June 21, 2025 • 34 mins
Danny Boyle chops it up about the 28 Franchise and his first movie!
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Speaker 1 (00:00):
Hello, I'm Johnny Boyle, director of twenty eight years Later,
and I'm here on Get Wrecked with straw Hat Goofy.
Speaker 2 (00:09):
That was good. All right, that was great.
Speaker 3 (00:10):
I think you did.
Speaker 2 (00:11):
I think you did just fine. Man, Wake up? Did
you time to go to work?
Speaker 3 (00:16):
All right?
Speaker 2 (00:17):
Can we talk about it?
Speaker 4 (00:18):
Get it?
Speaker 1 (00:20):
Yeah? Wake up?
Speaker 5 (00:21):
Back, get it that, get it that goal with everyone's
saying that mop next, it's not my father the.
Speaker 2 (00:26):
Focus A goal that making that he so well that
my nig is a movie the way then that role
they staying him people. Baby, you know I'm making everybody
ye upset.
Speaker 3 (00:33):
Because we love best.
Speaker 6 (00:34):
We don't brat and I know, think gunning, get bread, gunning,
get bread, Gunna get bread, cunning get bread, think gunning,
get bread.
Speaker 5 (00:46):
Dude, It's so good to sit down with you and
talk to you about this film, like I'm really excited
to get into it.
Speaker 2 (00:50):
Excellent.
Speaker 6 (00:51):
All right.
Speaker 5 (00:51):
So now first, obviously, as you said on The Slave,
we are on Get Wrecked with straw Had Goofy. And
what I like to do is I like to get
to know my guests from the movies that they love,
from the movies that kind of like change their brain chemistry.
Speaker 2 (01:03):
That made them who they are.
Speaker 5 (01:04):
I feel like you can learn a lot about people
about how they light up and talk about their favorite film.
Speaker 2 (01:08):
So I got to ask you, what is a movie
recommendation that you can give me right now?
Speaker 5 (01:12):
So?
Speaker 1 (01:13):
Well, well, weirdly the most recent movie I watched. So
I watched Wicked on the on the plane because I
missed it in the cinema to my shame, or shouldn't
it's your first time seeing it.
Speaker 3 (01:25):
Yeah, I missed that. I don't know why.
Speaker 1 (01:29):
And it was really good and they are very the
two of them are amazing.
Speaker 5 (01:33):
Oh my god, Like is very funny, listen properly, yes, yes, you.
Speaker 1 (01:38):
Know, like it really knows how to do it. And
Cynthia is excellent.
Speaker 3 (01:42):
So it's very I was very Yeah, I was very
I was very impressed by that.
Speaker 5 (01:46):
Okay, I've seen Wicked, but I will see it again
off your recommendation, because I do love that movie very much.
Speaker 1 (01:51):
But but no, seriously, So I'm the twin. I have
a twins.
Speaker 2 (01:55):
I have a twin brother, do he I do?
Speaker 3 (01:57):
So what was the first movie? What was the first
Did you go to the movies together?
Speaker 2 (02:00):
Of course?
Speaker 3 (02:01):
But what but the first time?
Speaker 2 (02:03):
First time?
Speaker 5 (02:03):
First time we went to the movies together, my aunt
took us. I remember that, Okay, I'll tell you my
first memory because I might get the years mixed up,
But it was Tarzan. It was either tars Animal line
which everyone came first, and we were obsessed with that movie.
I think that was It was my first movie. And
it was also the first movie that I saw like
twice in the movie theater.
Speaker 2 (02:22):
So yeah. So I have a.
Speaker 1 (02:24):
Twin sister, and so when we were eleven, on our
eleventh birthday, my dad took me to see this war
movie called.
Speaker 3 (02:33):
Battle of the Bulge.
Speaker 1 (02:34):
Okay, and it is significant because it related it's related
to twenty eight years later in a weird way.
Speaker 2 (02:40):
Okay.
Speaker 1 (02:41):
So he taught me to see Battle of the Bulge,
and he and my mom took my sister see Sound
of Music.
Speaker 3 (02:47):
So there's gender stereotyping right there, right from the get go.
Speaker 1 (02:51):
And that was the first time I'd ever been in
a cinema and I was eleven years old.
Speaker 3 (02:55):
Because it wasn't We're.
Speaker 1 (02:57):
Come from quite a kind of like like what you
call a blue collar background, so and cinema in Britain
isn't like cinema in America.
Speaker 2 (03:04):
So it was.
Speaker 1 (03:04):
It was a big treat to go. Anyway, it's shot,
not that I knew it at the time, but it's
shot in in a format called two seven six, which
is proper widescreen format, and we've shown and there's not
many movies shot in it, like Hateful Hate shot in it.
Speaker 3 (03:20):
Yeah, yeah, yeah, Oppenheimer was shot in it.
Speaker 2 (03:24):
We had like somewhere shot right and.
Speaker 1 (03:26):
Sinners are shot in it, and which was a wonderful movie.
And anyway, we shot twenty eight years later in that
same format and it's quite there's not that many films
shot in it like that, So that was a wonderful experience.
So I don't know whether it's worth going back to
Battle the Bulge for the whole.
