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April 10, 2007

SUNSHINE

Hier ein Interview, dass ich mit Danny Boyle anlässlich des Cast & Crew Screenings von Dannys neuem Film Sunshine (Deutschlandstart 19.4.) in London gemacht habe:
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SCIENCE/SUNSHINE

J: If you would have made a movie about science it would maybe not interest anybody.
D: Yeah, science can get very dry. You have to be carefull about that to keep it exciting and thrilling. Science is very tuff and thats the problem they#ve got, to make it more s... appeal more accessible to people. So the people want to be involved with it, that its ok to be involved with it.
J: Kids run away from it, because they may have the wrong picture of science?
People seem to be scared about science being made by old men and being military. Sunshine drops the topic, that we might even have to build bombs to fight nature, because nature is fighting us, is that correct?
D: Defenitely, it has got this for me amazing idea in it about the arrogance of science in which we are all commited to that.
We cant pull back, all our eggs are in the science-basket. We said, were going down the road of science, science is going to improve our lives, so were fully comitted to it, so if we are hit which a huge problem, like nature turns on us, its science, that is going to solve it for us, by exploding a bomb near the sun, or firing these missiles on meteorites, they are developing already. If there is going to be a meteroite hitting the earth, which is plausible, within thousands of years, they are going to build this rockets, that are fired at it and stop it. So its very interesting to make a film about these scientists and how arrogant they are and they have to be. They have to say. You go: You see that sun is dieing and they go: We can change that thing, and you go: What? That staggering incomprehensable size and you think that you can it and they go: Yeah.

DRAMA/SUNSHINE
J: The most people I have seen the film with and me myself were trying to puzzle up the drama in "Sunshine" because on one side you say, we got to fully go with the science thing but on the other side it asks some questions on the way there... when they have to decide: would we kill somebody for that mission?
D: Yeah, we had a rally on that with brian the other night, we had a drink after finishing the day and he said: Look, nuclear power is a good thing. He said, if we have nuclear power, we can feed africa, we can get Africa all the water they need, We could give Africa everything if we would
have nuclear power, and Cillian said, because he is irish said: What about the Irish Sea? - We got a problem, there is a nuclear reactor on the coast of Northwestbritain, and it polutes the sea, across to Ireland, and its terrible. U2s Bono is doing a big thing about it with Greenpeace, to get them to shut down this reactor, because its poisoning the sea. And he says: What about the Irish Sea, it is poisoning all these people, and he says: Its only poisoning a few hundred people, its only killing a few hundred people, and yet you could save millions of people in Africa, surely thats worth it. And they become very cold eyed about it like that. In the film its like, its better to kill one man to save all mankind. But the problem with it is, is that thats what Stalin said of course, 20 million people?
Nothing, Which would be at that time half of North America, we will move all these people and he ende up killing 20 Million people. Because you can't,
once you go down that road, you can't stop of course.
I love that scene in the film where Rose (Cassie) says: No, I don't!
J: Yeah, one of the emotional moments of the film.
D: One of the best scenes for me: No, I know you are right but I will not agree. Which is also humanity, this is the balance to science.
J: She is a bit like the mother? She does what you expect your mom to say, right?
Where she goes: I know that it would be the correct decision, but its the wrong thing to do.
D: Yeah, thats true, a very good scene and she played it very well. We trained them, We tried to train them in the rehearsal, you dont see it that much in the film, but it is there, watch it carefully, we tried to train them to look at each other in a quite pittyless way. So if you make a mistake, like Danny makes, the guy who plays Tray, they look at you and its like, really cruel way of looking, its like, there is no forgiveness: You dissapointed me, you know, you havent come to the standard, that we expect.
J: So you developed also a way of how scientists on a spaceship would communicate with each other apart from the scientific language?
D: Cruel very cold, quite coldhearted in the way that they expect. They are all Michael Schumachers, they are literally all the top people, they can be God.
We talked about Schumacher actually as a reference point as an Alpha Male, absolutely remorsivly uncompromisingly brilliant. You know and that, they where also acted from their individual fields to be that person.
J: Also everyone of them must have understood that the trip is probably suicidal.
D.Yes.

SCI-FI/SUNSHINE
J: In the beginning of the movie you get a bit of an idea of how big the sun is, we are nothing, right?
D: Yes.
J: Does Sunshine redifine the Sci Fi Genre? It seemed to have gotten a little to fancy everything, right, or fantastic, if you like?
D: What we thought was, that there is two branches of Sci-Fi, there is fantasy Sci-Fi, which is Lightswabres and creatures, kind of a playground, there is some danger,
but it is a playground, like startrek etc, the other branch of Sci-Fi is much more serious and I try to call this a narrow corridor, more like Science-Fact-Fiction. Its more NASA then Starwars. There is some genius films in there you have to follow, like 2001, Solaris and Alien, Silent Running, you Know? There is some really serious films,
that take it very seriously, So we followed down that route really.
J: There are also really serious books, like Azimow that set the pace for that kind of genre,....
D: The book that Solaris is based on, which I read as a preparation for that is an extraordinary book as the film is extraordinary, its written by Stansilaw Lem.
J: Well, Lem, the robot tales, of course, all of it...
D: Yes, the sixties was an extraordinary time for stuff like that, they were coming up with lots of stuff, I don't know if it has been the drugs, or wether it was just minds opening after the cold war, or, after the war and europe rebuilding and suddenly like, minds that are just expanding, its extraordinary.

