PRODUCTION 28 YEARS LATER
dropping you in a semi-deep hole or bog in the middle of the countryside suddenly on day three. I respect him for that and know that can happen, so now I’m standing in front of two or three people and I can’t quite achieve what he wants.” To help prepare for the unexpected alternative technique compatibility with the smartphone. “I felt that Danny and some of the producers were awaiting some kind of epiphany I would come up with,” he smiles. “I started looking at production meetings, storyboards and the geography we had to travel, as well as landscapes we wanted to see and feel, and how he wanted to cover the scenes. Danny likes to work extremely fast and furious, which I love. For example, there would be situations written in the storyboard as a rat zoom, but I thought I’m not going to give him this; I’m going to almost hand out iPhones to actors and sew them into their costumes. We had demands of the film, Dod Mantle explored additional lensing and many iPhones, actually. They are very lightweight and we were not putting any
I’M GOING TO ALMOST hand out iPhones to actors AND SEW THEM INTO THEIR COSTUMES”
stabilisation inside the camera. We had to use small stabilised systems of our own. We had multicam systems, where you had between eight and 20 iPhones placed in an array, which we could then trigger manually.” As well as relying on iPhone 15s, Dod Mantle captured the film with additional thermal cinematography and infrared. “For those shots, I used a very old Panasonic camera, which I found alongside my dear camera operator Stefan Ciupek. We found four or five dotted around Britain that could
MEMENTO MORI The use of multicam iPhone rigs and infrared footage captures the Rage- infected with a gritty, immediate realism
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