9/1/2023 0 Comments Captain phillips director![]() ![]() It could have been Under Siege, you know? It could have been a hero-versus-villains type film. I suspect that there’s at least three ways you could have told this story off the top of my head. Then, the film we shoot is going to resemble the film we cut, which is important. I do believe a lot in sort of holistic filmmaking, where I’m working simultaneously with the editor and Chris Carreras, my first assistant director, so we’re looking together at the whole film. And ultimately, to meticulously plan the sequence as you want to assemble it, you know?Ĭhris Rouse cuts all my films, and I spent a lot of time upfront thinking about what we were going to do in the cutting room – and this was before we shot it. It’s about planning exactly what movements you’re going to make on the set, planning exactly where your crew’s going to be, and exactly how things are choreographed. Sometimes I’ll board – and I did board considerable sections of this – but it’s a multi-faceted preparation, really. I plan meticulously – really meticulously. ![]() Your style of filmmaking is well known for feeling spontaneous and of the moment, but if there was that much planning required, was it less spontaneous and more storyboarded than it looks? But it sort of meant that it encouraged the film to be made with a ‘it’s now or never’ type of feeling. So in other words, if we hadn’t have got it in the short time we had, we’d have been up the creek without a paddle. I think it looks like a big film, but we achieved that by, really, a lot of planning and resourcing some really big moments but for very little time. And in a way, that also worked to our advantage, because we had to make bold choices, and we also had to be nimble and fleet-footed, and clear in our choices, and make them work. We didn’t have a lot of money – we were a modestly budgeted film. I mean, it was a commercial film, so obviously there were resources, but it wasn’t a big budget film. My dad was at sea all of his life, so I wanted to spend a period of time at sea. So I was never in doubt that this film should be shot on the ocean, and I really wanted it to be. We became a real crew – that’s really true. If you can plan properly, you get a real sense of all of you pulling together. You know? So those are all prodigious problems, but that said, you do get fantastic opportunities as well. The sea – how high the sea is, how choppy it is. The third thing is, you’re at the mercy of the weather. And it’s difficult to manipulate the physical landscape in front of you. So your unit is very isolated and difficult to supply. A lens – shifting it from A to B takes forever. The second problem is resupplying everything. Resetting any kind of sea-borne ship or boat just takes forever. ![]() The two key problems with filming on water are, it takes ages to move anything around, so if you’ve got to reset a scene with ten people in a room, that takes you X minutes to reset. ![]() You’re on the ocean, and you have all sorts of problems. It sounds nightmarish!Īctually – was it a nightmare? It was bloody hard work. I was just reading about your experiences of shooting at sea. But as the director explains himself, Captain Phillips is very much a story about crime and punishment for a modern age – and it’s this aspect, perhaps, that makes the film so thought-provoking as well as nail-biting.Ī fantastic film – congratulations, first of all. ![]()
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