Production - Running Clips and Crash Scene

These two scenes are closely connected in the sequence as the run establishes Audrey in the park and introduces Mattias, and the crash is what brings them together, so it made sense to approach them as a unit during filming even though they're technically separate moments in the script.

The Running Clips

The first visual idea we explored for the running section was a ground level shot starting on Audrey's feet as she runs, with her shoes gradually coming into focus as the camera tracks her. The intention was to create an immersive opening to the park sequence that put the audience into the motion of the scene immediately. When we tested it, the focus wasn't working consistently; the curve of the sidewalk was affecting the camera's ability to lock in as she moved. Repositioning the shot to a straight path fixed the problem and the clean focus we wanted was achievable from there.

We also had to reconsider Audrey's behavior during the run itself. The first version had her running with a very focused, determined expression with eyes forward, fully aware of her surroundings. The problem was that if she was that alert and in control, it wouldn't make sense for her to run straight into Mattias without seeing him coming. Adjusting her behavior to make her more distracted by her earbuds in, slightly in her own world, made the collision feel more believable and also made her feel more like a real teenager rather than a perfectly composed character.

For Mattias's introduction we used a slightly different approach, as the camera follows him as he moves and then lets him exit the frame rather than tracking Audrey's entry. This contrast in how the camera treats each character subtly communicates that they're coming from different directions and different worlds, building anticipation for the moment they cross paths without spelling it out.

The Crash Scene

The crash itself required more direction than any other moment in the film because of a very specific problem. Nadia and Evan knew it was coming, and that awareness showed in their reactions. Instead of feeling genuinely surprised they looked slightly prepared, which took the authenticity out of the moment. We gave them more specific direction asking them to stay completely unaware in the lead-up, to play clueless right up until the impact rather than anticipating it. That adjustment made a significant difference in how natural the collision read on camera.

We also made a camera angle decision during this scene that helped the environment feel more present. Some earlier test shots had the background too generic and it looked as it could have been any outdoor space. Adjusting the angle so the park was clearly visible behind them grounded the scene in a specific location and gave it more character. The world of the story felt more real once the setting was readable in the frame.

We also tested push-ins and more controlled camera movements during the impact itself to see if added motion would enhance the chaos of the collision. When we watched the footage back those movements made the scene feel more staged rather than more chaotic especially as they drew attention to the camera instead of the action. Keeping the camera more natural and less controlled during the crash was the right call. The slight rawness of it actually helped communicate the unpredictability we were going for.