A young man’s livelihood is put to the test when he gets profiled and stopped by the police on his way home from practice.
How did you develop the particular visual language of this film?
It was really challenging. There were things that we felt were important early on that ended up boxing us in.
How did you come up with this idea, and learn about this world?
The original idea came when I was exposed to the world of Weegee, the New York crime photographer.
Mr. Chandor, why did you want to bring this story to the screen?
It was sort of two ideas that ran into each other. There was this core story that I had been working on for many years – probably six or seven years, actually – about a husband and wife who ran a business together.
What was involved in the production of making such a visually and sonically rich film?
At the Tour de France we had a full ten cameras, and we were able to put a camera inside the car, sometimes two, and then at every stop along the way we had three cameras in every car.