Shooting on Kinoptik and Century extreme wide-angle optics mere inches from actors' faces, Doyle collapsed emotional intimacy and profound urban alienation. Backgrounds swirl into pronounced barrel curvatures while facial contours stretch across the periphery.
By under-cranking the Arriflex camera to 6–10 fps with an open shutter (180°–270°), Doyle exposed each frame up to 3x longer than standard 24 fps. In the lab, an optical printer repeated each individual frame 3 or 4 times to fill 24 fps master reels, producing hypnotic rhythmic smearing.
Rather than color-correcting mismatched practical lamps, Doyle heightened them: 585nm low-pressure sodium vapor streetlamps clashed against 515nm jade green commercial fluorescents, neon signage, and glistening monsoon-drenched asphalt.