▁spoke ▁of ▁the ▁format ▁having ▁a ▁comfort ability ▁about ▁it , ▁as ▁well ▁as ▁it ▁feeling ▁" like ▁an ▁organ ic ▁format ". ▁ ▁As ▁well ▁as ▁the ▁Pan av ision ▁X L 2 ▁with ▁G ▁Series ▁an am orph ic ▁l enses , ▁Stone ▁employed ▁the ▁usage ▁of ▁a ▁J . L . ▁Fish er ▁ 1 0 ▁dol ly , ▁a ▁J . L . ▁Fish er ▁ 2 3 ▁j ib ▁arm , ▁and ▁a ▁Mo - S ys ▁Hot ▁Head ▁to ▁put ▁the ▁film ▁camera ▁right ▁over ▁the ▁actors ▁as ▁they ▁moved ▁about , ▁in ▁order ▁to ▁get ▁closer ▁to ▁the ▁actors . ▁Stone ▁remarked ▁that , ▁" It ▁took ▁a ▁little ▁adjust ing ▁to ▁but ▁over ▁time ▁we ▁got ▁pretty ▁prof ic ient ▁shooting ▁pre domin antly ▁with ▁that ▁configuration ." ▁He ▁later ▁explained , ▁" We ▁had ▁to ▁improv ise ▁when ▁we ▁got ▁into ▁smaller ▁areas ▁where ▁we ▁couldn ' t ▁easily ▁operate ▁the ▁camera ▁but ▁the ▁overall ▁effect ▁was ▁being ▁just ▁that ▁much ▁closer ▁to ▁the ▁actors ▁[ part icular ly ▁Neg ga ▁and ▁Ed g erton ] ▁and ▁their ▁performances ." ▁Stone ▁wished ▁for ▁the ▁camera ▁to ▁be ▁moved , ▁however , ▁not ▁wanting ▁it ▁to ▁be ▁Ste adic am , ▁as ▁to ▁be ▁more ▁online ▁with ▁the ▁character . ▁He ▁explains ▁that : ▁" If ▁an ▁actor ' s ▁moving ▁at ▁camera , ▁we ▁wanted ▁to ▁be ▁straight ▁on ▁or ▁[ sl ight ly ] ▁off ▁axis . ▁We ▁used ▁a ▁dol ly ▁with