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1
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I have this really deep love for war movies, in particular World War I I movies.
2
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FARELL: We lost Germany.
3
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We lost France.
4
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- If we lose today. . . - Oh , my God .
5
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FARELL: . . .we won't get to fight another. - The film is epic.
6
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It's like the landing at Normandy, one of the turning points of World War I I .
7
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Referencing World War I I brings a reality to it.
8
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I didn't so much look at it as a science fiction movie.
9
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It worked on the most basic level as a war movie.
10
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LI MAN : Every version of the screenplay always started with a massive battle on a beach .
11
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And when I decided to make the film ...
12
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...I thought, no point being subtle about it...
13
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...let's make a massive battle on the Normandy Beach .
14
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The point is, you wanna kind of do that romantic war movie.
15
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MAN : Action !
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CRU ISE: It's inspired by World War I I even from the design , the wardrobe...
17
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...and the structure of it being there on the beaches of Normandy...
18
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...and it is a nightmare for this person .
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You're going the wrong way.
20
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You're gonna miss your moment.
21
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So we went out and sought people who kind of had that viewpoint.
22
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And we brought in Oliver Scholl , with whom Doug had worked before.
23
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We kind of looked more at Saving Private Ryan...
24
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...or these kind of movies, older war movies to say what is the feel of these...
25
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...and how can we get that into our movie...
26
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...without becoming science fiction but becoming about those soldiers fighting .
27
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So once we found ourselves there...
28
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...then the aesthetic of the movie began to really be affected by it...
29
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...and it became a very, very reality-based aesthetic.
30
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We came up with sort of a design metaphor for the world that it's set in .
31
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The phrase was "World War I I of the future."
32
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My experience making films prior to this had been one very much of shooting on location ...
33
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...in real environments, suddenly I get to England ...
34
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...and we would scout real locations and sort of sat on it...
35
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...and then my producers and Kim Winther, my first A. D...
36
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...said , you know, it would be more efficient if we built that beach on the back lot.
37
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It's enormously helpful to be on what has essentially been a back lot studio.
38
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Let's have the control , let's be able to manage with the stunts and the crane work...
39
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...and the exo-suits on a controlled environment.
40
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- That's what I like. Yeah . MAN : Yeah .
41
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When I got to Leavesden here and started seeing the sets being built...
42
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...and some of the models and some of the pre-vis...
43
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...I was thinking , "My gosh , this is gonna be gnarly."
44
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LI MAN : Three hundred feet by 300 feet, with a whole water part of it...
45
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...where the ocean's coming lapping in and dunes on the other end ...
46
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...and just this massive playground and we can do anything we wanna do...
47
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...with explosions or big trenches.
48
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SCHOLL: You can't portray the speed of a creature...
49
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...if you have not enough space to move around .
50
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You need to have a certain scale of portraying , like, a giant alien invasion .
51
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So the beach set had to be big .
52
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We had massive scenes on a beach where you have tremendous amount of guys...
53
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...in these exo-suits.
54
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And then , you have the action team that, kind of, come up with what we're going for.
55
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[ALL SHOUTI NG]
56
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I basically have two directors, I have myself and Simon .
57
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And Simon's a brilliant d irector.
58
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The role of the second unit director is to sort of come up with the action ...
59
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...dream how it's gonna look and then hopefully go and shoot it.
60
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There's CG hovercraft, CG cars exploding ...
61
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...we'll have people, we'll have a couple of people running on , really, on fire...
62
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...you know, blasting away. Flares, missiles going off, explosions going off.
63
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LI MAN : I'd say, within two days the whole thing had just turned into basically a giant mud pit.
64
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We'd see people wheeling equipment and everything was just always stuck in the mud ...
65
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...leaving the monitors to go talk to an actor...
66
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...was, like, this physical act of exertion ...
67
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...because you'd be stuck in the mud and you'd have to like, dig ...
68
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...and try to get your foot out without leaving your boot behind .
69
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S I LVER: It was a quite an incredible experience.
70
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Qu ite difficult too, it turned into mud very quickly.
71
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And so to keep the sand fresh and the set dressing alive...
72
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...and the costumes operating was a great challenge.
73
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I think the beach got the nickname The Bitch ...
74
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...by the end of the seven weeks that we were on it.
75
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I think anytime you work in sand , I mean , we've all gone for a walk on the beach ...
76
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...and you come home with aching ankles and feet...
77
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...and it's very different when you're carrying an 85-pound suit...
78
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...and trying to run up trenches.
79
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[SHOUTS]
80
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Basically, it puts you into a situation ...
81
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...where almost every single shot's gonna be a visual effect.