CLIMATE CHANGE/SUNSHINE
J: Launching a film like sunine in 2007 with all world talking about the climate change. Are we still to down with comfort, while we see, that we could change things, are we to careless? Is sunshine going to change this?
D: No, like three years ago we knew it wouldn't be a good idea to do a film about the climate change, because we could see, that it was going to fully occupied and a lot of people were going to be dealing with it and we are going to clearly change, because the way even Bush is now talking about it and China starts talking about it knows that it is a huge problem with the expansion versus the cost of it for the planet. So we thought we'll make it the other way were trying in a way to show how science can help us, because we've missused science really. in the proportion with the planet we've missused it. we have to redress that balance with the biggest problem beeing china and india and their expansion how were going to cope. but we searched for a way to show it in a more positive way, because in the long term, if we are going to survive, at some point, scientists are going to deal with natures forces.
J: Maybe even Brian Cox said it: Leaving Earth is not an option, but a necessity.
D: Yes we will have to. We'll leave, which is extraordinary, because thats why NASA spends a lot of time consulting writers, like Azimov, they would talk to them, because writers are blue skies thinkers about leaving the planet, they create. Another thing are plans, quite advanced plans, about creating an atmosphere on the moon. The way you create an atmospere on the moon is, you put Carbodioxyd, like
power stations on the moon, to make carbodioxyd and that will eventually create an atmosphere. Thats we all came to life is because of carbodioxyd and then the plants started coming which absorb the carbodioxyd, which is phantastic.
J: Brings us back to the movie because all of these things are shown in the movie, the spaceship makes its own oxygen...
D: Yeah, they have got to, the biggest problem they have is not the oxygen but the gravity, because they haven't got it. Movies just go, oh we have gravity on this ship and we will be able to walk around, but they are no way near creating gravity, fake gravity, artificial gravity is very difficult to do.
J. But in the movie it is solved via rotation....
D: Yeah, but thats just because, you see something rotating and you think centrifue, yeah, fine. its like the shore hand (?) and everybody would go... yeah we got it...

DANNY BOYLE/HOLLYWOOD
J: One question about you, you seem to change genres from movie to movie, do you do this on purpose? Did you ever think about doing a sequel? It always seem to be radical changes.
D: Well, there is a point in doing a sequel, or to do the same thing again, for example Sam Rainy (?) is doing Spiderman3 because its like, if you want to be a big big head in hollywood, the way to do this business is to make the same film again, because the way the business works, thats really interesting, the way the business works is, you open up a market with a film that is successfull, but you dont conquer it, you just open it up. Its the second one that conquers it, and the third one. And it used to be the opposite, In the 70s the sequel would only do 60% of what the original did, now it is the opposite, the sequel does the double of the original, and its weird the way it works, because the businesspeople are saying to you, no, nonono, can you you do another film like 28 days, do a sequel to it, and you will
make, we made 30 million on the first weekend in America.
But I, never really wanted to, I get bored really, its not bored, they way that I work is, I go mad on a project, and you exhaust it, its like a love affair, you just do everything, and then its over... and you cant go back... even if you like to sometimes, but it doesn't work anymore. Its funny like that. I love to do different things, and I like to get obsessed, I am now getting obsessed with India because were making a film in India, you beginn the process like looking at it and its good like that, because it makes you much more open, vulnerable, more fearfull, you don't know quite what you are doing, because you have to learn. You have to learn and think how we are going to do this? How do we capture the life of Mumbay this impossible kind of vibrancy of life thats going on with this 18 million people, how can we capture that on a film, because you cant control it and go: OK, STOP, EVERYBODY, STOP, PLEASE....
J: So its not like 28 days, were lots of people asked the question "how did you get London with empty streets?" and your answer was "oh thats easy, we just blocked the streets"?
D: No, this will not happen. You cannot do that, you have to find a technique that allows you to go with the vibe of Mumbay and use that energy.
So the challenge now and thats really terrifying in a way. So thats what I am trying to do change, because of that. And it also keeps you out of Hollywood really, There is nothing wrong with Sam Rainey, there is nothing wrong with him and I really admire him because he made a lot good films, but then decided. "No, I wanna be a really big director." And now he is one of the most powerfull people in Hollywood. If you like it its ok, but I never really liked to go there that much. I tend to leave as soon as I can, if you want to be a big player you got to be there, you got to go to meetings, every day, meet a lot of people.
J: But you prooved, that it is working for you not going that way
D: Yes, its good for me the way it is.
J: No need to change anything, I think sunshine is the third film with the same team, the key players?
D: Yes, they are good people, Garland wrote the book, Mc Donald is the producer, the designer also worked with me a couple of times, and
Alvin (cinematographer) I like very much, and I'll work with him again too. Its good to build a body of people. The editor Chris Gilles, I worked with him a number of times.
J: I dont know if this is a stupid questions, but your work, the product, reminds me a lot of the work of Stanley Kubrick, do you do this on purpose?
D: Well, thank you, but it is really different, Kubrick was very very good and did unbelivable films, but he only made a film every ten years, thats not the way I work, but also, he was a control freak, he would check everything, not only every print, but every sub title, in every country, thats hardcore. And I know the guys who've been doing it with him and it was literally that nothing would leave the center, which was, were he lived, so everything everywhere in the world, were anyone had seen his work, he did check it before they watched it. Thats unbelivable. I couldn't do that. I'd just go mad about it.
J: Last question: The two kids in the end of the movie, somebody said, it were your kids.
D: No, my kids are to old, it is the producers kids, Andrew (Mc Donald), he's got five kids and the two kids are his oldest, Archie and Silvian, the girl, which was supposed to be Cillians girl in the movie is actually Alex wife and she is pregnant and is about to give life to his sixth kid, she is about to...
J: That would make a good press story, if she gave life to her kid on openibng night of the movie...
D: Yes, perfect press story,.... so thank you, its been nice.
J: Thank you very much.

Posted by terrible at 9:58 AM