- hier
Danny Boyle est notre invité dans Grand Écran. À l'occasion de la sortie de "28 ans plus tard" ce 18 juin au cinéma, le réalisateur britannique est revenu avec nous sur son incroyable parcours, son incroyable filmographie, sa passion pour les "infectés" mais aussi son travail avec les acteurs !
La fiche de Danny Boyle : https://www.allocine.fr/personne/fichepersonne_gen_cpersonne=17042.html
Pour plus de vidéos Grand Écran, c'est par ici 👉 https://www.youtube.com/playlist?list=PLAUaCoiUsxl6rx47Hm14vP3r6GCF2UIhx
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#DannyBoyle #AlloCiné #GrandÉcran
La fiche de Danny Boyle : https://www.allocine.fr/personne/fichepersonne_gen_cpersonne=17042.html
Pour plus de vidéos Grand Écran, c'est par ici 👉 https://www.youtube.com/playlist?list=PLAUaCoiUsxl6rx47Hm14vP3r6GCF2UIhx
-------------------------------------------------
Retrouvez toutes les news cinéma et séries sur nos différentes plateformes, pages et réseaux sociaux AlloCiné :
👉 Abonnez-vous : https://tinyurl.com/AllocineYouTube
👉 Le site : https://www.allocine.fr/
👉 Facebook : https://www.facebook.com/allocine/
👉 Twitter : https://twitter.com/allocine
👉 Instagram : https://www.instagram.com/allocine/
👉 TikTok : https://www.tiktok.com/@allocine
© AlloCiné - Tous Droits Réservés
#DannyBoyle #AlloCiné #GrandÉcran
Catégorie
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Court métrageTranscription
00:00Depuis le premier film, vous avez utilisé les athlètes pour corriger contre les acteurs ?
00:04Oui, nous avons fait.
00:05Donc j'ai eu un groupe pour faire un workshop, et j'ai dit que vous devriez aller à moi
00:08le plus vite et le plus violent que vous pouvez, et essayer de me tuer.
00:13Mais ne pas, vous savez.
00:15Et je me souviens de penser...
00:24Bonjour, monsieur.
00:25Bonjour, Olivier.
00:26Bonjour.
00:26Bonjour, enchanté.
00:28Deux septembre. Enchanté.
00:30Bonjour, monsieur Boyle.
00:31Bonjour, Danny.
00:32And welcome here, and thank you so much for being here with us for this new episode of Grand Écran.
00:38Right.
00:38So we are in the movie theater here.
00:40Yeah, it's lovely.
00:41Publicis cinéma de Champs-Élysées.
00:43And to start this conversation, I wanted to ask you, what does the movie theater experience
00:48represents for you today, in a world where like, the co-CEO of Netflix recently said that
00:54seeing films in cinemas was outdated and obsolete.
00:59How do you feel about that?
01:00He would say that.
01:01Of course he would.
01:01You think it's, I mean for me, I'm a twin.
01:05I have a twin sister.
01:06Okay.
01:07And when, on our 11th birthday, my dad took me to see The Battle of the Bulge, and my mom
01:15took my sister to see Sound of Music in cinemas.
01:19So that was gender stereotyping straight away, but I'll never forget that experience.
01:25And you want that in people's lives, not just as something that's in the corner of your room,
01:31and that you, 365 days a year, it's just there like a broom or, you know, some groceries.
01:40Yeah.
01:40You want it to feel sacred.
01:42It's like church.
01:44It's something that you go to for a particular kind of nourishment that's different.
01:49So with all due respect to Netflix, who there are some terrific work on Netflix.
01:54Of course there is.
01:55There's something about the whole experience of going to a cinema, not just what's on the screen,
02:00but what you feel as you arrive here, the effort you make to get here, the obligation then is on
02:06the director to produce something that is worthy of you coming here, rather than sitting at home
02:12watching it on the television.
02:13So it's a call to be bold and imaginative and new and original, and it's exciting.
02:21I think it's also about the, it's also about young people.
02:25Cinema is principally and still driven by younger peoples.
02:28That's the audience.
02:30And I think that's a good thing because they want originality.
02:33They don't just want to copy what's gone before.