Speaker 3 (03:43):
Movie, but I remember bits of it, you know.
Speaker 1 (03:44):
I remember these burning oil tanks, these kind of like
cans of oil burning and being sent at the tanks
and things like that.
Speaker 2 (03:52):
That's incredible, man.
Speaker 5 (03:53):
See now, I know a lot of people, a lot
of our audience will be going to see Battle of
the Bullets just off of your recommendation.
Speaker 2 (03:58):
Which is why we have the show.
Speaker 1 (03:59):
So it was directed by a guy called Ken Amakin, Okay,
and that's where George Lucas got the name amakin.
Speaker 3 (04:06):
For no, yep, where you got it from?
Speaker 2 (04:09):
Ye? I heard some people in the bag just go
what the building? I love this man?
Speaker 5 (04:15):
Well, thank you well, thank you for giving me that.
Now I'm gonna give you a little fun fact. You
say you were surprised about Ariana Grande like being so funny.
I grew up watching her on the show called Victorious.
It was like this Nickelodeon kids show. It was a comedy,
and she plays this character called Cat Valentine, and she's
like this kind of like ditsy kind of character, doesn't
really know what's going on, but she's like everyone's a
(04:35):
comedic relief in the show.
Speaker 2 (04:36):
But she is the funniest one of the shows so.
Speaker 5 (04:38):
Much so as soon as she was cast as Glinda,
I was like, this is perfect for her. This is
like absolutely kind of Cat Valentine, but just a little elevated, right,
And so she we loved her so much that she
got a spin off show just with her and this
other character. So she we we who grew up with Victorious.
We knew how great she was gonna be. And she
got an Oscar for Socscar nomination for it, so.
Speaker 3 (05:00):
She's just wonderful.
Speaker 1 (05:04):
That the progression of that character she does it. Yeah,
and as the friendship girls is useful.
Speaker 5 (05:10):
It makes me, it makes me so excited for Wicked
for Good Man, It is so excited to see, Like
because I hadn't watched the Broadway production of it, I
haven't seen it on the stage, So watching the movie
was my first introduction to that. And so watching that
story play itself out, not in full and a half, obviously,
it blew me away, Like my publist is, Paul right there,
I was right next to him. I was like, I
(05:31):
just saw something transformative, like what is this? And like
I just fell in love with their performance. I fell
in love with the music, the production design, Like that
movie is just fantastic. So I'm glad that you got
to see it. I hope you make time to go
to the theater to see Wicked for Good I will
so will get it on.
Speaker 2 (05:46):
The big screen.
Speaker 1 (05:46):
Man.
Speaker 5 (05:46):
Yeah, all right, So yes, let's talk about your movie, Like,
thank you for telling me about that, But let's take
it a step back, and I want to talk a
little bit about twenty eight days Later, which changed the
game when it comes to like infected and you know,
how do we like see these monsters?
Speaker 2 (06:02):
And you are someone who kind.
Speaker 5 (06:04):
Of like introduced the world to fast moving infected which,
as I understand, like Alex kind of walked up to
you and said, hey, let's let's try this thing because
you kind of felt that zombies are a little like
daft and like whatever.
Speaker 1 (06:16):
But yeah, Alex, Alex Garland who wrote it, and he's
a fantastic filmmaker and he's a big zombie fan and
he liked zombie movies.
Speaker 3 (06:24):
I wasn't sure about zombie movies. I always had this thing, which,
which is a bit stupid, I thought I could.
Speaker 1 (06:29):
Just away yeah, like yeah, you could just kind of
like just speed up a little bit, get away from him.
And so that's not the point obviously about them, but
that's sort of what I felt. So yeah, when we
came to this, we tried to think about doing it
in a different way, and I did this incredible thing,
which is I suddenly I remembered that I had a
(06:50):
I was I was in a relationship with a dancer once,
like this was a long time ago.
Speaker 2 (06:54):
Yeah you said she was a ballerina, right, ballerina?
Speaker 1 (06:57):
And it was weird because I never know on somebody
who lived through their body so much, just their concentration
was in their body, not up here and out.
Speaker 3 (07:07):
Here like we are. Well, there's not know. You may
be a dancer anyway.
Speaker 2 (07:11):
I dance. I'm not a dan, sir, I can get
on the floor.
Speaker 1 (07:14):
But anyway, I thought, well what about so we started
thinking about athletes then, you know, and we started and
everybody said, you can't get athletes because they're just on
such strict timetables getting ready for the Commonwealth Games or
the Olympic Games or the World Championships or whatever it is.
It's very intensive for their training everything like that. And
then somebody told us about this agency in East London
(07:38):
for retired athletes whose careers were over. Because for a
lot of athletes it's over at you know, it just
gets younger and younger.
Speaker 5 (07:46):
Especially because they put a lot of their time into
holding their bodies and.
Speaker 3 (07:49):
They get wrecked and all that kind of stuff.
Speaker 1 (07:50):
Anyway, but there was this agency and gave them, gave
them jobs like they'd fly them out to Dubai to
turn some summersaults and cut a ribbon to open a supermarket,
things like that.
Speaker 2 (08:01):
Okay, so we get we went.
