The first day of shooting

assemblage of people. This was a very challenging scene to shoot. It was our first day on stage after coming back from working on location. And it's a very challenging set to shoot in. And all the compositions are more or less the same. I love how you're introducing the geography with a big close-up of Carrie in the foreground. I love the way the camera inches around. Well, and that was the beginning of the visual language of our film. We didn't come to this movie with a specific sense of this is how we want to shoot it.

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that tends to paint you into corners. I really wanted the movie to tell me what its look was, and obviously I want every mission to feel different. And Chunky Richmond, our camera operator, Fraser Taggart, cinematographer, Martin Smith, our gaffer, we were finding the look of the movie, of the sets, here on day one, and this was the first shot, was Carrie's close coverage. And what you're seeing

16:48 · jump to transcript →

as the only person we're not putting in closeup. So he's always in the shot, but we're never deliberately showing him. In fact, look at this wide shot. Right at the moment where you're about to see Henry, the pillar blocks him and we cut so that this was always intended to be his introduction. It creates a sense of prominence for this character. And then we discovered this, which is the first shot that shows him is actually in a wide. He's quite small.

18:37 · jump to transcript →

Tim Burton

What the hell happened to me? What am I? You know, and so sometimes in life, you need to kind of reboot and reconnect yourself to yourself. And so the ghost house to me was just a good sort of symbol for who she was and where she is now. Filming the little ghost house sequences, I mean, yeah, it's just, I think it was our first day of shooting and I always wanted to do a cheesy cable show. I feel a dark presence.

4:05 · jump to transcript →

Tim Burton

We'll bring Charles home to Winter River. The first day with Catherine and Winona, again, I was surprised at how emotional I got to seeing them together. It was very, very strange. And, you know, I almost started crying in a weird... I don't know, it was weird, strange. And I think everybody had a certain, maybe similar feeling. There was something really odd and beautiful about it. You know, something that maybe none of us thought would really ever happen. And then all of a sudden, there we are. It's hard to put into words the sort of emotions that you would go through watching this.

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Tim Burton

The first day at the school, we were there all together. It was interesting because that was, I think, our first time of seeing the three of them together. Because, again, we didn't rehearse this whole thing. Like, you know, when Michael came in, he just came in to be able to shoot. So we started shooting, you know, everybody. So there was that kind of spirit. So, you know, you kind of showed up on the day and didn't really know. But like I said, I just saw it right there. It was really nice. The three different generations sitting there at one spot. So it was very helpful to kind of shoot that early and see what that dynamic was.

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Day one. We shot this chronological for the most part, right? Like 90% of it? I mean, yeah, 90, 95% maybe was shot in sequence. Which is a gift. It helps everybody, I think it helps. It certainly helps me, because you always know where you are exactly within the story, but I think it helps... Taylor John. Oh, yeah. But also...

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puzzled us, but then we got absolute complete rock solid confirmation the night before the first day of principal photography that there was a wall. And so the next morning called the production design team, said, you need to build a wall at the top of the stairs and it's just gonna have to be a real wall. And Taylor's gonna have to knock it down with a sledge just as you would with a real wall. And the whole thing was, that thing dried

6:30 · jump to transcript →

And my name's Nick Paley. I'm a writer on the film and also an editor. And here's our beautiful sunbeam. It's so nice. It is really nice. I love it. This is the first shot of the film. We're supposed to say it at each shot? This is shot number one. Shot number one. Shot number two is coming up next. All right.

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Edward Berger

But I actually love the fact that I get to watch the movie after months and months and can talk to you about it. So come up with the first shot here. Landscape in the Czech Republic. We shot this movie two years ago in the spring of 2020, winter spring of 2020, 2021. I'm messing even up the years. And you see the landscape here. It's in the Czech Republic. We shot it in the Czech Republic.

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apologetic that we came to Iceland and it was sunny all the time and we were looking for gloom. This was Nicole's first day and she had to be on horseback. It was our windiest day and one of our coldest, so it was quite the welcome.

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So when we first started shooting, Damien, you know, kind of, you know, we got the first schedule layout, which was, I don't know, just a few weeks prior to us starting to shoot. We had an idea of what was going to happen, what was going to shoot in what order to an extent so we could be building effects appropriately. But when he sent over the sort of the finished schedule, I immediately called him and said, look, we're really top-heavy on the front end.

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Nia DaCosta

This was a fun scene to shoot. This is day one of the shoot, actually. I think we shot this part in the morning, and then the next scene we shot in the afternoon. And, yeah, it was our first time just, like, getting into this world together, which was really fun, and... This scene is super important because it's when Kelson realizes that there's a sense of... there's, like, thinking happening. Like, everyone knows that the Alphas are smarter than the other infected, but he realizes the extent to which they appear to be, or at least this infected Alpha appears to be... thinking. And so, this music is another way that we get into the Alpha's head, like, "What are they seeing? What are they, in a way, thinking?"

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