Danny Boyle

0:03a lot of that and anyhow you i'm very well you i'm doing well where are you uh... c apple c at all for the premier of the film i guess tonight i know we're going to have we do we show the film here last night always and work octagon but in an hour or so actually all while you really get around getting around yet and that's quite interesting because it's it's our role since home state we're doing the screening there in our nobody there with family and uh... it is in nazpen colorado and uh... yet with that that would be cool uh... and then we got a totally fit to where we make the film you know a lot of the captain crew that they will do a captain crew screening there and then we'll get home nice where's home for you still england i assume london monday will you mention erin rosen let's uh... let's start right there did you read his book prior to this or did someone give it to you as

0:49you know you should make a movie of this no no no i am i read i read his book in two thousand six and i approached him then actually about about making it a film in much in the way it is at the moment sort of you know that i can play the part of the what we call the first person immersive experience he didn't want to do it like that he wanted to do it a documentary then it's very clear he wants to control the voice in the film control the facts and and i can understand that i was disappointed because i have a very clear vision of how i thought he could be done but he was he wasn't prepared to hand it over to anybody at that stage really which i can't have a certain stand so we agreed to meet again another day which we uh... would you look at thanks to slum dot meh no really

1:34which was uh... i think allowed him well there was a number of changes i mean i think that made him realize we'd make a decent film and it could be quite soft we were going to cut back away because of some sort of stuff is one of the people forget that happy ending of those um... it would allow us to get finance maybe because i think he tried to get the uh... the documentary finance for a number of years and it's a pretty you know the prospect for a studio for this kind of film is very tough and and thirdly i think he'd be it's really changed as a person he'd he'd met his wife and that briefly the end of the film i think she and she it allowed him to come across someone else with the story because we said to him james and i said to him you've got to let us

2:21tell the story now where we we do want you involve the whole time but we don't want you over shadowing the film it is not an impersonation it's not a documentary james have to live this people have to believe it's happening to him you know it has to be a full experience like that and it's only that way that we'll deliver something to you that when you see it you'll believe it and you'll think okay and if you're there the whole thing we look in over shoulder the whole time and it'll be inhibited he was great and he came a few times and he helped a lot of scripts obviously in pre-production and then he came out filming with us a few days and uh... and then we put his friends in him in the end of the film and uh... and he's very proud of the film so i'd love to say i'd like to report it

3:06we've seen the film a few times now that's fantastic i hear it's the first screenplay that you've written yes i'm not really right it to be honest but i am in this one i had a very kind of such a kind of intent idea of how it might work time and christian sort of and we'd all work together on slum dog said they thought that i think you should write it first try and get a draft down and see if you can get it onto the paper you know and then we'll have a look at it and i did do that so i did a couple of drafts and thank god simon took over and i could go back to my day job and uh... you know because i spent you know all the stories writers told me about the long enough of writing as an example kind of experiencing that really it just sitting there listening to the radio making tea wandering around the house taking phone calls not writing

3:52and then you get the twenty minutes we actually write something and uh... you know that whole story so assuming you don't want to write again not something you're quite happy for other people to do it uh... the movie does take place we know we know it's it's basically just i guess that the best reference would be for people to be cast away with tom hangs is just one person film basically yes and it's a and it's curiously although it's more restricted than that because obviously having on an island to run around right it's also it's got i think i'd dare i say i think it's got come more than many from and that film because it is so it's tiny corridor that he's in the canyon and it's and it's and it's so intense experience that you feel a velocity about the movement forward in it so which is futile

4:38his physical attempts to get out and some of which is deeply significant that the way he changes his self the way he becomes to realize what he has to change in himself to make this something that he can get out of because there's no way that the uh... we'll get him out of that which is proved by the first scene when he tries to move the rock it kind of like uh... you know all his mighty power all those things that he went into that canyon with sent himself the pleasure he took in his life the independence of self-reliance you know he'd kind of like his inachiever everything's an achievement none of that's any good to him suddenly like nature into being the mixing looking himself much more deep other things that he's fleeing from tommy drives please the city and

5:27the pro and and he realizes the press simulate anything to do without pressure that he's leaving messages on this videotape he has video camera did you use any of those in the film or did you recreate them we recreate them here he's mom doesn't want the real ones used in any way enough or not which is obviously you back off then but they did they we did show them to us and they are very surprising because they're very dignified actually you expect them because of the reluctance for anybody to see them you think they're going to be very abject with it stressing that's the very dignified in which you young man clearly not think he's going to die now he's dying try to leave some messages for his mom especially that will help her

6:15or try to help a call with the agony of having found you know having discovered that he died and that's a lost will and testament on the tape describing how he called for the last few days so that beautiful messages and very tender removing because of that and so we used we recreate those with the same camera games recorded his own versions of them but a lot of them are verbatim how different is it directing an actor looking into a camera talking to an audience as opposed to just regular dialogue uh... good question thank you i learned a lot about film acting actually on this film and that was one of the things where it manifested itself most acutely i come from a culture which is quite theatrical British film acting in and theater acting is is pretty excellent as we know

7:01quite big quite theatrical and i've owned working with james was extraordinary he's one of these guys it's all about relaxation and it is not what the scene is it can be the most moving intent terrifying scene but he floats into it like a surfer work totally relaxed and it's amazing the intimacy that creates with the camera the he's there is between the camera and him and in a cinema which forty four high you can see why they recommend technique because it's not barrier all the sense of performance you know i think very deliberately perform like when he plays the child's your host it's just like it's intimate like it's looking right inside him and it's very still and uh... i'd kind of heard about the obviously you read about it i'd heard about it

7:49and a few little experience of it the another caprio i work with has got a bit of that in his well but change was extraordinary in that way and i learned a lot about screen acting from that's a wonderful screen the wonderful piece of cinema acting you know do you shoot for the i assume as you were speaking you shoot for the cinema you don't worry about for you know release on dvd and home theaters later on well i thought that they have been i mean i i i've been told not to say this but i don't think this film will work as well on a dvj no you probably shouldn't have to i shouldn't say but it's true in the cinema i think this is i think because you're surrounded by it and and you're trapped like he is you're in a black space we don't know and you're all bought into a together and you can stick through it intensity the experience i worry that it will it transfer on to dvd i worry about

8:35that but then so i do hope people can see it in the cinema yeah because it's um it's not just one to cover in the cinema it's something to happen it it's not often you get a kind of that kind of journey in a cinema film you know where you're watching something beyond just the storytelling you know i know i know we're a little low on time here so i just got a couple of questions for us yeah so we do a little game called five questions five quick questions one word answers spielberger score sazy oh lennan ermecarte so score sazy so score sazy bird yeah okay uh lennan erm to that question lennan ermecartney oh lennan hitchcock or kuberick oh for me um hitchcock or anything film your most proud no no actually no no no that's not right

9:23no that's not right kuberick yeah film your most proud of code on today don't will not and okay they don't like kids you can't do that it's really big open fair enough one word Danie boil uh speechless thank you so what's next for you you've you seemed to run the gambit of of every type of film musical no I wish yeah no I'm doing a theater play actually it but the National are's in London doing a new adaptation of a Frankenstein oh wow nice the very shally book as a theater player so that when which will open in February actually. Fantastic.