This was Paul Verhoeven's first and only film shot in anamorphic Panavision, and second overall anamorphic feature since L'amore e il sangue (1985). Cinematographer Jan de Bont convinced him to shoot this movie in anamorphic 2.39:1. It was also originally going to be shot in the taller 1.85:1 ratio, because Verhoeven felt that it was an intimate drama, until he realized that the anamorphic format benefitted the film composition-wise. For example: the precinct scene where Catherine is interviewed had six actors in the frame.

Film

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