82
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You have to extend everything , put the armies in , put the ocean in , put the sand dunes in .
83
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And that's before you even start thinking about the creatures and additional army.
84
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LI MAN : This film was gonna be such a crazy marriage...
85
00:05:19,850 --> 00:05:23,440
...of CG characters and CG world and real action .
86
00:05:23,650 --> 00:05:28,070
And Nick really got it and really helped guide Simon Crane and myself through that.
87
00:05:28,280 --> 00:05:31,780
I'm telling Nick that the shot has to tell the story.
88
00:05:31,990 --> 00:05:34,700
So I have to see the alien come up in the shot.
89
00:05:35,330 --> 00:05:36,830
[SQU EALI NG]
90
00:05:37,540 --> 00:05:38,790
[M EN SCREAM I NG]
91
00:05:38,960 --> 00:05:42,340
DAVIS : Then onto the beach we built the set.
92
00:05:42,540 --> 00:05:45,000
Sort of 300 square foot of sand dunes.
93
00:05:45,210 --> 00:05:47,340
And we surrou nded it with green screens basically...
94
00:05:47,550 --> 00:05:51,720
...I think we had about 1000 foot of green screen out there about 30 feet high .
95
00:06:02,020 --> 00:06:05,280
We're there just to cover it, capture all the light data and information ...
96
00:06:05,480 --> 00:06:09,200
...using , you know, special cameras that give us 360 degree photographs...
97
00:06:09,360 --> 00:06:10,910
...you know, with full dynamic range...
98
00:06:11,070 --> 00:06:16,080
...so that later on the computer artists can then re-create the lighting of each sequence.
99
00:06:16,290 --> 00:06:20,580
And that enables us in post production to be able to light our digital sets very accurately...
100
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...and match the practical photography.
101
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I can basically use one reference camera...
102
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...and pan it around and see what the world would look like.
103
00:06:30,800 --> 00:06:34,430
And then you have to go shoot with these other cameras and you're just seeing green ...
104
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...but you have to sort of keep in the back of your mind what it's going to look like...
105
00:06:39,140 --> 00:06:42,560
...you know, based on the sort of virtual scout you did .
106
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The film just does not look like a CG movie because these sets were all real ...
107
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...and they really did the crazy things they do in the story...
108
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...they actually did for real .
109
00:06:52,910 --> 00:06:55,620
When you're doing the action , it's not just about doing the action ...
110
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...it's performance, it's-- You've gotta think about a million different things.
111
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It's the recovering from the event for a split second and then ...
112
00:07:02,420 --> 00:07:05,000
-...realize that this thing is going nuts on you . - Great.
113
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CRU ISE: You have to be on top of it, chase the tone and chase the scenes.
114
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Things sometimes you think are gonna work, they don't...
115
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...or things that you're not sure of actually work better.
116
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CAGE : Behind you !
117
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Look out!
118
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PAXTON : I've been in a lot of big movies that had a lot of effects sequences...
119
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...but this thing , when they start setting off this stuff...
120
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There might be 25 explosions and rockets going off in any one take.
121
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You really don't have to use your imagination at all .
122
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You're just reacting to what they're physically doing .
123
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[MAN SHOUTS]
124
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PAXTON : That's been pretty easy to play off of.
125
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Whereas the mimic, you know-- You're turning to see the mimic, well , is it--?
126
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Wait a minute. Where I'm standing , would it be like this or is it there?
127
00:07:57,100 --> 00:07:59,470
You just have to kind of know.
128
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MAN : Cut it.
129
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- Yeah , good , it was perfect. Yeah , it was fun . - Sure?
130
00:08:11,230 --> 00:08:14,360
CRU ISE: I was going back and forth within the action .
131
00:08:14,570 --> 00:08:17,530
Sometimes I'd be on first unit all night then second unit during the day...
132
00:08:17,740 --> 00:08:21,660
...just to be able to accomplish what it is we wanted to accomplish .
133
00:08:21,870 --> 00:08:24,410
CRAN E : It's great that we throw ideas at each other...
134
00:08:24,620 --> 00:08:26,920
...and , you know, it gets bigger or gets smaller...
135
00:08:27,130 --> 00:08:29,540
...but it gets better, it always gets better.
136
00:08:29,750 --> 00:08:32,800
LI MAN : Simon and I were doing the exact same level of work...
137
00:08:33,010 --> 00:08:37,470
...so those second unit days were just as valuable as my first unit days.
138
00:08:45,940 --> 00:08:47,690
SOLDI ER: Hey, sarge, the new guy...
139
00:08:49,770 --> 00:08:51,520
...what's his name again?
13375
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