What difficulties did the many locations entail? 

The ARRI cameras were an element of continuity. With Cattleya we decided to maintain a solid technical unit from the beginning of the project. We rented the cameras in Italy, where we did all the technical preparation at Panalight-Rome under the supervision of my first AC Massimiliano Ricci. Then we sent them to the places around the world where we were prepping to shoot. It was complex but exciting to maintain a technical and creative continuity, coupled with the difficulty of managing different crews divided by an ocean. We needed reliable cameras and the ALEXAs held up for months without creating any problems, at every temperature—from the cold mountains of Calabria to the winter in New Orleans, to the rain of Mexico and the extreme heat of the Sahara Desert. 

How did you manage the lights? 

We also used many ARRI lights. On “ZeroZeroZero,” I actually used LED lights extensively for the first time, in particular the ARRI SkyPanels. LEDs are transforming the way we work. The possibility of remote controlling color temperature and light intensity is extremely interesting. This is a feature that I also exploited a lot on the Netflix movie “The White Tiger” by Ramin Bahrani.