From the article:
Dan Sasaki speaking:
"The fact that the Primo 70s performed well at T2 was very important to Hoyte. He was happy with the way the lenses handled flares and random glare during his initial tests but he was shooting down the Thames where he didn't have control of all the lights, and he didn't want any unforeseen surprises showing up. So we did another battery of tests to look at the flare and glare, and that was another factor that prompted a change in the coatings to a much higher tolerance than we originally had."
To be frank, they barely talk about the use of the Alexa 65 in the AC article, this is from a sidebar with only Sasaki speaking, it just says at the beginning: ".... a nocturnal boat chase along miles of the Thames riverfront in London, for reasons of exposure, the latter was shot with Panavision's new Primo 70s on Arri's new Alexa 65 digital camera."
About the fill thingy, Hoyte says this: "We wanted to give the film a retro feeling, but that doesn't mean making a retro film. So we used very modern elements and technology, with a slightly old-fashioned "laid-backness". It's a mixture, a blending of both worlds. In general, I'm not big on fil. I love the idea of just putting the light source in the right place. There have Bond films in the past where his face is lit in the same meticulous way in different scenes: a 3/4 frontal with a little bit of fill. When you find the perfect light for a face all the time, you step away from reality.
For this Bond I wanted close-ups to have different feels, and I also used different tools: Rifa-Lites, fluorescents, LED panels. I like to do dynamic close-ups, where the light on the faces changes because of the mise-en-scène."
About the Thames epic lighting installation: "It's the biggest lighting setup I've ever done, and it might be one for The Guinness Book Of World Records ! It took five weeks to set up. My gaffer, David Smith, and his crew set up eight construction cranes and two floating pontoons on the Thames, plus dozens of other fixtures on the shore. We had 28 generators."
Hoyte also notes he's done a 4K DI because he feels that if "you render grain in 2K, it turns into noise - some sort of digital interpretation of grain."