Roger Deakins, SAM, Georgia discussed on The Q&A with Jeff Goldsmith
Rashly always so we the the we spoke a lot about the dais in this film. And how these should be random and on Herwig in accidental. Because because that's what the research that we found it in the stories that sums Granville are told them it was always very much like hey I would have died but it landed ended three inches that we in the my next turned into pink mist. It was never a can of like glorified sort of idea. It was it was never going to be pretty or or kind and a powerful we wanted it to be just like shocking and sad and make you angry. I am and so we knew it was the only other. The thing we ever spoke about was him randomly shot by a sniper. But it was. I think I think I tried that in a very early treatment almost draft and it was it just was too quick and it was interesting because you see the actual death in struggle. It's off screen because Scofield's going to get water at that point. Yeah when did you realize you guys were going to do that. was that some perceive. You think about reality when something happens you. You aren't usually watching. It usually happens just to say that when you go like Akashi go shit did you see that. No you didn't see it. You saw the aftermath with over and so that again that was to make more real and also if you had been watching you see him pull the knife. Oh no no no do something meet them. It would make you angry at the characters whereas is this is just chip bad luck and the chairman that they kill. He's not bad guy like he hears them. Seeing we should put more of his misery. He wants to live. There's no villains in this that the other the thing about this story was the real rule of everybody's the heat of of their ensuring everyone. The meat is going somewhere has been somewhere is trying to do the right thing. There was never a body into tame became the enemy tangling and speaking of time. One of the rarest things is that you guys had six months of rehearsal which is almost unheard of. And what you did was you did rehearsal with Sam with the actors and you told me that you guys even laid out. Cardboard boxes sometimes to represent the trench walls and out of that grew a sense of location. A sense of what they were going to go through. And then Roger Deakins would show up at the end of the day and you guys would would walk through with him. What were some of the things is that you learned about your script in rehearsal and what were some of the changes? If there were any fluids changes I mean we were constantly structurally. The script has never changed since the table that we sat down and did the point is the exact same structure and I don't know if that's ever ten and before. It was genuinely startling. When I realized that I am but we were constantly presently working on the dialogue on the exposition on the movements in the scenes on the patterns of the scene because sometimes by the nature of the way this would be short? There there would be two lines of dialogue or two reactions that you wanted but the camera couldn't do this because that's that's just just bad choicer so then then it involved rewriting the sheep of the seasons so that you could get both moments I am. There is lords of changes but they were all microsurgical changes and a lot of it was bringing the characters towards awards Georgia Dina's Jordan Dean. Were moving towards the characters to find the middle ground because when you race off you have an idea of the people in your head and then I think what you should do as a writer director. Whoever you ours ours is actually released? The idea and work with what's in front of you and mold something together like filmmaking. She'd be collaboration. Like that. That's the true pirate Ov- it was her moment almoner a piece of dialogue that the actors suggested that surprised you that that you're kind of like why didn't they see that or of course you're a great actor. Thanks for thanks for this great moment and you probably too many to mention. I'm too narcissistic to remember. I am smart. Obviously I know there's lots of moments. There was loads and moments. I I mean the the sort of actually a lot of the time the actors were so good I was trying to co my dialogue like an and that was all the way through that was from rehearsals all the way through the show I was constantly being like. I don't meet this. These Georgia student with his face. I am Ordine. Dina's done that so beautifully into the resolution moments where I was like lace lace lace lace. which is I guess pre? We're not narcissistic. We'll obviously it's people know. This was not shot in one day even though. Oh it's I know I know. Hey we're in this section. To my knowledge he was shot in sixty days and and we talked to the editor and backstory. All about it and he he talks us through it but the thing that I want to focus on for second because this blows my mind. It's also so rare and so unique your process. Yes Kristie and Sam wrote a script but you then confound yourself writing a second script a technical document the second script of nineteen seventeen is something that you and Sam and Roger Deakins Gins worked on so that they could have understanding for all. The very complicated camera moves setups and lighting green screening. That we're going to happen. Tell us about realizing that you needed this second document. So I believe that you should never put cameras rations a script because I think a script should be an emotional document it it should. It should tell you the Ark of the film Highland audiences made to feel shouldn't and as soon as a when I read the script and I read. We're close. We are close up I to close up. I'm like Oh. Yeah Oh yeah. I'm reading the script and it bugs. The show me am swab believe and I would fight every Kenneth Director Tooth and nail to keep any