02:35They want something new every time.
02:37So for me, it's a, it's, it's more important than, um, than church.
02:42Yeah.
02:42I totally agree with you.
02:43I'm happy you're asking.
02:45Well, you would, you're John Carpenter.
02:47Absolutely.
02:48Exactly.
02:49Do you know what, what 28 years later is called in France?
02:53Well, it'll be van, uh, van wheat, uh,
02:56Temps plus tard.
02:57Yeah.
02:57Yeah.
02:58Yeah.
02:58So most of your movies, like the titles in France are, are almost the same, except for
03:03Shallow Grave.
03:04Your first movie.
03:04Yes.
03:05Do you know what it was?
03:06Petit Meur d'en Amis.
03:07Yeah.
03:07Petit Meur d'en Amis.
03:08Yeah.
03:09Exactly.
03:09It was like really different.
03:11So, so the first movie, I was very grateful to France because that, that film was a, was
03:17quite a hit here.
03:18Yeah.
03:18Yeah.
03:18Bigger, bigger than anywhere else.
03:20Oh yeah.
03:20Yeah.
03:21Everybody said, yeah, the French, they love, they love having friends who they murder.
03:26A little murder among friends.
03:27They love that.
03:28Um, yeah, but it went down very well here.
03:30So I'm very grateful for that.
03:31Yeah.
03:31I want to show you a picture.
03:32Yeah.
03:33This is the, one of the first pictures we saw of 28 years later.
03:37Yes.
03:38And everybody thought it was Cillian Murphy.
03:40I know.
03:41I had a girlfriend at the time and she, she said, everybody will think that's Cillian Murphy.
03:45And I said, shush, shush, don't be silly.
03:48That's not Cillian like that.
03:49And of course, when the film came out, everybody said it's Cillian Murphy.
03:52So I had to apologize to her.
03:54This is Angus.
03:55In fact, Angus is an art dealer.
03:58He's a kind of art dealer.
04:00And I persuaded him to come in and do an audition for us.
04:02And he came in and he looks like he's dead.
04:06I mean, literally, but he's not.
04:09I saw real pictures of him.
04:10He looks like that.
04:11And special photographers around the world asked to use him as a model and things like that.
04:16But he rolled around the floor and did lots of things for us on the audition.
04:19So, yes, but everybody thinks it's Cillian Murphy.
04:21It's not Cillian Murphy, though.
04:23It does look like Cillian Murphy's been on one of those drug loss,
04:28one of those weight loss drugs, Cosempic or whatever it's called.
04:31That's what it looks like it is.
04:32I don't know how he stays alive, but he does.
04:34He never seems to eat anything.
04:36He just drinks gin.
04:37And it's got a very serious point as well, because some of the infected starve to death
04:41because they haven't learned to eat.
04:44And they just burn up so much energy with rage that they just, they burn up so many calories,
04:50they just die.
04:51But the other infected, this is one of the evolutionary things that's happened,
04:55have learned to eat.
04:56Now, to eat and to eat meat, you have to, you can't hunt on your own.
05:02It doesn't work like that because they don't have weapons.
05:05So they have to organize as a group.
05:07As packs.
05:08As a pack.
05:09And so that's an evolutionary stage that they've moved into.
05:13So the virus has evolved in that stage.
05:15And there's two other things that we see in the movie that it's evolved to as well.
05:19So not only did the survivors survive, but the virus has survived as well.
05:24Yeah.
05:25To finish on Killian, he's not in this movie, we can say.
05:29So where is he?
05:30Yeah.
05:31But will he be, is that a true thing?
05:33Will he be in the other movies that you have planned?
05:37Yes.
05:37Okay.
05:38So he's the, he's executive producer on this movie.
05:41So he's been involved in this movie.
05:42And I'm delighted to say he likes it very much.
05:45But the, the, the, the, always the idea was that he would be,
05:49that we would make three films, three standalone films.
05:52You can watch each film separately.
05:54You don't even need to have seen 28 days later.
05:56You can just watch 28 years later on its own.
05:59And then there's a second film, which has already been shot,
06:01called The Bond Temple, which is directed by Nia DaCosta.
06:04Who did Candyman.
