True story / real events

whole film is sort of wrapped up in that and the uncertainties of memory absolutely and then another hard cut out to our amazing uh replicate of isr footage which um simon and his team did awesome job with building this and this was kind of a last minute pivot as well a lot of the isr stuff that you're seeing that overhead black and white white hot imagery is was kind of a last minute addition well we tried to get the real

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These buildings, whatever they are, 300 meters away, thereabouts. And what we had was a film set, which was built just outside London in an abandoned airfield called Bovingdon. But what Mark Digby and Michelle Day and their team did was they built an entire street and some sort of streets off the street, replicating the real street in Ramadi. And so although we were on a set

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something horrific that happened to real people. And many of the real people were around the cast and the crew. Which, even if they weren't there, it would have been quite an extreme experience for those actors and for the crew as well. But they were there. And this is that transition moment just about to start. Yeah. I remember from here on out, I was like, yep.

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One thing that's nice is all of the different textures that you get to see up close that you would probably pass over or not notice as a person in real life. Yes, totally. It's a nice little extra. I think that's what sold us on the house. It just looked perfectly, beautifully lived in.

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Arthur There's a real Arthur in real life who is a dog And

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Well, we tried to get the real Arthur to be in the movie, but... He's bad at acting? No, it's actually his voice. But he's more of a voiceover actor. Yeah, the dog trainer was like, he's not going to cut it. There's another wonderful joke that we just passed by that I want to flag that sometimes is so low in the mix that some people don't hear it, but he's got hair and all the teeth. I know. That is so funny. That was all you, Jenny. It was so funny. I'm glad. You know, I...

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Nia DaCosta

This is also the only 28 film thus far that does not begin with a set piece surrounded by the infected. And for me, that was really important because it shows, you know, we're sort of shifting what we're saying about this world, which is that the infected, at this point, are just part of the flora and fauna. The real danger comes from people who know better, but don't do better, like the Jimmies. And so we start with a really chaotic, disturbing scene with this.

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Nia DaCosta

So here you can see a bit, 'cause of the way Jimmima was moving just then in that scene, that the shutter angle is changed. It's not sort of a standard angle. And that's something that Danny did in the first film. Whenever the infected were attacking, the shutter angle would change, the image would appear more choppy to the human eye. And... Sean Bobbitt, my DP, and I, we really wanted to use that, in a way. It was really the only visual reference from the other films that we took. But because, again, we're starting this film with the Jimmies as the real mortal threat, we thought the Jimmies and the infected should have the shutter angle change when violence happens. And this is the first infected of the film coming up, which, again, wasn't written in, but we added, 'cause we were like, "We need infected." And I like infected scenes and things like that, so, yeah.

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Nia DaCosta

So, in my film, I really wanted the infected, if they were naked, to actually be naked, because I didn't want to have to shoot around modesty garments or do VFX and... And because Danny and I shot our film so differently, the way the infected look also had to be changed because I couldn't get away with some of the things that he was able to get away with, just because of the style, you know, shooting on iPhones, all that stuff, so... So, in my film, you see infected that are... more of them are clothed. And my reasoning for this basically was that you could say that, one, we're getting closer to civilization maybe, where we are in this part of the film or whatever civilization is left. And two, that one of these towns has just had, like, a big overtaking by the infected. So, you know, a town has fallen essentially and lost a bunch of people, and that was, in my head, why the infected in this movie have more clothes, mixed with some of the ones who are, you know, naked and skinny. Okay, So you just met Samson, who is great, love him, love his whole journey in this film. And then you meet his best friend, Kelson, his soon-to-be best friend, played by Ralph Fiennes, who is an icon of our times and a national treasure. So, that shot before was the real woman, and this is a dummy, obviously, 'cause we can't just be throwing women off of cliffs anymore.

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Look at this guy. He's not even gonna eat his frigging eggs, he's so frustrated and blue. One of the additions that we wanted in the script is that Hutch doesn't eat until the morning after the fight, when he becomes himself again, the real Hutch. Yeah. Whereas Yulian eats before and doesn' eat after. And we kind of re-cut some of the Yulian stuff, so that doesn't land. But I've always enjoyed the juxtaposition of you chucking the eggs out in the bin here compared to the second act which starts with you biting into a pancake with bacon. That's right. He's got his mojo back. - Which was my everyday breakfast on set.

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What is happening is very complex, you know. But this tells you where her head is at, what happens next. This is beautifully done, Ilya. That she just removes that wall of pillows between them and reaches out to him, sort of saying, I think, you know, "Let's try to make this work, you know. "Whatever it is, whatever happened to you, whatever you got involved in." Now, in the mythos of this movie, the grand mythos from Derek Kolstad's head, there's a bigger bunch of bad guys like Yulian out there in the world who Hutch has interacted with many years before. Some version of these guys, some group of guys, and she knows that, the wife knows that, and she also maybe suspects that he's back in the game, as they Say. And we find out that inadvertently he is back in the game of big, high stakes bad guys, because he went after the wrong Russian on that bus. So here comes Yulian. Tell us about this actor, would you? Because he's great. This is Alexey Serebryakov. - Say that name again. I'm just pronouncing it the Russian way. I think in English it'd be Alexey Serebryakov. Alexey Serebryakov, a great, great actor. Yep. Before we decided we're gonna do the authentic Russian way, there were all these considerations of who can go against Hutch, who can we have that's right. And ultimately, I'm incredibly glad that we have Alexey. He's the real deal. He's a great actor. He's a presence, physically capable. And when I hear my American friends say, "Well, yeah, Russians are scary," that's what I imagine they imagine to be the scary Russian, the guy who you can't really reason with too much and who will do stupid, kind of, unexpected and violent things.

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Edward Berger

in this case, and felt like an opening image that was a transition from the nature shots and slowly getting us into battle feeling. But also you realize that you don't hear the real sounds yet. We really only set in with the real sound, with the reality of the sound here. And this was a shot we probably rehearsed. You notice how it's uncut. You know, we run through the,

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Edward Berger

And that couldn't be the real trench. First of all, it's too dangerous with people underneath. And secondly, our trench would have collapsed. So we needed to build a small section of 15 feet of a fortified trench wall.

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And we talked about doing these practically. And I was very pleased with the work that they did. I mean, we did shoot real elements of the bodies floating. Yeah, all the bodies, the real bubbles, the real things like that. And all the ice is taken from elements and things like that. It's an extraordinary job of compositing all of those elements together to create this very real environment of the Arctic. And here's our key.

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This person has sacrificed their life for her, and the feeling that it creates, that's gonna resonate all the way into chapter two. But here, we now start playing with, there's gotta be a tonal shift. It's a real challenge. Yeah, we've allowed the audience to have a moment of grief. Yeah, and the story can't stop. That's the real challenge.

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Tim Burton

Coming up with a character, then seeing them all come together on the set in real life, you know, it just gives it something we don't get every day. I'm investigating. Recognize this puss? Never seen that chick before in my life or after life.

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Christ almighty, what's the uproar, people? Get the fuck out! Don't come back! No! Cory? Cory, get back over here! Back in line, kids. Time for the real Santa.

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