28 YEARS LATER Movie - Danny Boyle Behind The Cameras - video Dailymotion

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28 YEARS LATER Movie - Danny Boyle "Behind The Cameras" - Director Danny Boyle and Cinematographer Anthony Dod Mantle break down the #28YearsLater filmmaking process, camera equipment, and more.

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00:00Hello, I'm Danny Boyle. I wanted to talk to you about 28 Years Later.

00:04It's shot in a format, 276, which is wide, and it's a peripheral vision thing.

00:10We're going to talk about why we chose that format

00:12and why we want you to see it in a cinema in that format.

00:16But before any of that begins, there's this,

00:20which is small enough to fit in your pocket.

00:22That's the only thing in this space that is small enough to fit in your pocket.

00:25It's the script, and it often gets forgotten,

00:28but it's actually the most important thing out of everything, really.

00:32Some people would argue casting is more important,

00:35but to me, I'm a traditionalist, and I think the script is more important.

00:38It's a wonderful script by Alex Garland.

00:41He wants you, as a director, as you take over the script,

00:44he wants you to explore it, expand it, to investigate it, is the word he uses.

00:51And the beginning of that process is over here,

00:53and this is a selection of some of the storyboards that we use for making the film.

00:58And this is where you begin to expand.

01:02You get to actually describe some of the images you're imagining in Alex's script.

01:08The importance of another huge element in the making of a film like this,

01:12which is location work.

01:13So we drew up this image, which is described as the top of the hilltop,

01:18where a character called the Alpha arrives.

01:21And on location, we're able to shoot without any digital manipulation at all.

01:26It's a pure image that's available to us where we shop.

01:28We wanted the landscapes that we use to be as pristine as possible,

01:34because for 28 years, there's been very little human activity across the UK.

01:41So the fields are undisturbed, untended.

01:43And you'll see in this that in order to achieve that,

01:46we used drones to shoot so that there was no footprints at all.

01:50So the guy who's recording this on a Ronin is leaving a footprint.

01:53His feet leaves footprints.

01:55He's just inevitable.

01:56And crew tend to, it's always a problem filming on beaches or in snow.

02:01You know, the crew inevitably, and then you reveal where they've all been,

02:05and you have to clean it up and everything like that.

02:06So we wanted very, very lightweight cameras so that we could do that.

02:11But we wanted this landscape, this 276 widescreen approach.

02:15And that creates a tension between quality and flexibility, really.

02:21You want the quality that gives you this extraordinary peripheral vision

02:24with the images, beautiful to look at.

02:25You can select any section of it that you want to look at,

02:28but you want the flexibility that you can go anywhere quickly

02:32and be able to shoot like on virgin territory.

02:36On the original film, 28 days later,

02:39we'd used very simple domestic video cameras.

02:44They were everywhere at the time.

02:46And we thought, ah, if there was an apocalypse,

02:49an instant apocalypse, they'd be literally lying in the street.

02:53And if you were a survivor, you could pick them up

02:55and you could still see, you could see what would be recorded.

02:59And it would probably be evidence of what had happened

03:02or something deeply moving, like the last images of someone,

03:07of their children.

03:09So we thought that's a wonderful format to use it on.

03:11It was very challenging because it was very poor quality back then,

03:15but it suited the grit, the griminess of that film that we were doing.

03:18And we thought on this film that we were going to try and use

03:21something that's become ubiquitous in all our lives,

03:25even more so than video cameras, domestic video cameras were back then.

03:29And that's the smartphone.

03:31Now, this table is a smorgasbord,

03:34how you adapt the use of small cameras in order to make a feature film.

03:40Because you have this enormous tension between the ambition

03:44of this widescreen format and a small device.

03:49Highly flexible, very little footprint

03:51that you can move around very easily with.

03:54You need a great cinematographer in order to bring those two tensions together.

03:59The wonderful Anton John Randall is here as well.

04:00Come in, Antoni.

04:01You can talk us through some of these.

04:03I had to kind of spread this out and work out how to guarantee your imaging

04:06that was good enough for the film.

04:08And also reckless enough and unusual enough.

04:10And we ended up with a gadget like this.

04:12And even though it is very simple,

04:13my dear focus pullers can still control the image if they need to.

04:16And there's an anamorphic front lens on it,

04:18which gives a spectacular spread of imaging for the cinema.

04:23And that's the consumer system that we use.

04:26We had to switch off stabilizing,

04:28which meant I had to work out a way of holding this

04:30so it didn't wobble around and shake up and aggravate

04:33either Danny or the whole image as such.

04:36So we use gimbals of different kinds.

04:40This is the second version,

04:42which is called the,

04:42still wear light,

04:43doesn't wear a thing,

04:44called the adapter version,

04:45which is a combination of the smartphone

04:48and intermediate stage,

04:50which converts this sensor

04:53into an imaging sensor capable of receiving a PL lens.

04:57That means a mainstream lens could be a lens,

05:00could be a lens as big as that,

05:01or as small as this,

05:03anamorphic or spherical,

05:04with filters,

05:05with matte boxes,

05:06with stability,

05:07with focus control,

05:09with basically the control you need for some shots

05:12in an English summer in Newcastle

05:15or Northumbria

05:17where the light tends to fluctuate seven stops

05:20in seven minutes

05:21and that's what we have to deal with when we're shooting.

05:24So we're out in the wilds with these tools.

05:26They come with,

05:28eventually when we finish prep,

05:29we had capability,

05:30focus capability,

05:31we had telescopes,

05:34that was one of the last,

05:36most recent additions to our package,

05:38which is basically, again,

05:39a smartphone upon which we place a telescope

05:42the size of a car

05:43and that was just very difficult to use,

05:45but fun to use.

05:46We had droning.

05:48This is FPV drone.

05:49It's quite unnerving for a drone.

05:51They have to put this on

05:51and then the picture appears here

05:53and the things out there

05:55flying at 45 miles an hour straight

05:57towards an A-list actor's face

05:58and you just have to go out and live in trust.

06:01But I love that

06:02and I wanted to use that a lot

06:03because as a very important part of our palette,

06:06it's not just like the drone,

06:07the God's POV.

06:08I wanted him to work within the actors

06:10as much as possible

06:10and become like a very dramatic character

06:13as indeed we do

06:14every time we place a camera

06:15and remove the camera,

06:17linear or whatever.

06:18So this is an array of 20 smartphones

06:21on one synchronized board,

06:26if you like,

06:27which allows you to photograph a scene inside it,

06:31like me inside it,

06:32and give you a real sense of 3D.

06:36Literally, you overhear the word immersive,

06:40but this is an example of it.

06:41It puts you right inside it, really,

06:43because it changes the simultaneous perspective

06:46at any point, if you like.

06:49And we are not allowed to show you that use on this video

06:55because YouTube won't broadcast it, apparently.

06:59None of this matters, of course,

07:01because what we want you to do

07:02is to go and see the film

07:03and what's important

07:05is that your relationship

07:06with the actors and with the story.

07:09But we did want to show you

07:10how we try to create a landscape

07:13that's worthy of your attention in the cinema.

07:16So I hope you enjoy the film

07:17and I hope you can delve into some of this

07:20maybe afterwards.

28 YEARS LATER Movie - Danny Boyle Behind The Cameras

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