06:05Who did Candyman, that wonderful Candyman film.
06:08Yeah.
06:08And towards the end of that film, you might, you will know it's coming.
06:15Cause you'll hear some music.
06:16And anyway, she's done it beautifully.
06:18I was really surprised the way she'd done it.
06:20Cause I've seen a rough cut of it.
06:21She's just cutting it at the moment.
06:23Anyway.
06:23And then you, and then in the third film, that is Killian's film.
06:27Okay.
06:28So eventually he will, he will be.
06:29And you will be directing it.
06:30And I did it.
06:31Yeah.
06:32All being well.
06:32Okay.
06:33God willing.
06:34I will be directing that at that moment.
06:36That's what we've agreed so far.
06:38Okay.
06:38Yeah.
06:38So when 28 days later came out, you refused to call your monster, your zombies, your infected
06:45zombies.
06:46Yeah.
06:47Because they're not undead.
06:48They're not the undead.
06:49They are literally you and me.
06:51They are, they are people.
06:52And they, and, and what they're infected with, we all have.
06:56Um, we carry rage.
06:59All of us, you know, I'm sure you've lost your temper where you just got, and it's, and
07:04it's just, you can't see anything other than your anger or frustration.
07:08Yeah.
07:09So it, they, that is just intensified and concentrated and completely dominates their lives.
07:14And that's why they're so dangerous because they'll just pass on that infection to you.
07:19But they, they, they're, they're still people.
07:21They're still people in a way lost in that terrible infection, but also the zombies carried the
07:27connotations when we made the first film of walking very slowly.
07:32And the nerves were running.
07:33Yeah.
07:34We wanted it to be very, very dangerous for a modern audience because obviously a young
07:38audience would look at the zombies who were, uh, and you just go, well, you just run away.
07:43Whereas we wanted to make it feel that that wasn't an option.
07:45They would find you very, very, very quickly.
07:48And also that they, they could come out of nowhere at you as well, that they were random.
07:58We're part of the genre, but we wanted to separate ourselves from some of the traditions
08:02of the genre.
08:02I remember a lot of people, all zombie guards, you know, were shocked about those zombies
08:07that were running suddenly, you know, they were really fast.
08:10I thought it was an incredible idea.
08:11No, it was good.
08:12It was good.
08:12It worked very well for us.
08:14So we were very keen.
08:15We're very keen to repeat that.
08:16So they do in this one as well.
08:17Yeah.
08:18Yeah, absolutely.
08:19Since 28 days, there has been like a zombie infected comeback in, in movies and series.
08:26I mean, you know, thanks to you in a way, I guess.
08:29Yeah.
08:29I don't get any pay from that.
08:31But were you surprised?
08:33Have you seen The Walking Dead like this?
08:35Yeah, The Walking Dead.
08:36Where Rick's like, he wakes up in a hospital like Killian does in London?
08:40Yeah.
08:51Also, but you have to be humble.
08:53We also borrowed that from Day of the Triffids.
08:56It's the same opening as Day of the Triffids.
08:58So everybody borrows from everybody else.
09:00And it's what you do with those.
09:02What you do with that opportunity, once you take it, what you run with it.
09:06So, yeah, there's been Walking Dead, Last of Us, World War Z.
09:08There's just loads of kind of different iterations of it.
09:11And it's great.
09:12I think that horror is a really wonderful genre because it's become more and more important.
09:19Clearly, the world is getting crazier and crazier because horror helps you kind of address it sometimes.
09:25And interestingly, they also say that when we made the first film, 28 Days Later, I remember them saying,
09:33no, women won't see it because they don't go to horror.
09:37That's not true now.
09:38Women are an increasing part of the audience for horror movies.
09:42So it's growing, you know, its reach is growing.
09:45And it's one of the ways that the cinema experience, what you first spoke about,
09:49stays alive because it's one of the dependable ways that you can get the audience in to see a movie.
09:54Because people like the physical experience of being scared in a dark room with a lot of strangers.
10:00It's quite an exciting thing to do.
10:02And funny thing, one year after 28 Days Later came out Shaun of the Dead.
10:07It was also about zombies, but the more classic.
10:09Yeah, and a comedy about it.
