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
