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Dunkirk IMAX® Behind the Frame

September 18, 2019


where are we going? Dunkirk There are 400,000 men trapped in one place on a beach that backs to the
sea the enemy closing in on Alden and it’s just a matter of time before they
face surrender or annihilation the fact that
this story does not end in either surrender or annihilation this all makes
it one of the greatest stories in human history I’m not going back there’s no hiding from this son we straight away started talking about a big format we have big law for the big
four months I mean especially IMAX you know it’s a very visceral window to the
world you know in many ways it’s the best format out there if somebody had
said to us six years ago you know go off and make a film about the evacuation of
Dunkirk using only large format cameras I think we would have thought that was
an insane thing to do but because we’ve done so much of that work on
interstellar and the direct movies we were equipped to do it
and you know we’re able to maximize the format and really get everything that we
wanted from it seventy something percent of the film is the full IMAX
format because it is the most beautiful way to watch a movie it’s a treat if
you can see it in that format the immersive quality of the image is second
to none we really try and create the sensation and that I would describe as
as virtual reality without the goggles a huge challenge is the size and weight
of the cameras so our feeling was if we could find a way to do it physically the pay
off would be well worth it I really wanted to make that camera work as any other
camera you would use you know handheld and it is very sort of intuitive and
impulsive way that you can use a film camera with the storage structure on
dunkirk you have a lot of different points of view so rules you know in the
cockpit, the spit fire up in the air always down on you know with the guys
on the beach and in water with them on this yacht crossing a channel we
started to invent stuff to make it possible for us to put the camera on
planes and in the cockpits engineering special lenses that would put the lenses
in certain places where it was impossible for a camera to be it was
massively important to us to do that because we really wanted to be able to
get our actors up into the air the shots where you see one of the actors in a
Spitfire and then just beyond them another Spitfire there’s really no way
that you could create that in a computer you always end up thinking about things
that are impossible and then you know trying to make them possible we made it
work these amazing massive cameras a very very visceral experience a really
tactile experience of being there in these events the audience really gets the
benefit of that large canvas particularly in IMAX I think audiences
are really going to feel the Jeopardy and the vulnerability that they felt put yourself in a seat in IMAX theater and you look at it you know
you see what it does to you you see what it does to your emotion I just want
people to be completely blown away with what they’ve just seen I want to give people
a really intense ride really put people there allow them to feel what that
experience would have be like you

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