The Gray Man is very stylized, with interesting angles and unique camera angles. How have you worked on branching out since directing Avengers: Endgame? How did you try to develop a different personal style outside of the MCU?
yeah: It’s really story dependent. We don’t approach a project and ask ourselves, “What style can we bring in now?” We say, “What is the story and what does the story require?”
This is a driving, kinetic, breakneck action film. We wanted the camerawork to have a certain kinetic energy, but we also had some ideas about how we were going to shoot Sierra Six, who is a Gray Man and the intent is for him to move in and out of situations without being seen. We would put it in the roof to the right of the frame. Sometimes we used focus to defocus him. There are some cinematic techniques we use to bring out the essence of who he is as a character.
The style is determined by the mission for the film. [For] kinetic energy, let’s highlight this character who is a ghost. Or for example [at the beginning of the movie] where he aims the microphone at the guy two floors above him who is moving through the floors to show the audience that this is how he aims him, triangulating sounds to find his target.