10:11Yeah, it was very, very funny.
10:13Yeah, absolutely.
10:14Do something.
10:15Wait there.
10:17Two seconds.
10:17Jeez, look, I'm really flattered and everything really.
10:22And hold it down.
10:25About the zombie running, the infected, sorry, running.
10:29Since the first movie, you use athletes to run after actors.
10:33Yes, we did.
10:34Yeah, that's a great idea.
10:35I know Jodie Cromer said she never knew when the infected would stop running.
10:39So she was really scared and running for her life.
10:42You have to keep running.
10:43Yeah.
10:43Yeah.
10:43A lot of athletes retire when they're 30 because their careers are over because they're no longer
10:49elite enough.
10:50You know, they have to retire.
10:53But some of them joined an agency that gave them work, found them work.
10:59And their work was to go to the Middle East and tumble, do some tumbles or some acrobatics.
11:05Okay.
11:05And then open a supermarket.
11:06It was like a, just like a, they became like circus performers, if you like.
11:10So I got a bunch of them to do a workshop and I did a workshop in a room a bit big,
11:14a little bit bigger than this.
11:15And I was in one corner and I said, you've got to run at me as fast as you can and as violently
11:22as you can and, and try to kill me, try to tear me apart, but don't, you know, and they did.
11:29It was scary. And I remember thinking, that's scary. Because most of us are not athletes.
11:38You know, we don't have bodies that have that power. They do. And it's different when they come
11:43at you. It's like really frightening. So yes. So we kept that tradition going. And Jody's right.
11:49You have to keep running. They certainly did on the set. We have to, I was just,
11:53they were just told to keep running.
11:54So you like to scare your actors.
11:56Oh yeah. I know if you can do it, it's great. Yeah.
11:59Okay. Let me show you a video.
12:01Okay. I have a question for Danny and just because I've worked with, with Danny and, um,
12:07I feel like he's such an instinctive director. It was really interesting how on a day you can have a
12:16plan and an idea for a day, but when you got there, he can have a brand new idea and just go with his gut
12:21instinct. And I just, I love that about his directing. It's so bold and in like,
12:26he uses his intuition. And so my question is, um, how did that kind of come about? How did you
12:32develop that? When did you find the confidence to go with your instinct rather than the sort of plan
12:38that you had in front of you? Oh, right. Okay. That's very clever. Have you done that this morning?
12:43Yeah.
12:45You have to have a plan because you know, even for a shoot like this, you have, there's so many people,
12:50they have to know what they're going to do or feel that they know what they're going to do.
12:56But also I could see, as soon as I started working, I could see quite quickly
13:00that when they knew what they were doing, they relaxed and kind of just, you know, started
13:08looking at their phones or they weren't phones back then, but they start reading the newspaper
13:12because they thought their job was done. And I don't like that. I like people to be all alert
13:16and everybody to be all on it at the same time. So I would always have a plan, which I would call,
13:22that's plan B. And we could always revert to that. But plan A was to respond to the day.
13:28Okay. Because an actor, they can, you can rehearse a scene a couple of weeks beforehand,
13:34they can come to the scene on the day and their grandma has died two days before,
13:39and they're a different person. There's something different about them.
13:42Their emotions change. Yeah, emotions change. The map that you're reading on them is the contours
13:47have flexed, have moved. And it may be tiny things, it may be quite traumatic things,
13:54it may be very wonderful things. They might have got married and very happily, like, you know,
13:59whatever it is. So you want to plow into that and find out where that leads you that day. You still
14:03have the script and you still have a plan that you could revert to so that everybody does, you know,
14:09if you drop, if you get taken away, if the tax men arrive and arrest you or you get taken ill or
14:15or whatever. But there's still a plan of how to do things. But it's not what is to be expected.
14:21And it keeps everybody on their toes, especially the actors, which is a lovely thing to do,
14:25because they like to remain fresh if they can, you know.
14:28And do you think Aaron Taylor-Johnson would have made a great James Bond?
14:32I do, actually. It's an interesting film to have been on.
14:37Yeah.
14:37Because Aaron Taylor-Johnson, I don't know what's happening. They were all talking about him being
14:41Bond. So there's that. And he's clearly a, he's a fantastic action actor.
