In 2001, Danny Boyle had a problem. To make his new postpocalyptic horror movie, 28 days afterHe had to capture pictures of a Cillian Murphy, who strolled through the abandoned streets of London. Closing the city was not an option for low budget production and it was also not created in a study. Instead, the 68 -year -old director made an amazing choice: he was filmed with light and low resolution canon digital cameras. The technology, which at the time allowed to record scenes in iconic places such as Westminster Bridge and Piccadilly Circus in less than an hour each. Also gave 28 days after Its look so great that the film still stands out today.
Almost three decades later, Boyle faced a similar dilemma. As suggested by your title, 28 years after It takes place exactly 28 years after the initial outbreak of a “rage virus” similar to zombie. Abandoned by the rest of the world, a United Kingdom in forty has returned to its natural state, even when the pockets of humans and zombies survive. To bring life to life, Boyle relying on light cameras to film in places that he would not normally be able to. But this time, the location was the unmantled desert of Northumbria and the camera was an iPhone.
“Filming with iPhones allowed us to move us without large amounts of equipment,” Wired Boyle tells. “Much of Northumbria seems to have been seen 1,000 years ago. So we were able to move -quickly and slightly in the fields of the countryside that we wanted to preserve its lack of human imprint.”
28 years after It is a time of full circle for Boyle, in more ways than one. The original film turned its director, better known at that time for dark comedies as Trainspottingin a gender author. But in the decades since then, he has resisted reviewing this post -apocalyptic environment, Mostly sitting The 2007 sequel 28 weeks after. His return, partly caused by the Covid-19 Pandemic, which brought Boyle to life on a empty London, takes the franchise in some amazing directions that both set up a All the new trilogy And he manages to tell a beautiful story about life, death and the bonding between the father and son.
For Boyle, these were valid reasons for re -aminating the world he created with screenwriter Alex Garland. But there would never be the wrong time to make this movie even if the calendar feels especially face -to -face in the context apocalyptic reality.
“There has been no decrease in appetite for apocalyptic stories,” says Boyle. “Whether we are in the worst of the moments, I do not know. Certainly, the horrors of the world have not declined since we did the first movie. If there is something, they have worsened and bleed in the movie, whether the horrors of the war or the horrors of the infection.”
Faced with the film’s release, Wired spoke to Boyle about Why Now was the perfect time for a sequel, the advantages and disadvantages of shooting on the iPhone and why he couldn’t wait 28 real years to launch 28 years after.
“The time of the poor man’s bullet”
By the beginning of this month, On published a look behind the scenes 28 years afterrevealing a massive platform capable of pointing 20 pro max cameras from the iPhone 15 (all equipped with special accessories) to its theme. Boyle explains how this smartphone matrix, organized in a middle circle, allows the director to capture complex action scenes from various angles at the same time.
“It allowed us to do what is basically a bullet time of a poor man,” he says, referring to the pioneering effect The matrix. But while The matrix He used Bullet Time to visualize his combat that challenged Physics, Boyle’s goal was to capture the brutality of his world. “We use it for violence. It was surprising and unexpectedly represented sometimes.”
