With Noujaim and Hegedus working as a two person crew shooting with a mini digital video camera and using radio microphones for audio, principal photography began immediately. Testing the extremes of their stamina, Hegedus and Noujaim followed Isaza Tuzman’s and Herman’s every move for about eighteen hours a day, maintaining this schedule for more than a year.
"This film was an enormous task and easily one of the hardest films I’ve ever made," admits Hegedus.

"We didn’t know which way the story was going to go," recalls Noujaim. "The company could have folded or been bought out at any moment. Some of the most crucial parts of the story happened in the middle of the night, so I did a lot of filming in pyjamas."

Shooting on digital video allowed the filmmakers increased mobility and virtually unlimited footage. Deciding not to rely on traditional narration or re-enactments, Noujaim and Hegedus used an organic, hand-held shooting style which Hegedus has employed for years with longtime partner Pennebaker on such projects as The War Room. The camera records only real events, following its subjects into cars and taxicabs, bathrooms and offices, capturing a range of public and private moments.

Remaining objective in the midst of this kind of intimacy was challenging, however. "When you’re watching everyone all the time, you begin to learn sides of the story that other people don’t know about," says Hegedus. Witnessing both sides of Isaza Tuzman’s and Herman’s volatile relationship, the filmmakers believed they could have clarified confusion that exacerbated the young executives’ conflict. "You feel like you might be able to help solve a situation if you say something," says Noujaim. "Yet you have to trust that the situation is more complicated than you know and that you should just stay out of it. It’s heart wrenching."

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