Speaker 1 (08:02):
I went along to this agency and they got all
these athletes in and I did this workshop with them,
and I said to them, like the crew were gathered there,
I said, okay, attack me, and I said, as violently
as you can, okay, but.
Speaker 3 (08:14):
You're not going to hurt me. You've got to stop
at the last second and not hurt me. So I
was very clear about.
Speaker 2 (08:21):
And you're walking a line.
Speaker 3 (08:24):
They came at me. It was absolutely terrifying.
Speaker 1 (08:27):
I remember thinking, that's it, that's what we'll do. It's
because you can't get away because they're moving so fast,
they feel so powerful, and they're so infected with this
feeling of wanting to hurt you that you'd stand no chance.
Most people would stand no chance, or you'd have to
think of other things to protect yourself.
Speaker 3 (08:43):
So that was the idea.
Speaker 1 (08:44):
So we used we used we sped up the infected,
and we call them the infected rather than zombie, so
that people wouldn't get the wrong idea about them.
Speaker 3 (08:52):
So that was the idea.
Speaker 5 (08:53):
Well, that's that's what I find fascinating about them, right.
It's because like, well you have zombies, they're kind of decay.
They just kind of like eat because it's like something
in their brain function telling them to do it, but
you know, they could just essentially live forever, where it's
like the infected in your films, like they can die,
they can starve, they can you know, but they they
also I got to tell you about this scary ass
moment that happened when I watched twenty eight Days Later,
(09:15):
and it's the in the church scene. It's like our
first introduction to the infected, and you know, killing Murphy
like says hello after seeing like this kind of like
pile of dead bodies, and then you see two people
just kind of like get up and just they're staring
at him, right, and you could tell there's this still
this thought process in the in their eyes where they're
(09:35):
not necessarily like lumbering zombies who are just going off
an instinct. They're just kind of like food and they're
still they're trying to figure him out just as much
as he's trying to figure it out. And that right there,
to me, separated zombies from infected. I said, this is
a different thing, right and that and that's what I
love about like your versions of you know, infected people
in this. But that being said, you know, obviously people
(09:57):
will still associate this with zombies, and a lot of
filmmakes will kind of like, you know, take this and
Trainable Sign Dawn of the Dead, which was made two
years later by Zack Snyder. Right, you have all these
fast moving zombie movies that I would say were inspired
by twenty eight days later. Did you think that people
were going to follow suit or did you think this
(10:17):
was going to be a cool, one off type of thing.
Speaker 1 (10:19):
Oh, you never think people is going to follow suit,
because you're just you. It's as you're all in for
just one thing. Really, you're not thinking about anything else
other than trying to make the one thing work. I
think it did kind of obviously trigger a fascination in people,
but I think it was something. I think it was
slightly different, and it wasn't necessarily to do with our movie.
The world had changed because while we were shooting it,
(10:40):
nine to eleven happened, and I think that changed people
in a way that we still find hard to appreciate it. Yeah,
and I think it was to do with cities that
suddenly cities which looked to us to be because I
come from outside a city and I moved into a city.
You know, when I got old enough. When I became eighteen,
I'd moved to a city, you know, like you do
and stuff like that, and they always felt like incredibly
(11:03):
powerful things that you could kind of like disappear inside
and nobody knew what you were doing, you.
Speaker 3 (11:08):
Know, and all that kind of and suddenly they felt vulnerable.
Speaker 1 (11:11):
After nine to level, they felt fearful, and how can
a city be fearful? And I think we benefited from that.
Suddenly there was this feeling of scared. And I think
that's one of the reasons that the the genre became
so popular and it span off into TV shows and
all sorts of stuff like that, because it expressed as
(11:31):
horror does.
Speaker 3 (11:32):
It expressed the fear that people.
Speaker 1 (11:34):
Have and that they could hook onto and and and
then you get COVID and all those kind of things
were just going to feed into it as well like that,
and cities feel suddenly. Do you remember when we emptied
out the cities in COVID Think and you look, it
was like I seen from twenty eight days later, It's
like this is crazy.
Speaker 5 (11:52):
Yeah, it's the themes of isolation is so heavy in
these films, and it's been even heavier in twenty eight years,
Like when I when I saw the trailer, and also
just kind of like, you know, reading your interviews and
listening to you talk about it, but I'm glad that
you brought up kind of you know, this being made
twenty eight days being made after nine eleven, but now
twenty eight years is being made after COVID like a
post pandemic that we had. What is it about kind
(12:16):
of those real world parallels that make these type of
like isolation stories so palpable Because I feel like twenty
eight Days Later got a new audience once the pandemic
happened because they said, this is exactly how we're feeling. Right,
So like, when making this film after you know, a
pandemic of our own, is this still in your mind
of like wow, like we had nine to eleven and
(12:37):
now we have like a new pandemic and now I'm
making this film.
Speaker 2 (12:40):
Do you feel like the world's talking to.
Speaker 1 (12:42):
You in a way? You don't do it directly, but
it does influence you hugely. And I think a lot
of it is to do with a lot of people
think how would I survive?
Speaker 3 (12:51):
They think about that.