14:46He's really physical.
14:47He's really good. And he works really hard at it. He's a proper professional about how you do action.
14:53He doesn't just accept it and leave it to stuntmen or anything like that. He just, he really knows how
14:59to do it. If you had to have a female Bond, you could not look, get one better than Jodie Cole.
15:05Oh, yeah.
15:05She'd be an amazing female Bond. And we have Ralph Fiennes, who is in the James Bond anyway,
15:10and probably should have been James Bond like 30 years ago. So there you go. We've got three
15:15Bonds already. Anyway.
15:16In one movie. How did COVID inspire you for this movie? And did COVID inspire you? Because when it
15:23happened, when London shut down. Yes.
15:25I mean, we all thought of 20 days later.
15:28Yeah, you couldn't, you couldn't. And that iconic scene.
15:30I know you couldn't help but think of it, couldn't you? Because there was all this footage and it was
15:35the same shots. Also, if you want to show London empty, you want to show those shots we show. There's,
15:41there's nobody around. And yet these are very busy tourists.
15:44Yeah, all those classic images.
15:47Yes, it was really interesting because obviously we thought of that. But what was really, was more
15:51interesting was that you, you also began to think about how we changed during COVID. Because when COVID
15:57began, we were all super like nervous, weren't we? I remember wearing blue gloves to take in the
16:04vegetables. Yeah. And, and, and disinfect them and just like, leave them 48 hours in the end of your
16:10door. All that shit. It's just crazy stuff. And then you start to relax and you take a few more risks and
16:16you don't put disinfectants on the vegetables and you take them in. Yeah. And, and so, and that was
16:22interesting thinking about if there'd been infection for 28 years, people would be less cautious. They'd be
16:29careful because it is dangerous, but they would have established a way of coexisting. They'd
16:35established parameters. And this community that live on Holy Island, they do visit the mainland,
16:40where the infection is. They've got to get fuel from there. That's the trees, they cut down all the
16:45trees, thousands of trees they'd cut down in order to fuel their lifestyle, their community. But, so they
16:52need to exist over there as well. I want to show you a, yes, yes.
16:55Yes, yes. Saying the other day that you, you know, you love Teletubbies and I was just wondering if
16:59he was a Teletubby, which Teletubby would you be? Who do you identify with, Danny? Sorry and thank you.
17:08It's funny, isn't it? The Teletubbies, it's, um, somebody was, somebody was,
17:11Because we can say the movie starts with kids watching the Teletubbies. Yes, it does.
17:15That's, that's really pretty unexpected.
17:21Wait, sit here, sit here.
17:23Auntie, what's going on?
17:24Don't wait, sit still, keep quiet and do not move from the spot.
17:27It's sort of devastating really, because you kind of take innocence, it's a great,
17:33children's entertainment is a great image of innocence, isn't it? Whether it's Power Rangers
17:39or Teletubbies or whatever you use, and then you just tear it to shreds in front of your eyes.
17:46We were going to, we were thinking at one point of having, of actually getting some Teletubbies
17:51and, and, and, and doing and putting the camera in amongst them at one point. I was going to do
17:55that, but we didn't do it in the end. Anyway, we got permission to use the Teletubbies and tear
17:59them up. And which one would I be? I think I'd be the red one. I can't remember their names. I think I'd be
18:03the red one, I think, because I'm a Manchester United fan. Congratulations, by the way, to PSG.
18:08I am a PSG fan. This is an excellent result and very well deserved. Best team.
18:13So, so your, all your movies has really strong openings and this one included. It's important
18:19for you to really captivate, you know, the audience from the start with like a really strong and
18:25visceral scene. And yes, I think, I think you don't have to do that because they're already here.
18:29You know, they paid and they're going to stay for probably the whole length of the thing,
18:34unless it's terrible. So it's not like you need to grab them, but I think you should display your
18:40ambition early on. It's like a compact and, and, and the size or the idea, the ambition,
18:48the imaginative ambition that you have is there right from the get go. And then, and then you will
18:52return to that level and try to elevate from it really. So I love editing. I love editing.
