According to the script, the chase scene where Cobb searches for Eas was set in Mombasa, Kenya. Although Kenya is a relatively safe region in Africa, its proximity to Somalia posed certain security risks, and the filming conditions were far from ideal. Consequently, Christopher Nolan opted to shoot in Morocco instead.
Morocco also happened to be Hollywood's largest production hub in Africa. Matthew had fild here before for both Black Hawk Down and The Scorpion King.
On the streets of the small town of Ouarzazate, Christopher Nolan eyed a narrow gap between two walls across the way and asked, "Matthew, can you squeeze through that?"
Matthew, standing on the other side, took a closer look at the passage. "I'll give it a try," he said.
The gap was likely just wide enough for an average person to shuffle through sideways, but with Matthew's powerful build and well-developed chest muscles, it was hard to say if he could make it.
Matthew reached out, asuring the gap against his own fra. It was incredibly tight; he had to inch his way forward.
The passage narrowed even further. He held his breath, compressing his chest as much as possible. He still snagged a bit, but thankfully, he was able to push through.
Finally, Matthew squeezed through the tightest section and erged on the other side.
"Everything alright?" Christopher Nolan called out.
Matthew rubbed his chest. "It's a minor issue," he replied.
Christopher Nolan then called out, "All units, begin pre-shoot preparations! Wardrobe and stylists, get Matthew ready!"
Because of the Moroccan heat, Matthew was only wearing a thin T-shirt, not the full suit for his character, Cobb.
The makeup trailer was across the street, but instead of running back, he simply pulled off his T-shirt and let the wardrobe assistants help him change right there.
With the bright sun beating down from a cloudless sky and the dusty surroundings radiating heat, it took less than thirty seconds in the suit for Matthew to feel his shirt underneath grow damp with sweat.
While he was getting ready, the previously empty road had filled with extras. The street was now bustling with local Africans, all moving about with lively energy.
The small town was situated on the edge of the Sahara Desert. Ever since Hollywood directors discovered this location, its landscapes had beco a frequent backdrop in major films.
The locals had even built a film studio complex here, Atlas Studios, which was where the crew was currently based. It was still growing, already spanning over 150 hectares, and many productions not only fild exteriors but also constructed their interior sets on the lot.
With the town becoming a gathering place for film crews, a large population of local extras had erged, making a living by playing background roles.
Compared to Los Angeles, the rates for extras in the small town of Ouarzazate were incredibly cheap.
For instance, for three dollars a day, you could find countless applicants for a role as a simple passerby.
During the filming of Black Hawk Down and The Scorpion King, Matthew had just been an actor and paid no mind to such things. It was only after he started taking on producing duties himself that he truly began to notice the finer details of film preparation, shooting, and production.
Although a film crew incurred significant transportation costs to shoot in Morocco, it was still far cheaper than filming in North Arica. Location rentals were less expensive, the costs for extras and laborers were absurdly low, and there were additional benefits like tax rebates from the Moroccan governnt. For desert scenes and the like, it was an incredibly cost-effective place to film.
If The Fast and the Furious franchise ever wanted to shoot similar large-scale scenes in the future, filming in Morocco could save them a fortune.
So people even jokingly called the place "Mollywood" (Moroccan Hollywood).
"Matthew..." Christopher Nolan erged and waved him over. "Let's do a walk-through."
Matthew walked over, and the two of them proceeded down the street, passing a two-story, mud-brick building styled to look like a restaurant.
For the upcoming chase sequence, Christopher Nolan wanted to use a long take.
Shooting a scene that spanned the entire street in one continuous take was a formidable challenge, not just for the actors but for the cara operator as well.
The director of photography and several assistants joined them.
Once the key crew mbers had gathered, Christopher Nolan pointed to an open second-floor balcony. "Matthew, when we start rolling, you'll jump from up there," he instructed.
Matthew was already prepared for it. After glancing at the height of the second story and testing the give of the crash pad hidden under a rug below, he nodded.
From that height, even without padding, the jump wouldn't have been much of a challenge for him.
The group continued down the street, winding through the scattered extras. Christopher Nolan explained the scene to Matthew: "You're going to be attacked by multiple people. At first, they'll try to take you alive. Then, when they realize how difficult you are to handle, they'll pull out their weapons and start shooting. You'll have to knock down anyone who gets in your way as you escape."
He walked past a car, waited for Matthew to catch up, and then added,
"This car is the marker. The mont you vault over it, they pull their guns."
Matthew walked beside Nolan, listening intently and committing the key points to mory. Long action takes were difficult to shoot and even harder to perform. Because Nolan was aiming for a raw, live-action feel, the scene hadn't been ticulously choreographed.
Finally, they reached the passage between the walls. "You'll escape through here," Nolan added, "and then you'll run into Saito."
"I'll be waiting for you there."
Matthew smiled. "Action scenes are my favorite part."
Christopher Nolan nodded, exchanged a few more words with the caraman, and then turned to head down another street.
"Shooting in ten minutes!" Christopher Nolan's voice bood over a loudspeaker. "Attention all departnts, we're rolling in ten!"
Matthew was about to head back to his starting mark when Michael Fassbender suddenly appeared in front of him.
He gestured toward the narrow gap in the wall. "Be careful not to get stuck," he said with a grin. "But if you do, don't worry. I'll call a professional demolition crew."
Matthew gave him a light shove. "One more crack like that, and you'll be the one in there."
Michael Fassbender flashed a shark-like grin. "I'm leaner. I'd get out easily."
They chatted and laughed for another few minutes before Matthew headed for the small, two-story mud-brick building. He went up to the second floor, sat down at an old, rickety table, and waited patiently.
Soon, a crew mber ca over to give him a heads-up that filming was about to begin.
With the sharp snap of the clapboard from below, the take officially began.
Matthew turned his head, shot a wary glance at the dense crowd of extras on the second floor, and then, without hesitation, stepped onto the simple wooden railing and leaped down.
Matthew had barely taken a few steps before a man in a suit lunged at him from the side, reaching out to grab him. Matthew reacted instantly, driving his head into the man's face before shoving him away.
Overhead, a cara suspended on a pre-set wire rig moved with him, capturing every mont of the action.
Matthew moved with agility. Despite a few unexpected monts and collisions with extras, he quickly readjusted his center of gravity each ti and continued without breaking stride.
***
Matthew reached the narrow passage between the walls and, without a second thought, began to push his way through.
Just as he shuffled sideways through the middle of it, he suddenly found he couldn't move. He was stuck.
Matthew instantly realized the problem: the suit jacket provided by wardrobe was too thick, its fabric creating too much friction against the rough walls...
Reviews
All reviews (0)