I believe Scott intended to use Redford's limits as a tired actor to the advantage of this reference. Here, he also is mentored, but in my opinion outacts Redford at every turn. Then in 'River Runs' he was directed by Redford, in a Redfordlike role, underscoring the relationship. Pitt was hailed as the 'new Redford' when he appeared in 'Thelma and Louise,' by brother Ridley. There is also a clever self-reference in the casting. This by itself is self-referential when you notice how many of the 'ordinary' shots are from helis. It seems every combination was employed among the following: ground, interior of heli, interior of second heli, front of heli, heli POV, above heli. Lots of helicopter shots, and lots of helicopters. Some of the field scenes with Redford and Pitt are shot as though from a spy plane (as in that swooping, sweeping shot on a roof) or if interior as seen through a hole. (Spy = see.) Often the images have digital tags. When watching the calm, controlling scenes at headquarters, we see them more statically as they are being videotaped, often spying through blinds. When viewing that action, the cameras are hand-held.
the dramatic action is global, involving several hotspots with lots of action. Scott uses a style of zooming in and out by jump cuts that he developed on his last film - also about images and the intelligence community. the hero's cover story is as a photo journalist and his photos are shown the same as the CIA's, Redford's recollections, and the 'narrator's.' -The agency is primarily about images in real life, images and action and that's self-referentially played up here. Tony delivers something I would have expected from brother Ridley - a set of images about images: -the photographic and editing style is one of successive photographs often shifted/zoomed with the shutter click some black and whites, many color deprived.
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