Special effects coordinator Lars Anderson

Executive producer Hawk Koch hired special effects coordinator Lars Anderson to build several configurations of Bischoff's designs. Anderson and his team were honored and excited to step outside the normal realm of their duties of pyrotechnics, explosives and mechanical effects to build the 8-foot sculpture along with a same-size "stunt double"version. Together with Eads they designed the kinetic brass sculpture and its wooden base to compliment the dynamic architecture of Crawford's unique house.

The large sculpture measures 8 feet high x 8 feet wide x 2 feet deep and uses two 12-volt electrical motors operated via remote control. The manual desktop version is about14 inches x 32 inches x 12 inches wide.

"Working on this project was like being a kid again," reports Anderson. "Everyone wanted to contribute their ideas. It's not often you get asked to build a giant puzzle. It  wasn't an easy piece to move, especially once it was assembled, because it weighs about 250 pounds. But the hardest part was keeping people from touching it and playing with it or taking the balls once it was on set."

But no one could keep Hoblit, his cast and crew from spending long breaks between setups, staring at the rolling balls as they made their way through the intricate maze.

"Greg would stand in front of any of those machines, start watching and that was it," jokes executive producer Hawk Koch. "I'd say, `Come on, Greg, we have to work,' but he couldn't move. The machine has its own kind of rhythm; it lulls you into a meditative state. It's pretty amazing. "

Hoblit imagined a giant erector set when he first read Gers' description in the new script,but even he was unprepared for the beauty and immenseness of Anderson's creation.

Hoblit admits that he decided to "swing for the fences" in making Fracture. In the hope of not"playing it too safe," he attempted a pace and tone more "daring" than his previous work. In doing so, he has tried creating a contemporary film noir.

"For me it was unexpected," Hoblit says of tackling a darker, more mysterious style. "As the script evolved my ideas became more pronounced, but I was not interested in doing something strictly noir. I wanted something sleek, to use refracted light, and I wanted to be specific in my use of color."

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Director of Photography Kramer Morgenthau
Hoblit referenced the work of various photographers he's admired throughout the years.An avid fan of Bruce Davidson, whose book Subway made a huge impact on the director, Hoblit pays homage to Davidson's muted backgrounds