any sort of camera movement. Also I can tell you. The camera moves in the script. With words for instance if I want close up I can see a tear rolls down her cheek and you instantly feel very close and intimate with that character. And that's how I believe you should write. I don't need to I'm not cinematographer. I shouldn't be doing that. Because Roger Deakins GonNa come in and do it next I am and I think he might be better than me. I'm not sure I'm I am quite sure I am and so yes so there was there was never ever are going to be technical directions and the script. The script was was only GonNa read like the camera so there's one long spilling dialup. It was never technical. I am so we needed. When we had kind of formed the scenes and by the scenes I mean even the actual? The cardboard box is what we were trying to news. We're trying to work out. What's the sheep of room that were in the allows us to have the most interesting route through that allows you to see the most and that creates a different atmosphere from the last time? He's been so even though we were playing cardboard boxes we were actually being very adult screwing up about it. It was very technical. Dennis Gassner was involved. You know he's production designer. Who's just absolutely incredible? He's also quite good at his job. A bunch of them were really good. They're just goes. I am shocking. I'm so so we we. We had this the sort of need to have a technical document and saw Jeanine Tongren. WHO's one of the producers and Roger and Salmon and everyone sat down and started drawing plans of the locations and then we had like this planet locations and then there would be certainly dialogue and not technical document? Where we this this lane of dialogue would be said at this exact spot an and that's what we would see this this this and this is the camera movement and the scenes? We'd be like a red line for camera a Blue Line. I'm for George Green Line for Dean just slowly. And surely making I exact map of the pathogen retake because what we were trying to do especially no-man's-land for for instance you can smash everything into Newman's lend because there has to be a form in shape to it so when you actually look through it into very specific things who there's the the bet before the first wire with dead horses are is kind of like sort of a safe space that you could you could be in there and knock it sure. And then there's two rows wires wires. And then there's the Boeing Chop and then there's all that kind of stuff and then when you go into that creature. The be a software engineer like sue we needed to add form and structure to everything partly the ads being the descript because otherwise I just break more mud and some more mud no and someone might and he falls. What's interesting that you're talking about that because at the same point that you had to write that scene where they're walking across the huge crater the water in it? Yeah but it's a very tense moment. The camera glides literally over the top of the water and I would guess directions like that would be the technical script not in the script so I think I can't remember exactly what I should have read it before I came in i. Am I think in that I described what was on the water as we move across the CDC the pages of a laser and stuff like that so I was just reading their movement and anything that would give you emotional resonance but then the the actual. We're the creams. We're going to be in the wire and hired the exact path of the camera and Wayne it would be handed off from the two groups onto the wire and everything was all on the table document wherever he blamed as in the technical document. Every blend of each each edit swimming would you have. Would you know what you're in day point is like Daytona and this is where the scenes GonNa end and this is where we're GONNA pick it up on Dale often. Some some of them are just obvious. Some of them are. He's into adult he's cart. Let's wipe it. I am but then some of them are lazy. Sylvie sue when they're after they committed the quality and they're not the tree in their Tori but the the rat biting off the guy's ear. We knew there was gonna be a blender but we wanted to in the middle of the students to the office because if the story ended and they were like blend you know what I mean so there is some walked behind a tree their rates several trees which if there even Venus when well. Here's here's here's what strange. Here's what strange. I've seen visual scripts before and sometimes they're like another layer on top of your normal screenplay. You told me that this was actually only forty. Five pages didn't just take your one hundred ten. Whatever kneeling script and put stuff over new? How do you arrive at doing it? That way is just to forty five dollars clarity. Simplicity this was a document that everyone on say. Add to. Have you know from the cameras. Stola we opt to the producers. Everyone not to have some people say hadn't read the script because the script was secret and so had had to serve as a document technically allowed people to achieve. I mean almost impossible. Every is what we're trying to achieve on this and I like for instance in one of the shorts were school. Food is walking down to the frontline towards the end. We Google from steady cam onto crine so like the to grips left onto the crane. It goes down on the crane. Lifted off the crane down into the train onto another clean on the other side of the change. This kind of stuff you can work out on the d the grips Gary and everything. We're pricing it. Luckily for months while we were Harrison in the script they were Harrison moves. I am and so the technical document needed to be there for every single grip so that they would turn up in the. Oh yeah this is the we move it from four KRIENS. I saw an early screening of an Roger..