and alluring foreign automobiles; including a Ferrari Daytona, a Porsche 928, a Jaguar XJ, as well as brief appearances of a Cadillac Allanté and a Rolls-Royce Silver Spirit. A vintage gull-wing Mercedes-Benz 300SL is also presented in the film, being personally driven by Braga's character in an introductory sequence before a large-scale climactic car chase scene. In addition to driving a newly redesigned Mercedes-Benz 500SL for the 1990 model year, Eastwood's character is also seen conveying his distaste for the Lime Green color on the Lotus Esprit and later driving said vehicle during a criminal pursuit. Sheen's character also takes part in a scene involving an older, rare Harley-Davidson, riding head-on through the front door of a residential home. Filming Coordination of the lighting along with the capturing of all other photographic elements in the film were achieved by cinematographer Jack N. Green. Stunt coordinator Terry Leonard and second unit director Buddy Van Horn, oversaw the task of integrating the scope of stunt people working to produce the action which numbered over twice as many actors in the film (said to be over 80 stuntmen), while supervisor John Frazier controlled the special effects. Green, Van Horn, Leonard, Frazier, and production manager Valdez began close pre-production discussions three months before principal photography. To meet his stylistic lighting objectives in shaping the scenery environment, Green utilized powerful Musco Lighting developed during the 1980s. Commenting on a production scene surrounding the character of Pulovski at his residence, Green noted the home was characteristic of "359 degrees" of accessible turns of the camera. He detailed how the crew would "go in with these little ceiling units, as close to the ceiling as we could get them, little accent lights onto the place the actors would be. It would look like it was coming from those practicals but, again, at a dramatic angle." Describing a stunt-related sequence early in the film performed by Eastwood himself, Van Horn, who had been a stunt associate for almost 35 years, took the opportunity to commend the actor on his contributions saying, "Clint likes to do everything live, ... When you read the script, you know everything is going to be pretty much live action. Sometimes you have to talk him out of something that just might be a little too risky. Not that he couldn't do it, but if something even minor should happen, you couldn't afford to