19:00And there's a famous saying amongst editors that there are only two things that matter in a film,
19:08the beginning and the end and the beginning, not so much. Okay. And that's one of their principles
19:14about that. And it's really interesting because the thing about the ending is you're always,
19:19you should be always looking for your ending because it'll be written. There'll be a version
19:23of it in your script, but actually you should be looking for your ending because it's the completion
19:28of all the ingredients of everything that you, every day that you've done of all the different
19:34contributions that people have made. You should be looking for how they, they end in a way. I find
19:39that I love that process.
19:41Yeah. So on Allocine, our website, we ask movie goers to give notes to movies. Do you know which
19:48one of your movies is number one has, has the best note?
19:51No. What?
19:53Sun Dog Millionaire.
19:54Really?
19:55Yeah. In front of Trainspotting and Shallow Grave and Sunshine.
19:59Oh, wow. Okay. Yeah. No, it's funny. Sunshine did very badly when it came out. But people,
20:05people love that movie. The journalists especially always talk to me about, so yeah, no, it's not,
20:11well, that's very nice Slum Dog. I mean, yeah, the Indian dashboard is huge. So I think that's
20:16probably partially responsible for keeping it up there.
20:18Did you expect that movie to be that big or an Oscar, you know?
20:22No, we, we, we made a third of the film is in Hindi, you know, and back then it was just like
20:28crazy. In fact, Warner Brothers who all, who paid for the movie, they didn't want it. They kind of like,
20:34like, oh, they were kind of trying to get rid of it. Oh yeah. They didn't understand it. I remember
20:37going to a screening in a room like this of the movie and they, the executives were watching it
20:42and they just couldn't, they just couldn't fathom it at all. So fortunately we, it phoned a home at
20:47Fox. When they started showing it to actual ordinary cinema goers, they turned it into a hit
20:53because they responded to it in a way that executives don't really understand. They don't,
20:59they understand when they see the reaction, but they can't anticipate it. So it was the public that
21:03made it a hit. Yeah. Cause it went to Telluride festival and Toronto festival and the public went
21:08mad for it. So, so that, that's, that's always a great testing, testing place for it. Yeah.
21:15Yeah. So to, just to finish, I have a gift for you. Cause, cause I know how much punk rock means
21:21to you and it's important in your work. So this is two French bands. This is Belle Yanois. This is like
21:2680's band, like the clash. Yeah. They're really Joe Strummer dissonance even. Are they,
21:32are they still together? They stopped like 30 years ago. Oh wow. And I, I play vinyl at home.
21:37I have vinyl at home. I thought you would. Yes. And this is Le Cherif. This is like the French
21:41Ramones. They still play. They've been around for 40, 45 years. Oh wow. Okay. Cool. Well,
21:46I love the Ramones. You often talk about punk rock and how it influenced your work. Big time. I'm
21:50very proud of the fact it does. Lou Reed, just before he died, he said, I, I remain in my heart
21:56a punk. It's the most important thing there is. It's energy. It's disrespect. It's kind of just
22:03going your own way. And, and, and it's the energy feeds itself. It's a wonderful thing. So yeah, I,
22:08I'm, I remain a very proud punk and I hope it infects everything I do. This reminds me. So there's
22:14this band. There was a band in Scotland called the Nea Fetis. Oh my God. They were amazing. Two guys.
22:20Two guys. They had a steel sheet on the floor. They used to stamp on it like this and play acoustic
22:26guitar like this. It was so punk. It was. And to finish, we just, can you sign the clap for us?
22:37Yeah, of course. And I wonder what happens to Paris in 28? Yes. So, so, so, so, you know,
22:42so the big, the big, well, Brexit happened. Brexit happened. So we thought what we'll do is we'll say
22:48in a card at the beginning that the infection was forced back over the channel, back to where
22:54it came from, which is Britain. So Europe is safe and Paris is okay. So you can go on and win the
23:01European Champions League this year. That all carries on. That's all going on anyway, you know,
23:07so you wouldn't be robbed of that. How do you say? Grand Ecran?
23:12Grand Ecran. Grand Ecran.
23:14Grand Ecran.
23:16Grand Ecran.
Recommandations
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À suivre
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