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About The Production
From the minute June and Roy encounter each other in Kansas, the pace of Knight and Day begins to accelerate, until they are on a ceaseless, death-defying journey around the world, making stops in Boston, New York, the Alps, Austria, Spain and the tropical Caribbean. For the filmmakers, this meant an ambitious production on every level. Shooting in five different countries while forging a wide variety of original stunts and intricately choreographed set pieces, the production of Knight and Day, much like its characters, had to hit the ground running.

"In the beginning it was like sitting in front of a giant chess board and puzzling over all these different scenarios,” admits Cathy Konrad. "The exhilarating part was having the chance to create as you go.”

As they dove in, Mangold put the film's visual emphasis on the real – favoring in-camera action over CGI, the latter being employed primarily to enhance the live feeling of the scenes. "What we wanted to do was to create a seamless look that feels like you're always in the middle of the action,” Mangold explains. "We wanted the audience to always feel like they are with June, because she is the one who is like us, has led an ordinary existence and is suddenly on the wild ride of a lifetime. The film is about a fantasy made real, if you will, and that was the tone.”

In order to move with maximum speed and creativity, Mangold and Konrad surrounded themselves with the devoted team of cinematic craftsmen with whom they shot the hit Western, 3:10 to Yuma. The team includes cinematographer Phedon Papamichael, who collaborated closely with Mangold on Knight and Day, choosing a hands-on, immediate camera style to draw the audience deeper and deeper into the film's labyrinth of humor, heat and peril.

"Phedon and I wanted the film to have a classic simplicity,” comments Mangold. "We wanted it to be beautiful and glamorous and feel like a whirlwind trip around the world – to bring out the rich tones of Jamaica, the baked, warm sun of Spain, the icy landscapes of the Alps and Austria and the hometown feel of Boston. It gives the film a feeling of wish-fulfillment for the audience, of going to places you've never seen, and feeling like you're really there. That was a very important component of the film.”

"I've never really done a picture like this before,” admits Papamichael. "It's not a pure action movie and it's not entirely a romantic comedy, and I think if you could call it any genre, you'd call it cool, inventive fun. For me, it was irresistible because there's so much potential for combining beauty with visual excitement, especially the way it constantly transitions from one country to another – one minute someone passes out in Jamaica, the next they're in jeopardy on a train in the Alps. As a cinematographer it was a tremendous challenge to pull this off, but it was equally tremendous fun to play with so many different looks and styles that all had to fit together.”

He continues: "There's sustained visual energy, because the characters never stop moving, never stop running. They're on the maximum ride of their lives and that's the feeling on screen.”

Flying in the face of many dark, grainy recent thrillers, Mangold and Papamichael chose grace over grit as an overall visual concept. "We wanted everything to be almost sparkling and color-saturated – it's a look that showcases Tom, Cameron and our beautiful locations,” says Papamichael.

The rapport between Cruise and Diaz also gave Papamichael a lot to work with visually. "Their chemistry is simply magical,” he says. "It's not something you can create – it's already there and we just tried to capture it to the max.”

Tasked with shooting dozens of intricately plotted stunts that unfold in real and often crowded locations, Papamichael devoted months and months to planning every<

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