimatum's locales also resonate with rich history. In the 1940s and ‘50s, Tangier served as an international zone—a meeting place for secret agents and international intrigue. Tangier's Café de Paris, the location for the scene in which Nicky waits to exchange cell phones with Desh, was a famous haunt of the city's celebrated expatriate literati.

The walled city know as the Medina comprises a warren of narrow streets lined with thousands of shops and houses stacked one on top of another. "It's a fascinating area,” Marshall recalls. "It's very old and therefore had great color for us; it was a great place to have a Bourne chase.”

The company found a number of creative ways to film in the midst of hundreds of onlookers weaving in and out of the various stores. The training of director Greengrass' cameras was on the daily life of a bustling Arab port city, as he followed Bourne, Nicky and their determined nemesis, Desh, through the winding streets of old Tangier.

The quick-moving, tight action of Bourne darting through the narrow streets of the Medina was creatively captured with the application of multiple, strategically placed cameras. In addition to


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