John McTiernan brought Jan de Bont in as cinematographer because of his work with Paul Verhoeven. McTiernan wanted to give the film a European sense of camera movement and structuring. This is indicated by the many shots in the film that seem to move around a focal character, a "movement on emotion" rather than "movement on physical movement of the character." McTiernan also liked to cut between two shots in two separate locations that shared a similar camera movement to create flow over the entire story.

Film

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