But enough about the original. Brosnan and Russo bring so much to their scenes; their bodies speak volumes. As McTiernan points out in the commentary, Brosnan's gait alone convinces the audience that he own his office building. And as a couple, well, it's like the camera isn't even there; especially their casual nudity at Crown's house in Martinique.
I really enjoyed the cinematography as well. Little things, like using the same angle, through a window in the police station, to capture Crown, and later, Banning, running to his car. Or, as my wife really liked, catching the shadow of the helicopter's rotors on the floor of the museum. Early in the commentary, McTiernan talks about his preference for dolly shots, and they're used to great effect throughout.
I'm hoping for a special edition at some point. McTiernan comments on a significant amount of deleted material, most notably around the special briefcase that Crown uses to spirit the Monet away in. Apparently a lot of work went into its design, but the associated shots offended audiences with the clear folding of the painting. Go figure.
