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Awards: Three-time Oscar nominee; three-time Mexican Ariel winner; won the Venice Film Fest’s Golden Osella and the Los Angeles film crix prize for “Children of Men.”

Tools: Lubezki opted for the lightweight Arricam LT, which allowed him to maneuver easily, and shot the entire pic on Kodak 5229, based on early tests for the audacious car sequence. “I needed a stock that you could expose for the interior and still have information outside,” he says.

Aesthetic: Instead of glamorizing the violence in director Alfonso Cuaron’s grim near-future vision of Britain, Lubezki follows the action like an objective reporter. Each of the movie’s big set pieces is contained within a single unbroken take, the longest one running nearly eight minutes. “The camera goes in and tries to find the moments, the way you would if you were in the middle of a war with a camera on your shoulder,” says Lubezki. His gaze occasionally drifts away from the main characters to capture “what Cuaron called ‘the state of things,’ what’s happening around the characters, how the world is collapsing,” an approach they first tried on “Y tu mama tambien.”

Visual references: Considered a carefully designed Kubrickian approach, but opted for the more immersive handheld style instead. “We were prepping the movie after the (July) bombings in London,” Lubezki says. “The real direct references were a lot of press and documentaries about the war in Iraq and what’s going on in Lebanon.”

Challenges: Rehearsing each of the action scenes, while remaining open to things that didn’t go as planned. “You don’t want to have a guy fall in front of a tank because you’d make a tortilla,” jokes Lubezki. Trickiest sequence was Clive Owen’s farmhouse escape, when he rolls the car down the hill as dawn is breaking. Lubezki shot it in reverse order over several nights at dusk, timing each segment precisely to get the lighting right.

What’s next: Completely burned out after “Children of Men,” Lubezki took a year off. “I’ve been spending time with my family, waiting for someone to call,” he says.