You Don't Want the Move Just Before the Sake of It

A lot of those scenes, we wanted the camera to feel like a solid, relentless kind of move. And it wouldn't have worked if you had moved the camera quickly and all these big moves, then you wouldn't have had the same impact. I thought it was really clever when Sam came in that day and said, okay, we'll have two tables. And the map won't be on the wall. It'd be on the table. And immediately it made sense. You don't need a lot of complex set design and stuff. It was a very simple formal scene, but the whole film was very, very simple. Really.