Speaker 1 (12:52):
It's almost cool like when you're a kid, when you're
playing and you hunk it down, and of course yeah,
and it's really an extension of that. I think, how
would I actually would I be able to live? Would
I be able to survive? And how would I go
about it? And our story is set on this tidal
causeway island which is protected by the tide other than
(13:14):
at certain moments at low tide when they have to
protect it. And that's how that particular community has survived,
and it's shrunk to the ideal size for a community,
which is about apparently this is all provable. About one
hundred and fifty people is about the ideal size for
a community, because you can remember everybody's names, and therefore
(13:37):
you have trust.
Speaker 3 (13:39):
Because you know everybody, you can learn them all.
Speaker 1 (13:41):
Whereas above that number you start to have to have
a different system to trust, and you all put your money.
You're trusting money as a system, or you put your
trust in religion as a system that you all observe
and obey, and therefore you trust everybody else who also
obeys that system as well. But beyond before that, and
(14:03):
none of that's available to these people because they literally
are alone and there's no money anymore. Of course, their
size is about one hundred and fifty people, right, and
our story is about this boy who goes out with
his father for his first kill, for literally like a blooding,
because he has to learn how to protect the island.
Speaker 3 (14:21):
Right of course, is what he's doing at the beginning.
Speaker 5 (14:23):
Yes, that's a hell of a coming of age story, man,
coming you know wow. Like usually when I think of
coming of age, I think, you know, nice and sweet.
Speaker 2 (14:30):
When you get a girlfriend, it's a little bit tough.
Don't expecting go kill your first effective. Man, It's gonna
be cool. It's gonna be cool.
Speaker 5 (14:41):
Just one last question I have about twenty eight twenty
eight days, and then we'll like full it because I
have a lot of questions about twenty years, especially when
it comes to the infected and their evolution. But in
twenty eight days, I found it funny that one of
the masters of horror, one of the masters in like
the zombie movie, George Romero, Like, you know, I remember
reading something where he kind of didn't like the.
Speaker 2 (15:01):
Fast movie Zombie Infected Craze.
Speaker 5 (15:05):
And you know, and I wonder, you know, I don't
know if you've looked up to him or if, like
you know, you're like a big fan of him. But
do you think there's usually a resistance to from old filmmakers,
old Hollywood to kind of like do something new, especially
since you've done something that a lot of other filmmakers
have kind of like taken suit and just kind of
like ran with it, no pun intended.
Speaker 1 (15:25):
Yeah, you've always got to watch out for it, especially
people my age getting protective or defensive about stuff.
Speaker 2 (15:30):
Yeah.
Speaker 1 (15:31):
The amazing thing about cinema is it's I always think
of it as vanpiric.
Speaker 3 (15:36):
It wants blood, new blood, Yes, like it wants your blood.
Speaker 1 (15:40):
It was young people with new ideas because it's primary
audience still is young people.
Speaker 3 (15:46):
It's you know, it's going out with a girl or
a may or whatever it is. You know, when you.
Speaker 1 (15:51):
Got the movies and and and it wants fresh ideas.
And I think that's one of the things that separates
it from television.
Speaker 3 (15:58):
I really do.
Speaker 5 (15:59):
You know.
Speaker 1 (15:59):
I'm there's all this talk these days about streaming, and
you know, is it going to replace cinema? And it mustn't,
because there's something about the ritual of the cinema space.
Speaker 3 (16:10):
And you go there and.
Speaker 1 (16:11):
It's cruel because if it's not good, they'll let you
know that will be seriously disappointed.
Speaker 5 (16:16):
I mean, people are going like they're spending time in
the theater and spending all this money to do it.
Speaker 2 (16:20):
They're expecting to get something.
Speaker 3 (16:22):
They want something new and fresh and different.
Speaker 1 (16:24):
Anyway, that was one of the principles behind why we
didn't want to just make a straight sequel that just
kind of just followed the first film. This is You
don't need to have seen the first film to have
seen this film. It's a standalone idea in its way.
There's definitely benefits if you have seen the first film
and know a bit about it. But it's an original
idea and an original story from one of the great
(16:46):
one of our great minds, Alex Garland.
Speaker 3 (16:49):
He was one of our wonderful story rights.
Speaker 2 (16:51):
He's killing it right now.
Speaker 5 (16:52):
Man. Yeah, we'll get to more Alex like towards the
end of this interview because he's His movie is like
that he's been directing has been just like Balls of
the Wall amazing. But when you talk about evolution from
twenty eight days to twenty eight years, I see it right,
because you know you have infected that you've described as
being more evolved like animals, and how they've kind of
(17:13):
adapted to kind of like being around. Talk to me
more about the infected in this movie and how they
kind of like have changed, how they're like a little
bit different than most people will remember them.
Speaker 3 (17:22):
So everybody remembers that.
Speaker 1 (17:24):
If you remember the first film, you remember these pretty
not emaciated looking, but they're pretty basic looking, ferocious movement,
infected with this terrible rage. The red mist of rage
permanently occupies them, and we imagine that the virus itself
is mutated within them, and it had mutated both ways.
