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"WILD YEARS-THE MUSIC & MYTH OF TOM WAITS" BY JAY S. JACOBS

AVAILABLE IN BOOK STORES EVERYWHERE!

 

DANNY BOYLE

STANDS IN THE SUNSHINE AND QUESTIONS THE FUTURE

by Brad Balfour

For gonzo British director Danny Boyle (the guy who created such a generation-defining film as Trainspotting and who redefined the zombie freak-out with 28 Days Later), making a film like Sunshine required a different set of muscles than used with his other films. The pace was more deliberate; the characters couldn't be so overtly quirky. Yet the film still had to have his visual pizzazz and cast of unique characters. 

And the film had to make some kind of sense to make it properly science fiction. So he chose to create a world 50 years in the future so in panic to save itself from a dying sun that it has sent two expeditions carrying massive world-shattering bombs that are meant to re-ignite the sun. Though the first ship was lost, the second hopes to make up for its failure and save humankind and the solar system. 

For such an ambitious journey, Boyle applies his fascinating vision and unique style of storytelling to keep us guessing while still fashioning an instant classic of the spaceship drama genre. 

Are the elements to making a good science fiction film different from just a good film? 

I've never heard that one before. I guess the truth is they break down into three things, which is a ship, a crew, a signal. They all break down into that at the moment, and until we colonize space, I think they probably always will. There will always be a steel tube with a group of individuals that represent us, trapped inside of  it. Then on their journey, something happens. It's a signal, changes everything. It gives them a big problem, then they move or not, or what do they do. And it's weird, when you look at them, so many of them break down into those basic ingredients. 

At the moment I think that's probably what you need. It's a particular kind of sci-fi. There is another kind of sci-fi, which is Star Wars, Star Trek – which is literally fantasy. Anything goes, you can do anything you want, really. But [Sunshine is] the stricter kind of space sci-fi. It's basically still predicated on what NASA is doing.

It imagines that [they] eventually will be going this far. 

I'm a big science fiction fan, so I saw 2001, and a lot of films like that. You mentioned the limitations of the genre that you didn't necessarily expect. Was that a great challenge for you? 

The relationship you have with these films is constant. You try to forget about them as a director when you get up and shoot the film. But the aura is there, hovering around, and every direction you turn, they've been there already, they've tried that. That's really frustrating, on the one hand. 

And you realize quite quickly how narrow it is. Much narrower, say, than the zombie tradition, which you would think was a much more narrow, more specific, tradition. Not at all. You're quite free to do anything you want in a zombie movie. Not so in space. If you try certain things differently, they don't work because they literally undermine the film. You have to go back to the original. It's not like a risk moment, where you risk the film. 

What were some of your influences? 

The great ones [everyone knows] are a huge inspiration [like Alien, Blade Runner, etc.]. You remember the first time you saw them and the effect they had on you, the spell of them. What's interesting is that there's very little humor in space. We tried to put a lot more jokes in. We managed to get a few jokes in, courtesy of Chris Evans. He has a couple of moments. 

Apart from that, forget it. It's absolutely that bone dry like that. And you think why is that? And of course, it's because it’s such a hostile place. Everything out there is just poised to kill us, and we're protected by this little steel tube. Everything is fragile. Everything is right on the edge. You've got to take it very seriously. 

Why did you add in the radiation-scarred insane mad-killer Pinbacker character? 

It's introducing him into an otherwise realistically based film. Otherwise, it's an extreme psychological element, really. In a way, he's a character. He's based on the guy who piloted the first ship, who has had this transformation. But actually, he's a psychological challenge to the sanity of the crew members, who still exist when you meet him, if you like. That's the thing that's always worked for me. And when you go to the surface of the sun – as we always used to say – it's not a tea party. It can't be a debate. This isn't a debate. This is the surface of the sun. 

You have to represent that in some way, and we represented that with Pinbacker, this guardian of the gates of heaven or hell, whatever you want to call it. He stands there as a guardian at the gateway. I wanted to depict him in a way that was as extreme as I could do, which I could do technically, which is this blurring, this stretching.  I wanted him to feel that, literally, the protons and neutrons that make him up had been reorganized somehow – that he was no longer recognizable as a human, except that he is still speaking with a human voice and he is captain of the first ship. 

This film is paced and edited differently from other Danny Boyle films. Why was it paced much slower than your other films? Was that important to you? 

You can't do it any other way. We tried. It's one of the disciplines of this kind of film:  if you want it quicker, you cannot believe they're in space. You do not believe the journey. It's absolutely extraordinary. And we tried a love story. You try all these things and they just don't work. As a director, you sit there as if you're on the audience's behalf. 

Early on in the process, we just slowed it down. It's a risk, especially with modern day films. I remember when [director] Ridley Scott said he didn't think that Alien would work when he released it, because the first 45 minutes are so slow before anything really happens. I don't think the film would work unless you ran it at that pace. It's eternity, endlessness, isolation; all the ways that you represent that. You have to take that risk. 

You didn't think the challenge of having a relationship happen between, say, Rose Byrne and Cillian Murphy, would have worked as an interesting diversion or distraction? 

