And I don’t expect the script to be anything more than a guide, basically. Obviously, you know the script, but not off by heart. But to answer your question, you put together a team you really trust, that you’ve worked with before, and you work out the problems, you know? But technically I had to work out, as soon as I could, how we were going to do the night shooting at sea, which the script calls for – practically no lighting, just the lighting from helicopters and boats, things like that. We sat there discussing how we’d do it, whether it was possible with the logistics of the ships, how we’d build the skiffs, training people, what the personnel would be like – that’s all the basic stuff you need on any film.īut then you sit next to someone like Chris Carreras, who’s a genius at organisation – in a real world situation, like with boats and support deckings, and moving huge navy ships through the sea at night. So we travelled around the world looking for locations, and we originally started in New Orleans – which was a non-starter, really, but it was presented to us. One of them, at this stage, was Chris Carreras, who’s the first AD. Well, when you build up a rapport with a director, there are key people you need by your side – certainly from Paul’s point of view. So how did you begin to plan for it from your end? Logistically, it must have been very difficult to organise. So I guess that was my first reaction, yeah: how are we going to do this? It’s not in my comfort zone as they say, you know? But we’d work it out, I was sure of that.
CAPTAIN PHILLIPS MOVIE SKIN
Even if you know the outcome of this standoff between the pirates and the US Navy, the characters and the performances make Captain Phillips a must see for anyone who appreciates high intensity in their action dramas.I just spoke to a colleague, a cinematographer, and he said he remembers me saying, “I don’t know what I’m letting myself in for.” It’s all shot at night, it’s going to be shot at sea, I’ve never done that before, there are all these different skin tones… all that stuff that cinematographers tell journalists. He tells a rival that he might be skinny, but he's no coward, and his bravery, albeit misguided, is there - in the way he's unwilling to let his bigger, angrier fellow kill any civilians, including Phillips, and the quiet, calm way he explains that he's a fisherman without fish, implying that this life of piracy is what his warlord bosses expect of him. It's no surprise that Hanks is a master of the craft, so what's truly amazing is how good the young Somali actors are, particularly Abdi as the leader of the four pirates. The cinematography, the editing, the score - it's all set up to make your flight or fight reflex work in overdrive, as you identify wholly with Hanks' middle-aged commanding officer, a man of honor who doesn't suffer fools and who is afraid but still willing to deal with four young pirates holding deadly weapons at his heart. But Greengrass is like Hitchcock or Spielberg he's a gifted storyteller of this genre of movies so intense you bite your nails down to the quick and can't settle your heartbeat.
Some moviegoers may have trouble sitting through another of director Paul Greengrass' in-your-face thrillers, where every moment is fraught with anxiety and dread.
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