Arturo: We shot this escape sequence guerrilla style, sneaking into the basement of the Auditorium Theatre to grab footage for the movie's opening scene and some hallway running sequences.

To minimize the possibility of detection, it was just the two of us, Sarah in costume and me with my camera. We worked very quickly trying to get all the shots we needed. We used as much non-verbal communication as possible, hand signals etc.

We had a few more shots to do when suddenly, from around a corner, an Auditorium guard appeared and informed us that we were not allowed to be down there. We tried to plead with him to to just give us a few more minutes, and of course, since we had no authorization, he refused and ordered us to leave.

I secretly turned the camera on and started shooting to try and get as much footage as possible as we left. We walked briskly, but took a path to the areas of the basement we planned to shoot but had not yet been able to. The guard started following us yelling that we were going the wrong way. We feigned compliance but as it became obvious that we were taking the longest possible route to the exit, he got angrier and started to chase us.

We started running, still taking the "wrong" turns. Sarah darted in front of me in character, and without a word, we both understood that we were shooting what was to become the final scene of the movie - the escape - with an real screaming guard at our tails. I started shooting Yumi's POV (Yumi was Sarah's fellow escapee in this scene) as I followed Sarah. Sarah started interacting with me as if I was Yumi following her as she led us to the stairway to freedom.

None of this was in the script. A totally different ending had been written, but with this opportunity to shoot with as much scene appropriate emotional realism as could be manufactured in a set, we took it as dictation from the heavens, or at least that place within in both of us that allowed us to think on our feet.

That scary anxiety that comes from having to flee an enraged guard in full chase just a few feet behind me, to the giddy elation of knowing that we may just get away with it as we climbed the stairs, these are the exact emotions that I would like the viewer to feel in this type of "escape" scene. This is what I was feeling as I shot Yumi's POV - the visuals the audience would experience in the first person as they watched these events unfold. This is "Method Camera."

When we busted out of the exit door and ran from the building, realizing that we had lost our assailant, out of breath, hearts pounding, laughing uncontrollably as we ran to my car, we knew we had that scene in the can, one that could never have been achieved the traditional way, or had we been following a script. In one take, we had a better ending than we had originally planned and we got a glimpse of what Method could become - Method Acting, Method Camera, Method Filmmaking, perhaps Method Living.