Key crew members were gaffers Mike Tyson and John Lewis, key grip Chris Birdsong, first AC Michael Dzailowski, and B camera/Steadicam operator Jarrett Morgan. “They’re all people I hadn’t worked with before. The wonderful thing about working with local people is that they’ve got their teams. The cast was amazing. I knew Anthony Mackie from Sundance. First time working with Samuel L. Jackson who brings a lot of energy. In his own way, he keeps people on their toes. I was blown away by the performance of Nicolas Hoult. Nia Long was great.” The most difficult aspect were the locations. “There were 50 to 60 locations and when you’re doing period on low budget you can’t hire them for three days and do things the morning before. You turn up in the morning and everybody has to work. That’s a big challenge when you want to make it grand.”

“I love the Texas montage when you’re walking down the streets, and that was all shot in Newnan, which is south of Atlanta,” states Bruus Christensen. “All of those Texas sequences, even though we weren’t in Texas, became powerful in their own way. Also, feeling this person who went away, made it somewhere else, and return seeing his childhood area and dad from a different perspective.” The Danish cinematographer is appreciative of the support of Kodak and Panavision. “It meant so much because it would have been devastating for me to shoot this on digital when everything was pointing at film. They’re two great mediums. The most important thing is that there is a choice.”

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