Production
The Bourne Ultimatum was filmed at Pinewood Studios near London and in multiple locations around the world, including Tangier, London, Paris, Madrid (as itself and double for Turin), Berlin (as double for Moscow), New York City including the Springs Mills Building (as the deep cover CIA offices), and other locations in the U.S.
Tony Gilroy, who had co-written the screenplays of the first two Bourne films, had intended The Bourne Supremacy to emphasise Bourne's repentance and atonement for his murders, but felt that the released film omitted this focus. Gilroy was persuaded to write an initial draft of The Bourne Ultimatum, but did not participate further, and as of 2009 had not watched the finished film. Gilroy's screenplay draft was subsequently criticized by Matt Damon.
Tom Stoppard wrote a draft of the screenplay, later saying "I don't think there's a single word of mine in the film."
Paul Greengrass spoke about the characterization of Jason Bourne in The Bourne Ultimatum shortly before its release:
Bourne is a real man in a real world in pursuit of a mythic quest. What's wonderful is that it's an oppositional story. Is he a killer, or was he made to be a killer? There is an underlying feeling that Bourne is one of us, and he's running away from "them." He's trying to get answers, and he doesn't trust them. They're all bad, and the system's corrupted. To convey that with a sense of excitement in a very contemporary land-scape is great fun. If you opened your door in New York or Paris or London or whatever, you've got to believe that whatever the story it is that Bourne's engaged in could be happening there. What attracts me to Bourne's world is that it is a real world and I think I'm most comfortable there.Read more about this topic: The Bourne Ultimatum (film)
Famous quotes containing the word production:
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)