Cuarón and Lubezki put together some of the most technically daunting and aesthetically stunning action sequences in modern cinema. Cuarón and Lubezki wanted to shoot the movie almost like a documentary: with wide shots and long, continuous takes without a cut. “It was this whole idea of being there in the moment with the character and experiencing violence,” Cuarón says. “When you constantly cut out, back, forward, you’re presenting the cool ways for a car to crash, as opposed to the random way in which violence happens.”
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