The interior scenes look very soft and warm, with atmospheric colors. How was this achieved?

Roger achieved most of the look in-camera. For the lighting, we used soft sources and lots of gels on the lampheads to create the different color atmospheres. We went through almost 1,400 rolls of gel by the time we had finished shooting!

The library set was lit entirely with ARRI SkyPanels. Could you describe the setup? 

This was a large set with a coffered ceiling containing milk glass panels. We had a construction box in each separate opening to act as a snoot and hung an ARRI S60-C in each box. There were 100 SkyPanels in total. This allowed us to achieve an effect of each row turning on as the characters crossed the set. I also found the SkyPanels easy to integrate into a more standard tungsten setup.

How did you construct the moveable ring of tungsten lights used to simulate the sun and its shadows in Niander Wallace’s room?

We used 256 ARRI 300-watt Fresnels in two concentric circles. The doors were removed so that each lamphead was literally touching the next. When a slow chase was programmed, it appeared as a soft source of about eight lamps circling the subject. This required quite an elaborate dimmer installation.