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—he's earned a reputation as the guy who makes sleek films that happen to be smart, or maybe just smart films that happen to be sleek.
Either way, his love of cityscapes and of moral ambiguity have combined for a signature style that's as compelling as it is technically proficient: gritty, atmospheric establishing shots paired with intricately crosscut sequences that turn subtext into art.
I wanted to represent, as realistically as possible, the idea that a data packet is going in with an address that says, “I'm OK, let me through your firewall,” but hidden within it is a tool that can open up a back door.
The sequence goes inside the computer and uses the actual shape of a transistor: one piece of conductive metal that has a surplus of electrons, and one with no electrons.
Or the really cold winter days when there's not a cloud in the sky—dry and clean.
"Früher war das immer so: Mir war langweilig und was macht man dann.In the movie, the things people are typing and the text you see are all the real thing.Did you go back and look at any other movies about hacking, for the visual style? And I didn't want to represent the inside of a chip as being a guy on a motorcycle on a bridge.It seems as though directors from Chicago are particularly keen on shooting urban environments. The directors who grew up in the suburbs make comedies. But you seem to have a singular appreciation for a beautiful city.
There's a romance to those black streets at night, wet and rainy, and the El tracks above them.In , I wanted to bring you into the interior of a world and have it look like it really looked—as crisp and edgy as it would have been in real life.