With the problem finally solved by the film's costume design department, cast and crew, with a cheerfulness that is not entirely free of premonition, look forward to Sunday 6. Two production trucks block the side street to through traffic. A production executive, dragging his feet, tells director, cinematographer and sound engineer that the assistant charged with bringing the motorcycles had somehow failed to turn up with them. A quick change to presidential force license plates and shooting begins after several sun reflectors have been replaced by two 2,500 watt Daylight Compacts to light the scene, to be shot in black and white. Khan is very precise, and knows exactly what he wants.
Shooting requires four takes.
The other two shots are from fixed angles and at closer range, so no one anticipates any hiccups as the cinematography director adopts a lotus posture, brand new Aaton camera on his lap. A motorcyclist conscientiously obeys the assistant director's request to drive as close to the camera as possible. The motorcyclist hits the camera, almost breaking it. The director of cinematography is sent sprawling. By 7.00pm all three shots are finished and a break is called.