(17:47):
That been those who had withdrawn from that incredible expression
of energy, exhausting expression of energy, and had literally gone
to ground, had literally and no fed off the ground
itself and literally became almost part of the ground and
those beyond. And then it went the other way as well,
which is that these things called alphas emerged, which are
(18:10):
bigger and more dangerous, and we're not allowed to show
what they do.
Speaker 3 (18:17):
You have to go what they do. But it is
a progression beyond.
Speaker 1 (18:25):
So in the first film, it's about getting infected, and
you turn into one of them when you start.
Speaker 3 (18:30):
It's a bit of a progression from that, I'm afraid.
Speaker 5 (18:33):
I mean, it seems it seems from the trailer and again,
like I've been I've been following this movie very closely.
It seems for the trailer and kind of like what
you've been saying of, like you know, these infected, it
seems that they're almost like a clan a little bit.
There's like the scene in the trailer where they're like
on the horizon and they're just kind of there standing
and it's almost like they're hunting in a way, you know,
(18:54):
and you don't have to spoil it, they give you
to watch, but it's you could tell they've gotten smarter.
You could tell that that they're living here. This is
their land now, like the whole of Europe seems to
be the wasteland that they occupy. And there's this thing
that you said where you said that you film the
movie in a way that makes you feel like you're.
Speaker 2 (19:12):
Surrounded by the infected, that they could just be anywhere.
Speaker 5 (19:16):
Talk to me about that filming technique, because from twenty
eight days to now, I feel like twenty eight days
have this kind of like surreal like you're on the ground.
It's very grillly gritty, feels very gorilla. And you shot
that on like digital so it feels like it's I believe,
as you described it, just good enough to where it
has the look and feel. But here, like now, you know,
(19:38):
we have these wide, beautiful, wide angles where like you
don't know where to look, you don't know where they're
coming from. Talk to me about the decision to kind
of like employ employ that filming style.
Speaker 1 (19:46):
It was to because like the first film is set
in a city, this is very much set in.
Speaker 3 (19:52):
The countryside, if you like.
Speaker 1 (19:53):
Yeah, And the idea was to capture as much of
it as possible and they could be anywhere in that
in your widescreen view. So that the unease which came
from being very jittery in the first film and very gritty,
this is to do with much more to being able
to see this landscape which has changed enormously because man
hasn't been putting its its fingerprints on it for twenty
(20:16):
eight years. But the danger could be anywhere out there
within that, so that we shot in that format. That's,
like you said, sinners uses as well, and what was
the other film creature the creator creating beautiful usual.
Speaker 2 (20:33):
I love that anyway, I think best visual effects for that, yes, yeah.
Speaker 1 (20:39):
And rightly, so that scene of the baser things mapping,
mapping the sea.
Speaker 5 (20:45):
And oh my god, it reminded me of his earlier
film Rogue one the Star Wars film. Yes, you know,
it also has like that beautiful kind of like landscape.
Look I do it, so we can expect to see
that in twenty eight years something.
Speaker 3 (20:57):
It's kind of there's a bit anyway.
Speaker 1 (20:59):
Anyway, it's very Yeah, so they can come at you
from anywhere. Really, that's the idea of it. But you
touched on something really interesting. It's really smart what you
picked up from the horizon shot where they appear to
gather because they're random in the first film, there's no
clown ship, whereas this feels more like it hints towards
they're more like that they are slightly organized, that they
(21:22):
have survived and and like some of them haven't survived.
There's one very thin guy that you see in the
trailer who's clearly last legs, but others have organized so
that they can feed, so that they can survive. And
that's the instinct that's in all of us, whether you're
fill of rage or not, is survival instinct. And even
more than that, they kind of appear to be organized
(21:45):
by this other figure that's significantly larger than them, and
that's the Alpha, and you meet two of them in
that I shouldn't have been.
Speaker 2 (21:57):
But I do.
Speaker 5 (21:58):
I do find this extraor like it's that's really interesting
because again with the heavy things of like isolation and
kind of like you know, them being quarantined, and what
happens when the countries and other nations from the outside
are just kind of like leaving them to their own devices,
right and saying you're on your own, we can't help you.
But then within that the people who are infected are
banding together and they see the importance of kind of
(22:20):
like we need each other in order to even.
Speaker 2 (22:23):
Feed, right.
Speaker 5 (22:24):
So I find like all these things working together is
just very very fascinating.
Speaker 1 (22:27):
It's very nature finds a way. Is that you think
you can kind of like just lock the island down
and kind of just let it kind of eradicate itself,
but it will find a different way of going about.
And there's a scene which I can't tell you about,
and you have to go to the cinema to see.
There's a scene later on when something happens and you
know they are continuing to evolve, Okay, really that's all
(22:51):
I can say.
Speaker 2 (22:54):
Really hard.
Speaker 3 (22:56):
But the very strange instructions.
Speaker 2 (22:58):
But this is what I love, like.
Speaker 5 (22:59):
The that you're showing, just talking about, like creating this film,
like it shows whenever, like like audiences go and they
see it, like you could tell, you could tell what
someone's hardest.
Speaker 2 (23:08):
Mad in it, and your heart is very very clearly
in it.
Speaker 3 (23:10):
Well, it's family, one of the things that's interesting.
