But you don’t get much time at these locations free of people even at four o’clock in the morning when we shot. Cillian was in no rush, he could just walk across. One of the technical advantages of using these smaller cameras is that you could shoot a location, not multiple times, but you could shoot it from multiple viewpoints simultaneously. “We were going to call this film at one point, Hello. ) “We hired a lot of students, because they’re cheap, to be our traffic marshals.” Students stopped traffic so that Boyle could capture Murphy in an empty-looking London. Like New York or San Francisco or Tokyo, famous sites, emptied of people.
emptiness of London, of the London streets, caught on as an image. Suddenly, cities felt incredibly vulnerable. It was prosperous, and people were confident. Previously, cities felt massive and growing and powerful and invincible and answerable to no one. “I think what happened is that because we were one of the first films to come out after 9/11, people changed the film and made it about how vulnerable cities were. And then 9/11 happened.” “People changed the film and made it about how vulnerable cities were.” And the social intolerances of your fellow citizen, felt like it was almost in crisis proportions. People attacking people in other cars because somebody had cut them off in traffic. A big thing was road rage, this kind of intolerance, particularly in cities, of each other. We made this film about what we called, at the time, social rage. The s–t that’s left behind would be these consumer cameras, which were everywhere at the time. “We had this idea that the film is shot by somebody finding a camera in the debris that’s littered, because everybody’s gone. (Photo by © Twentieth Century Fox) “We made this film about social rage.” And it was a horrific, and horrifically effective world that Boyle created.ĭanny Boyle on the set of 28 Days Later. This was when shooting on film was still the norm, so grimy, tethered footage felt like a glimpse into a new world. The film was shot with digital cameras, just above consumer-level grade, giving survivor Jim ( Cillian Murphy) and his journey across a newly deserted England a rush of post-apocalyptic immediacy. The underground hit made over $80 million worldwide, and signaled a shift away from post- Scream teen slashers of the late ’90s and earl 2000s, and showed studios that audiences all over have were seeking horror flicks that bit harder. VOTE FOR THIS MOMENT IN OUR 21 MOST MEMORABLE MOVIE MOMENTS POLLĢ8 Days Later, directed by Danny Boyle from an Alex Garland script about humans mutated into speedy zombies by virus infection, was an inflection point for horror movies. In this special video series, we speak to the actors and filmmakers who made those moments happen, revealing behind-the-scenes details of how they came to be and diving deep into why they’ve stuck with us for so long. Once we’ve announced all 21, it will be up to you, the fans, to vote for which is the most memorable moment of all. In this episode of our ‘21 Most Memorable Moments’ series, director Danny Boyle recalls shooting London’s loneliest landmarks and resurrecting zombies for a new century. In 2019, Rotten Tomatoes turns 21, and to mark the occasion we’re celebrating the 21 Most Memorable Moments from the movies over the last 21 years. Watch: Danny Boyle on the making of 28 Days Later… above.
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