'Up in the Air'

<b>Eric Steelberg</b><br>
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<i>Ryan Bingham stands in front of the airport monitors, deciding where to travel to next.</i><br>
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Airports, it turns out, do not like movie crews. We come in with a lot of equipment; we kind of take over things. Generally speaking, the ticketing areas and out in front of the airport were not as big of a deal as trying to shoot past security -- that was extremely challenging. But the complication in that scene was scheduling it around the sun. We determined, through scouting it and some charts based on where the sun was coming in, that late in the morning would be the best time to shoot. It wasn't until our third attempt that we had the ideal weather to shoot that scene in the terminal. First attempt, it was raining. Second attempt, we couldn't get there in the morning. The third attempt, we got really lucky. It's a little nerve-wracking because [there's] the way it needs to be done, the way that it will be perfect, but you also have a schedule to live by. Fortunately, it was a very important image that <a class="taxInlineTagLink" id="PECLB005330" title="Jason Reitman" href="/topic/entertainment/movies/jason-reitman-PECLB005330.topic">Jason [Reitman</a>] had in his mind even before we started shooting the movie, so he supported me.

( DreamWorks )

Eric Steelberg

Ryan Bingham stands in front of the airport monitors, deciding where to travel to next.

Airports, it turns out, do not like movie crews. We come in with a lot of equipment; we kind of take over things. Generally speaking, the ticketing areas and out in front of the airport were not as big of a deal as trying to shoot past security -- that was extremely challenging. But the complication in that scene was scheduling it around the sun. We determined, through scouting it and some charts based on where the sun was coming in, that late in the morning would be the best time to shoot. It wasn't until our third attempt that we had the ideal weather to shoot that scene in the terminal. First attempt, it was raining. Second attempt, we couldn't get there in the morning. The third attempt, we got really lucky. It's a little nerve-wracking because [there's] the way it needs to be done, the way that it will be perfect, but you also have a schedule to live by. Fortunately, it was a very important image that Jason [Reitman] had in his mind even before we started shooting the movie, so he supported me.

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