Speaker 1 (23:12):
So I said to Alex when he first give us
the script, I said, well, you know, when we talked
about it, I said, what's it about then, and he said,
because we made this other film. So we shot this
first film, and we've shot a second film, Bone Temple. Yeah,
Bone Temple, which near the Costa is directed. And they're linked,
very closely linked through character, and they're and they're continuous,
(23:33):
so you don't have to as seen one to see
the other day.
Speaker 2 (23:35):
Both.
Speaker 1 (23:36):
They're independent films in a way, but they are linked,
very closely linked. And I said, what's the what's the
definition of them? He said, the first one is really
the nature of family, which is a weird thing to
say about a horror movie, but it is about the
nature of family.
Speaker 3 (23:49):
Maybe not so weird. Families can be pretty horrible, We're not.
Speaker 1 (23:53):
The first one is about the nature of family and
what you refer to about now gathering on that hillside
is also to do with family, and and he meets
a family at the end. This kid meets a family
at the end. That's a very strange thing. And features
Jack O'Connell who's in Sinners, the Chief Vampire. He's an
amazing act and he travels into the second film. And
(24:14):
the second film is about the nature of evil. So
that's you get this balance between them, which is really interesting.
So there are ideas in it. There are They are
a new and ambitious and yeah, you will have to
go to the cinemas to see them.
Speaker 2 (24:28):
I will see them in a sense for sure, all right.
Speaker 5 (24:30):
So I want to give I want to hit one
more point on the shooting technique of this film.
Speaker 2 (24:34):
So I've been hearing.
Speaker 5 (24:37):
Conversations around the internet that this entire film was shot
on iPhone cameras.
Speaker 2 (24:42):
Can you confirm or debunk that right now?
Speaker 5 (24:44):
Because I've seen like your rig it looks insane. I
want to get that from my phone hopefully, so my
tiktoks will look a lot better. But can you confirm
or did not other like kind of like deny like
it whether or not that's true.
Speaker 3 (24:56):
So we use a lot we use.
Speaker 1 (24:58):
We used an array of from cameras for it, and
the iPhone was one of them, and we use them
for those rigs that you've seen.
Speaker 3 (25:05):
They released some pictures of those rigs, which.
Speaker 2 (25:07):
Is insane and goes around.
Speaker 3 (25:09):
But it's but it's basically it's the matrix.
Speaker 1 (25:11):
It's it's a poor man's version of bullet time from
the matrix, you know, from Keano and those amazing shots,
and we wanted it. We wanted something that startled you
about the way that the alpha particularly.
Speaker 3 (25:24):
Is depicted, and so that's what we use it for.
Speaker 1 (25:26):
And it's a shot they can't put in any of
the trailers because for all because of its content, so
it has to.
Speaker 4 (25:33):
Yeah, but but we used that.
Speaker 1 (25:40):
But we also use all these other cameras, Like there's
a very there's a very weird Panasonic camera used and
these shots are in the trailer. The red these red
shots of them filmed at night, these kind of heat
there's sort of almost like a heat camera at night,
but they're kind of it's a red filter thing that
they use on this. It's called the EU one two
three Panasonic, and so there's some various sophisticated cameras used
(26:03):
as well. So it's a it's what they call a
smorgas board, I believe is the word of all sorts
of different cameras that are used. But we wanted to
we did want to use some of some of them
everyday technology that we all have, because that was the
idea in the first film, is that we shot it
on domestic video cameras because we thought, well, they'd be around,
(26:26):
you know, if.
Speaker 3 (26:27):
The apocalypse happened, they'd be lying in the street.
Speaker 1 (26:29):
At the time, just like iPhones would be now, you know,
and you could pick them up and.
Speaker 3 (26:32):
If you could get in them, they'd probably have.
Speaker 1 (26:35):
A depiction of what was happening or evidence of things
that would be either terrifying or very moving stuff like that.
So it felt like we had an obligation to kind
of reflect that. But the technology has moved on so
much now that when you use these things they shoot
at four K, which is just incredible quality anyway, So
(26:55):
it was and it gave us a wonderful lightness and
flexibility about being able to travel to parts of Britain
that people haven't seen before and which you don't want
a camera crew trampling on. So we use a lot
of drones as well. And I think drones are coming
more and more into our lives. They're going to be
delivering stuff, they're going to be recording stuff, they're going
to be following you around.
Speaker 3 (27:14):
Yeah.
Speaker 1 (27:16):
So the opportunity of the twenty eight world is that
you can use technology that's kind of evolving in front
of us to capture these stories.
Speaker 2 (27:25):
So that makes a lot of sense.
Speaker 5 (27:27):
Now I'm over here hoping that, like I can get
that rig from my iPhone so I can make my tiktoks.
Speaker 2 (27:32):
Look, that's worth it.
Speaker 3 (27:34):
It's a really lovely thing as well.
Speaker 1 (27:36):
When you I mean anyway, you'll see there's this shot
at the Alpha where he drops stone in this train.
Speaker 3 (27:40):
Yeah, anyway, you'll know it when when you see that sht.
Speaker 1 (27:44):
When you see you'll think, oh, that's what he meant
that It is okay, it is cool that shot. And
I don't say that about my own work, but that
is kind of like wow.
