‘Ford V Ferrari’ DP Phedon Papamichael Talks About Creating Racing Action

but with a wide enough lens. The action is designed to tell the story through him. You see Christian doing all these things; He’s talking to himself, singing and to see the action with the car in Willow Springs. It’s how we approached the drama scenes.The approach was getting close to the actors and telling the story through them. It’s about friendship and the passion of pursuing your love, and it’s also a corporate movie.

We didn’t have a blue screen and no stage work. I know how Mangold loves his sound design; he really pushes it. The performances benefit from it because they are experiencing everything. By being low and close with the actors, we capture what we need to. For the Ford car, it’s a pod car and controlled by stunt drivers. They are sitting in the vehicles, and they experience the G-force, the vibrations and the sound. That’s something that just can’t be created on stage and with LED.

When Ken drives for the last time, it was out in the Mojave Desert. It’s an hour and a half from L.A., and we had limited time. We did a couple of shots with Matt sitting by the trailer. I said, “Let’s quickly get out there, do a lap.” We had a pursuit car. We had this driver in the Ford and even that scene where he’s driving was stuff we did on the spot. We rushed back and put the camera on and with the sun setting on the horizon.

The close-ups of Christian were with the camera hard-mounted and you can see the low sun playing over him. It became such a beautiful naturally lit moment. You hear Shelby’s voice. It’s not a total action movie, but it’s really nice when it works that way and you get these moments that work for the story and visually.

Christian sat down and we had seven setups and coverage and 20 minutes to do it. The scene starts and the lights in the distance were ones that I couldn’t control, but luckily I had the big number 8 to light their faces. We planned it and went for it. It was really stressful, but we knew we had it.

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