I liked their relationship. I think they do have a relationship. But when we try to physicalize it, in any other way, it was just like embarrassing. When we tried to have them kiss, we had a great sex scene worked out in the garden. It was a perfect place for them to have a great sex scene. It never, never worked. 

Casting is critical to these films because of that sparse environment, you need a strong cast to carry the film. And you really came up with a hell of a cast. [Hiroyuki] Sanada and [Cliff Curtis] from The Whale Rider, and other people one might not have expected. Chris Evans is another actor where we find out there's a lot more to him than has been realized. 

He's a fantastic actor. He's very underrated, I think. I've got a very unusual perspective on him. You know the way actors always bore on about people only knowing them as one thing. And they're always moaning about success, you know, like they're trapped in a successful franchise. But I saw it really from his perspective this time. My impression of him was from his audition. Then Fantastic Four came out, and I could see why other people wouldn't want to cast him because Fantastic Four boxes him. But he was so much more, really, and it was easy for me to cast him. 

One of the great things about these movies, one of the freedoms it does give you, is casting, because they usually shoot ensembles. Stars on the whole tend to look out of place in space – with the exception of Tom Hanks, of course, in Apollo 13.  Obviously the first Alien film is a great example of it. Sigourney Weaver emerged out of a pack and nobody knew who she was. So that gave us the freedom to cast internationally, to cast favorite actors and get together a good mix of people. Race and nationality are not important in space. It's the only place where we've managed to make [it neutral] on behalf of all mankind. So you can keep that, cast anyone you want, that's not an issue. 

Michelle Yeoh played well together with the other characters. What clicked about them? 

We got them all to live together, which I think helped them bond as a team. There was no trouble with them at all. And normally, with a bunch of actors over two or three months, you always get a little bit of tension. An affair goes wrong or something. Nothing on this. It was really calm, peaceful. They were very good, yeah. 

The choices you see here – Hiro Sanada, who was a samurai. 

I just wanted that guy, the sacrifice thing. I wanted a Japanese captain. Finding him was amazing. He made a film called Twilight Samurai, and it's a most amazing film. His performance is amazing. 

We're all hearing about global warming, the effects of what's going to happen. But in your film, it's the reverse. There's not enough sun, not enough warmth, and we are a big ice ball here. Was that intentional? 

Yeah, when we started like three years ago, you could see clearly the obsession of the world now was going to be, quite rightly, on global warming – or climate change, if you want to call it that, because it manifests itself in very different ways wherever you are on the planet. But we decided to look the other way. It's counterintuitive if you just go, don't look that way, look that way. It's still relevant, I think, because the film makes you look at our relationship with the star and how precious and how fragile existence really is. It stops it being a film about blaming ourselves as well. Because global warming, you have to point the finger at us, really. And lots of people are doing that, quite rightly. 

Weren't you worried about being called on the carpet for the very science of this, not because the problem isn't the global warming? There really isn't any real indication that our sun is cooling that quickly. For a star to cool that quickly it would involve a cataclysm that would have destroyed everything anyhow. What [was] the logic of it? 

Well, what's extraordinary about it is how little we've changed and how easy it would be for it to change. It's extraordinary. You know why it gets colder in the winter of this planet? I thought it was the tilt of this earth. You tilt away for six months. It makes you cooler. It's not. It's just the fact that there is less surface area of the planet exposed to the sun to absorb the heat. So you don't heat up as quickly. 

Is it the distance of the orbit? 

Nope, it's nothing to do with that. It has to do with the tilt and the amount of surface area of the planet that's actually exposed to the sun to warm it up. But there is something, sadly, something could happen to the sun in the meantime, that would affect our relationship with it. I don't think that we'd be able to do anything about it. Certainly not now or within the next fifty years, it looks unlikely. Something could happen. If it does, it's more likely to be a magnetic pulse, which will just wipe out life on the planet. We won't be able to do anything about that. But we've gotten through four and a half billion years with it, so we should be okay. 

Because you made it a point of discussion about life on earth, you didn't want to contrast what that world was like 50 years in the future. Did you make it a consideration? 

No, we always wanted to. There was a big discussion with the studio because I think that, in conventional terms, you should really cut back. If you wanted to make it more of a disaster movie, you'd cut back to earth and show children freezing. But we didn't want to do that. We wanted to keep this one moment to be just the end moment of the film, when you got back to work. We didn't want the film to be made as a disaster film. We wanted it to be more a psychological film about those people rather than a disaster movie partly set on Earth. 

What didn't make the final cut and will we see on the DVD? 

There's some good stuff on the DVD. There's a different kind of ending. There's one different ending, which there usually is with my stuff. There's a different strange ending. There's a different ending in there we shall see which isn't, effect-wise, completed, but you'll get the idea of it. And there's a few scenes, not very many scenes actually, less cut scenes then I'd normally have. There's lots of documentary bits and pieces about how we made it and how it was done and all that, which I think really is interesting because it takes you through the whole process of how you make a film like this. 

I have my own alternative ending; he comes back to Earth and finds that the Earth is already destroyed. 

So there is an alternative ending. 

Will you do a commentary? 