Speaker 5 (27:52):
When I see that at the premiere, imna run up
to your seat in the middle of the movie and say,
that's what you were talking about back that's what's going
to happen, all right. So I want to like talk
about how you've reunited with Alex Garland, who you've worked
with very closely on the first film, and now you
guys are I think a lot of people are happy
that you two are back together with this film, right.
Speaker 2 (28:09):
I feel like a lot of people have been waiting
on this.
Speaker 5 (28:11):
Can you talk to me about kind of like seeing
his journey from kind of like you know, novelists to
screenwriters and now he's directing him and he just had
a want two punch of warfare and civil war back
to back, and now he's also going to do the
elden Ring movie as well, like as a colleague, as
a friend, can you talk to me about like seeing
him kind of like succeeding that way and watching his films.
Speaker 1 (28:31):
So a mate of mine, a friend of mine, was
actually in this movie.
Speaker 3 (28:35):
Really he plays Sam, this older guy in the movie.
He's called he's an actor. It's called Chris Fulford.
Speaker 1 (28:40):
Okay, We've been mates for like donkeys' years. And he
gave me this book about twenty five years ago. Somebody
gave me this book called The Beach. He said, you
read this is not really good, and I read it
and it was really good, and I was like, nobody
knew about it at the time. It was on a
very small print run and he just kicked off. So
we bought the rights for it, and we got and
we met Alex and he was clearly a cinematic writer
(29:01):
because his novels, and there's a number of them, are
written in a very cinematic way. And so we met
and he came out to Thailand when we were filming
The Beach and just watched a bit and stuff like that, and.
Speaker 3 (29:11):
Was obviously observing. He didn't adapt it.
Speaker 1 (29:15):
John Hodge used the regular guy I work with, kind
of adapted it anyway. He got the taste for it,
and then he produced this very very thin little script
and it said twenty eight years later, twenty eight days
later on it. And I remember at the time thinking
we can't call it that. There's a Sandra Bullock movie
just come out called twenty eight days and everybody will
get it confused, and they altern up thinking they're going
(29:37):
to watch the Sandra Bullock romantic comedy and he's.
Speaker 2 (29:39):
Going to do this thing people tearing his father apart.
Speaker 1 (29:42):
So but thankfully we didn't change the title because everyone's
forgotten about the Sandra bullet maybe and we've gone all right,
we've managed to survive survival technique anyway. And he was
wonderful to work with. So we started working on it
and he loved. He loved elaborating on the script. You know,
he loved kind of like he writes in such a
(30:04):
cool way, doesn't over describe things. He just very simple.
You just kind of reach.
Speaker 3 (30:10):
Into it yourself, rather than be told everything that you're.
Speaker 2 (30:13):
Expecting to love about his movies. I love that.
Speaker 3 (30:15):
And then and he it was clear that he wanted
to direct. I think when he learns enough.
Speaker 1 (30:21):
So we work with a number of different people, realized
we were all rubbish.
Speaker 3 (30:27):
I could do this now. He realizes our tough job.
Speaker 1 (30:31):
And he's got a lot of he's got a lot
of time for now, like directors complaints rather than the
other way, rather than complaining about directors. So yeah, no,
he's great. And yeah, and his first film his first film.
So one of my theories is that your first film
is always your best film. The other films may be
more successful, they may be more admired, they may be
(30:54):
more technically brilliant or whatever, but your first film is
always your best film because you don't know what you're doing,
and if you survive rather than get massacred, it's gonna
be it's gonna be quite interesting to see that. And
his first movie was ex Mackinner and he'll be hard
pressed to make a better movie than that. And it's
career because it's a wonderful movie.
Speaker 5 (31:14):
Yeah, it's a wonderful I still think about the discoss
scene in that movie, to be honest. Get Down Saturday
Night was on my playlist for years after that movie,
and every time I talk to someone about that movie,
I say, hey, I'm not gonna show.
Speaker 2 (31:26):
I'm not gonna say anything about this movie. Just watched
this discoss scene. They're like, oh, this looks nice, so
so so.
Speaker 1 (31:31):
Because you're saying about recommendations. If anybody hasn't seen on
your if anybody watches your show, hasn't seen.
Speaker 3 (31:37):
The first Coen Brothers movie. It's called Blood Simple, okay.
Speaker 1 (31:41):
And the Coen Brothers are geniuses and they've made some
great films, you know, but they have never made a
film as great as Blood Simple, Okay, if you want
to watch, because they made it for nothing and they
clearly were just learning how to do it as you
do it. So it's a wonderful thing to watch if
you want to do it yourself, if that's what you're
interested in.
Speaker 3 (31:58):
These watching people's first film gotta be good.
Speaker 1 (32:01):
Yeah, because you're not overreaching then, you know, because you
when you get, when you get, you know.
Speaker 3 (32:05):
If your film's working, you get famous or whatever.
Speaker 1 (32:08):
Everybody surrounds you with all these experts and stuff like that.
It's much better looking at what you're actually when you're
just working out yourself.
Speaker 3 (32:15):
So I made this film, Shallow Grave, that was my
first film.
Speaker 2 (32:18):
Was that your best?
