【特別映像公開】『28年後…』デジタルプレミア配信中！【特典映像1】
Hello, I’m Danny Bole. I wanted to talk to you about 28 years later. It’s shot in a format 276 which is wide and it’s a peripheral vision thing. I’m going to talk about why we chose that format and why we want you to see it in that format. But before any of that begins, there’s this which is small enough to fit in your pocket. And it’s the only thing in this space that is small enough to fit in your pocket. It’s the script. and it often gets forgotten, but it’s actually the most important thing out of everything really. Um, some people would argue casting is more important, but to me, I’m a traditionalist and I think the script is more important. There’s a wonderful script by Alex Garland and he wants you as a director as you take over the script, he wants you to explore it, expand it, to investigate it is the word he uses. And the beginning of that process is over here. And this is the a selection of some of the storyboards that we use for making the film. And um this is where you begin to expand. You get to actually describe some of the images you’re imagining in Alex’s script. The importance of another huge element in the making of a film like this, which is location work. So we drew up this image which is described as the top of the hilltop where a character called the alpha arrives and on location we’re able to shoot without any digital manipulation at all. It’s a pure image that’s available to us where we shot. We wanted the landscapes that we use to be as pristine as possible because for 28 years there’s been very little human activity across the UK. So the fields are undisturbed, untended. And you’ll see in this that in order to achieve that, we use drones to shoot so that there was no footprint at all. So the guy who’s recording this on a Ronin is leaving a footprint. His feet leaves footprints. He’s just inevitable. And and crew tend to it’s always a problem filming on beaches or in snow. You know, the the crew inevitably and then you reveal where they’ve all been and you have to clean it up and everything like that. So we wanted very very lightweight cameras so that we could do that but we wanted this landscape this 276 widescreen approach and that creates a tension between quality and flexibility really. You want the quality that gives you this extraordinary peripheral vision with the images beautiful to look at. You can select any section of it that you want to look at, but you want the flexibility that you can go anywhere quickly and be able to shoot like on virgin territory. On the original film, 28 Days Later, we’d used very simple um domestic video cameras. They were everywhere at the time. And we thought, oh, if there was an apocalypse, an instant apocalypse, they’d be literally lying in the street. And if you were a survivor, you could pick them up and you could still see you could see what had be recorded and it would probably be evidence of what had happened or something deeply moving like the last images of someone of their children. Um, so we thought that’s a wonderful format to use it on. It was very challenging because it was very poor quality back then, but it suited the great the griiness of that film that we were doing. And we thought on this film that we were going to try and use something that’s become ubiquitous in all our lives, even more so than video cameras, domestic video cameras were back then, and that’s the smartphone. Now, this table is a smorggas board how you adapt the use of small cameras uh in order to make a feature film. Uh because you have this enormous tension between the ambition of this widescreen format and a small device, highly flexible, very little footprint that you can move around very easily with. You need a great cinematographer to in order to bring those two tensions together. The wonderful John Randle is here as well. Come in Antony, you can talk us through some of these. I had to kind of spread this out and work out how to guarantee imaging that was good enough for the film and also reckless enough and unusual enough. And we ended up with a gadget like this that even though it is very simple, my dear focus poolers can still control the image if they need to. And there’s an anamorphic front lens on it which gives a spectacular spread of imaging for the cinema. And that’s the consumer system that we use. uh we had to switch off stabilizing which meant I had to work out a way of holding us so it didn’t wobble around and shake up and aggravate either Danny or the whole image as such. So we use gimbals of different kinds. Uh this is the second version which is called the still very light doesn’t weigh a thing called the adaptive version which is a combination of the smartphone an intermediate stage which converts this sensor into a an imaging sensor capable of receiving a PL lens that means a mainstream lens could be a lens could be a lens as big as that or small as this anamorphic or spherical with filters with matboxes with stability with focus control with basically the control you need for some shots in a English summer in Newcastle or North Umbia where the light tends to fluctuate seven stops in 7 minutes and that’s what we have to deal with when we’re shooting. So we’re out in the wilds with these tools. Uh they come with eventually when we finished prep we had capability focus capability. We had telescopes that we was one of the last most recent additions to our package which is basically again a smartphone upon which we place a telescope the size of a car and that was just very difficult to use but fun to use. We had droning. This is FPV drone. It’s quite unnerving for a drone. We have to put this on and then the picture appears here and the thing’s out there flying at 45 miles an hour straight towards a al-ist actor’s face and you just have to go have live in trust. But I love that and I wanted to use that a lot because as a very important part of our palette. It’s not just like the drone, the gods POV. I wanted him to work within the axis as much as possible and become like a very dramatic character as as indeed we do every time we place a camera and we move the camera line or whatever. So this is an array of 20 smartphones um on one um synchronized board if you like which allows you to photograph a scene inside it like me inside it from and give you a real sense of 3D. It literally you you over hear the word immersive but this is an example of it. It puts you right inside it really cuz it it changes the simultaneous perspective at any point if you like and we are not allowed to show you that use on this video because YouTube won’t broadcast it apparently. None of this matters, of course, because what we want you to do is to go and see the film. And what’s important is that your relationship with the actors and with the story, but we did want to show you how we try to create a a landscape that’s worthy of your attention. So, I hope you enjoy the film and I hope you can delve into some of this maybe afterwards.
作品詳細はこちら https://www.sonypictures.jp/he/11438572
『28年後…』デジタルプレミア配信中！
アカデミー賞®受賞監督ダニー・ボイルと、アカデミー賞®ノミネート脚本家アレックス・ガーランドが再びタッグを組み、『28日後…』の世界を舞台にした新たな恐怖の物語『28年後…』を描く。
【あらすじ】
バイオ兵器研究所からレイジウイルスが漏れ出してから、まもなく30年。今なお過酷な隔離体制が敷かれるなか、人々は感染者の中で生き延びる術を見出していた。ある生存者グループは、本土と一本の厳重に防衛された陸橋でつながる小さな島で暮らしている。その島から一人の男が、本土の“暗黒の中心”へと任務のために旅立つ。そして彼がそこで目にしたのは、感染者だけでなく、他の生存者たちさえも変異させた恐怖と驚異、そして隠された真実だった。
【キャスト】
アイラ：ジョディ・カマー（宮島 依里）
ジェイミー：アーロン・テイラー=ジョンソン（津田 健次郎）
ジミー：ジャック・オコンネル（小野寺 悠貴）
スパイク：アルフィー・ウィリアムズ（杉山 里穂）
ケルソン博士：レイフ・ファインズ（岩崎 ひろし）
【スタッフ】
監督／プロデューサー：ダニー・ボイル
脚本／プロデューサー：アレックス・ガーランド
エグゼクティブ・プロデューサー：キリアン・マーフィー
字幕翻訳：松浦 美奈
吹替翻訳：石川 千秋
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