Editing Vanilla Sky (section)

===Filming===
Principal photography for ''Vanilla Sky'' began in late 2000 and lasted six weeks.<ref name="Uncool">{{cite web |title=Vanilla Sky Production Notes |url=http://www.theuncool.com/films/vanilla-sky/vanilla-sky-production-notes/ |website=The Uncool |publisher=[[Paramount Pictures]] |access-date=August 17, 2013 |archive-date=March 15, 2016 |archive-url=https://web.archive.org/web/20160315114021/http://www.theuncool.com/films/vanilla-sky/vanilla-sky-production-notes/ |url-status=live }}</ref><ref name="guild">{{cite web |title=John Toll, ASC |url=https://www.cameraguild.com/AboutUs/memberspotlightcustom/member-spotlight-john-toll.aspx |website=Local 600: International Cinematographers Guild |access-date=August 17, 2013 |archive-url=https://web.archive.org/web/20120719150553/https://www.cameraguild.com/AboutUs/memberspotlightcustom/member-spotlight-john-toll.aspx |archive-date=July 19, 2012 |date=August 11, 2001}}</ref> On November 12, 2000, shooting for the scene of the deserted [[Times Square]] in [[New York City|New York]] took place in the early hours of the day. A large section of traffic was blocked off around Times Square while the scene was shot. "There was a limit on how long the city would let us lock everything up even on an early Sunday morning when much of NYC would be slow getting up," said [[Steadicam]] operator Larry McConkey. "Several times we rehearsed with Steadicam and Crane including a mockup of an unmovable guardrail that we had to work the crane arm around. [Cruise] participated in these rehearsals as well so we shared a clear understanding of what my limitations and requirements would be."<ref>{{cite web |last1=McConkey |first1=Larry |title="Empty Times Square" |url=http://www.steadishots.org/shots_detail.cfm?shotID=189 |website=SteadiShots.org |access-date=August 17, 2013 |archive-date=May 22, 2009 |archive-url=https://web.archive.org/web/20090522130710/http://www.steadishots.org/shots_detail.cfm?shotID=189 |url-status=live }}</ref>

Filming lasted for six weeks around the [[New York City]] area, which included scenes in [[Central Park]], the [[Upper West Side]], [[SoHo]], and [[Brooklyn]]. One prominent location in the area was the [[Condé Nast Building]] that served as Aames Publishing and David's office. After filming finished in New York, production moved to [[Los Angeles]], where the remaining interior shots were completed at [[Paramount Studios]].<ref name="Uncool"/> Crowe intentionally left in shots of the [[World Trade Center (1973–2001)|World Trade Center]] after the [[September 11 attacks]] as a tribute.<ref>{{cite web |author1=Christopher Zara |title=One World Trade: Film And TV Producers Navigate New York's Rapidly Changing Skyline |url=https://www.ibtimes.com/one-world-trade-film-and-tv-producers-navigate-new-york%E2%80%99s-rapidly-changing-skyline-782553 |website=[[International Business Times]] |access-date=February 23, 2016 |date=September 11, 2012 |archive-date=March 5, 2016 |archive-url=https://web.archive.org/web/20160305102840/http://www.ibtimes.com/one-world-trade-film-and-tv-producers-navigate-new-york%E2%80%99s-rapidly-changing-skyline-782553 |url-status=live }}</ref>

Despite the film's distorted aspects of reality, the style of [[cinematography]] remains grounded for much of the film. "I didn't do anything that was overtly obvious, because the story revolves around the main character not knowing whether he's in a state of reality, a dream or a nightmare, so we want it to feel a little ambiguous," said cinematographer [[John Toll]]. "We want the audience to make discoveries as [Cruise]'s character does, rather than ahead of him."<ref name="guild"/> ''[[American Cinematographer]]'' magazine wrote a feature story on the lighting designer [[Lee Rose (lighting designer)|Lee Rose]]'s work on the film.<ref>{{cite news |publisher=[[American Cinematographer]] |title=The Man Behind the Mask |author=Jay Holben |date=March 2002 |pages=52–55}}</ref>