11.05 | Posting the Shot: How Fox's '24' Paces Itself for Real-Time Drama
"We shoot a lot of footage," says Cassar. "We probably cover more than most shows do and we do it very unconventionally. We shoot through things, we constantly move the camera. We do a lot of hand-held, but not in a NYPD way. In a very feel-natural way. We very rarely give you a point of view that isn't from a human perspective. I can count the number of times we did crane shots in the whole year — those are very unrealistic points of view from a human being. If you're standing or sitting looking at something, that’s exactly where our camera is. It keeps you in play as an audience."
"It can be tricky staying with the real-time thing," says Powell. "It gets to be a house of cards. If there's a scene that really doesn’t work well and we want to lose it, we have to find a scene to insert in between. I've deleted actors from shows entirely. Sometimes we pass scenes from one show to another. [For instance,] the beginning of episode 22 used to be the ending of show 21."
"It can be tricky staying with the real-time thing," says Powell. "It gets to be a house of cards. If there's a scene that really doesn’t work well and we want to lose it, we have to find a scene to insert in between. I've deleted actors from shows entirely. Sometimes we pass scenes from one show to another. [For instance,] the beginning of episode 22 used to be the ending of show 21."