I've done a commentary. 

Will the writer too? 

Alex hasn't done one. Brian Cox has done one, the science advisor. So he's done one on the science point of view. 

I loved the score. Can you explain about that sound? 

I work with this band, Underworld, and I had this idea right from the beginning that they would do a pass across the whole film. I said they could do whatever they wanted. It wasn't prescriptive. I just wanted them to watch the film, experience the film, and basically jam to the film. And they did that. It took the pressure away from them as to should they be conventional composers. They just did it. And I gave it to John Murphy, who is my regular composer, and he shaped it into the more professional score. And I'm very impressed with the score. I think it's really original and different. It's one of the moments that we managed to do something our own way. 

Are you surprised with how this film has been doing in Europe? 

I was a bit disappointed, to be absolutely honest. It did do well in Australia – I think because of Rose, actually, who's becoming quite a star. The biggest surprise for me was Britain. They blamed it on the weather. It was a really hot weekend that week and the following weekend. It did nothing – well, not nothing, not horribly, really. But it wasn't what I was expecting at all. It's disappointing, but you can't let that kind of stuff affect you. You have to plow on. I learned that. You have highs and lows, in terms of box office. Later on, they don't mean anything. 

I remember the reception in Britain for 28 Days Later. Even though the box office was high, the critical reception was really negative. People regard it as a trash genre film that I shouldn't be doing. But in America, where it was looked at properly, people all started changing their minds. So you keep your own perspective on things. 

Do you think that has to do with how intelligent science fiction is received nowadays versus big-budgeted action films? 

It's certainly a particular kind. It certainly requires patience, like the pacing in the beginning. We tried constantly to make it intelligent, and I don't apologize for that. Fortunately, we didn't make it for 150 million dollars. It still will make its money back very reasonably. 

Any more sci-fi films in the making? 

The [next film] is called Slumdog Millionaire. It's written by Simon Beaufoy, who wrote The Full Monty" Wonderful writer. He's based it on a true story of a guy, slum kid, uneducated, and who goes on the Hindi version of Who Wants To Be A Millionaire, and he wins it. Now the Hindi version of Who Wants To Be A Millionaire isn't like here or in Britain; it's really tough. In India, they have this whole class of really educated people but they don't have much money. But they're professors. They all target the show. It's a lot of money. It's not like they win a million rupees. They actually win a million dollars, which in Indian terms is like 50 million dollars. 

So this slum kid goes on it and wins it, and the film's structures shows how he knows the answers to all the questions. But the real reason he's on the show isn't to win the money, it's to get back into touch with his girlfriend who he lost and she's a slum kid too. So they don't have mobile phones or anything like that. All he knows is that she watches Who Wants To Be A Millionaire religiously. 

Whatever happened to that film Alien Love Triangle? 

Well, the Weinstein Brothers are taking it to their new company and they've got it. It's amazing. It cost $2 million. Not a negligible investment. 

Will they put it out on DVD eventually? 

We were hoping to have it come as a charity DVD. I think they're hoping I will complete it, or we'll do a film together and I'll put it on the DVD. It's really nice, and got lovely performances from the three of them – Kenneth Branagh, Courtney Cox, and Heather Graham as an alien. 

What makes a good Danny Boyle film story? 

I like extremes. I'll do anything. I'll risk everything to get that extremity. I am aware of that. I remember when we did Trainspotting. There's a sequence in it where he goes down the toilet. People now speak of that scene with great love. People really love that sequence. I remember when we were planning it, people said, "That's not going to work. People won't believe it. You're jeopardizing the whole film."  But I always do those things anyway. 

There's a sequence in The Beach where he turns into a cartoon character and people would say exactly the same, and they were right [laughs] because I think a lot of people just went "oh, no" and they couldn't take that at all. 

But you've got to stay committed to those extremities. I think people don't go to the cinema to see timidity. You've got to see boldness. The risk taking is everything. Even if you destroy the film in the process, that's what it always is to me.

CLICK HERE TO SEE WHAT DANNY BOYLE HAD TO SAY TO US IN 2008!

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Photo Credits:
#1 © 2007 Alex Bailey. Courtesy of Fox Searchlight Pictures. All rights reserved.
#2 © 2007 Alex Bailey. Courtesy of Fox Searchlight Pictures. All rights reserved.
#3 © 2007 Alex Bailey. Courtesy of Fox Searchlight Pictures. All rights reserved.
#4 © 2007 Alex Bailey. Courtesy of Fox Searchlight Pictures. All rights reserved.
#5 © 2007 Alex Bailey. Courtesy of Fox Searchlight Pictures. All rights reserved.
#6 © 2007 Alex Bailey. Courtesy of Fox Searchlight Pictures. All rights reserved.
#7 © 2007 Alex Bailey. Courtesy of Fox Searchlight Pictures. All rights reserved.
#8 © 2007 Alex Bailey. Courtesy of Fox Searchlight Pictures. All rights reserved.

Copyright ©2007 PopEntertainment.com.  All rights reserved.  Posted: July 27, 2007.

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Copyright ©2007 PopEntertainment.com.  All rights reserved.  Posted: July 27, 2007.