Speaker 1 (32:19):
So my dad, God bless him, he's dead now, but
my dad used to go to all.
Speaker 3 (32:23):
My films and it's say and he come up and
me say, no, it was good, but it wasn't as
good as Shallow Grave.
Speaker 1 (32:29):
What he said about every film because he said the
same thing, yeah, which I think was to keep me
in my place, right understandably, Right?
Speaker 5 (32:36):
Is that is that where your theory kind of came from? Like, yeah, well,
as we like wrap this up and as we like
are giving like Alex Garland his flowers, what do you
think do you do you really think that that's like
his best film x Makina Or do you have like
a favorite film or do you like consider best and
favorite to be two separate things?
Speaker 1 (32:57):
They're often are because yeah, yeah, they often are different.
You know, people admire films and films with like huge successes,
but you always have your favorite. My favorite filmmaker remains.
I mean, my favorite film has always been Apocalypse. Now, yeah,
it's just like and I can watch that film, and
I have watched that film multiple times over the years.
(33:18):
And if anybody on your crew hasn't seen it, I'm
sure they've also.
Speaker 4 (33:21):
I'm hoping, but I rate love this British film director
called Nick rog And he made a film and it's
films with and he's passed away recently sadly starring Gene
Hackman called Eureka, which is one of those films that's disappeared.
Speaker 1 (33:38):
It's just vanished and if you can get ahold of
a copy of it and watch it. The first half
of Eureka, it's about this man played by Gene Hackman,
who is literally literally discovered liquid gold.
Speaker 3 (33:51):
He is the richest man.
Speaker 1 (33:53):
He has everything, everything and what more could he what
more could he want? If you see the film, you'll
see just extraordinary. He's a brilliant filmmaker, a non literal filmmaker.
He kind of like follows, He follows images and ideas,
and yet he still remains within the mainstream.
Speaker 3 (34:12):
His most famous film is.
Speaker 1 (34:13):
Don't Look Now, I Think Yeah, which is with Julie
Christie and Donald Sutherland who also passed away quite recently.
Speaker 3 (34:19):
But that's worth watching as well. That's an amazing film.
Speaker 2 (34:21):
Welcome on that. Well, thank you Danny Boy for coming
to talk to me on get Wrecked.
Speaker 5 (34:25):
Wet We're done, We got the Little five and I'm
clocking that over here.
Speaker 2 (34:29):
So dude, this is such an amazing conversation.
Speaker 5 (34:31):
I hope to talk to you more about Alex this
film and any other movies you got you got for
me because that was amazing.
Speaker 3 (34:36):
Oh fun, Thank you very much, great.
Speaker 5 (34:38):
Nice, nice, Well, guys, thank you so much for watching
Get Wrecked with straw had Goofy. Make sure you guys
go on substacked and then it will come out later
on your Spotify, t apples, YouTube's wherever you watch a
podcast you green. This is Danny Boy, and we'll catch
you next time when you make me your movie.
Speaker 3 (34:51):
Guy,
Hello, I'm Johnny Boyle, director of twenty eight years Later,
and I'm here on Get Wrecked with straw Hat Goofy.
Speaker 2 (00:09):
That was good. All right, that was great.
Speaker 3 (00:10):
I think you did.
Speaker 2 (00:11):
I think you did just fine. Man, Wake up? Did
you time to go to work?
Speaker 3 (00:16):
All right?
Speaker 2 (00:17):
Can we talk about it?
Speaker 4 (00:18):
Get it?
Speaker 1 (00:20):
Yeah? Wake up?
Speaker 5 (00:21):
Back, get it that, get it that goal with everyone's
saying that mop next, it's not my father the.
Speaker 2 (00:26):
Focus A goal that making that he so well that
my nig is a movie the way then that role
they staying him people. Baby, you know I'm making everybody
ye upset.
Speaker 3 (00:33):
Because we love best.
Speaker 6 (00:34):
We don't brat and I know, think gunning, get bread, gunning,
get bread, Gunna get bread, cunning get bread, think gunning,
get bread.
Speaker 5 (00:46):
Dude, It's so good to sit down with you and
talk to you about this film, like I'm really excited
to get into it.
Speaker 2 (00:50):
Excellent.
Speaker 6 (00:51):
All right.
Speaker 5 (00:51):
So now first, obviously, as you said on The Slave,
we are on Get Wrecked with straw Had Goofy. And
what I like to do is I like to get
to know my guests from the movies that they love,
from the movies that kind of like change their brain chemistry.
Speaker 2 (01:03):
That made them who they are.
Speaker 5 (01:04):
I feel like you can learn a lot about people
about how they light up and talk about their favorite film.
Speaker 2 (01:08):
So I got to ask you, what is a movie
recommendation that you can give me right now?
Speaker 5 (01:12):
So?
Speaker 1 (01:13):
Well, well, weirdly the most recent movie I watched. So
I watched Wicked on the on the plane because I
missed it in the cinema to my shame, or shouldn't
it's your first time seeing it.
Speaker 3 (01:25):
Yeah, I missed that. I don't know why.
Speaker 1 (01:29):
And it was really good and they are very the
two of them are amazing.
Speaker 5 (01:33):
Oh my god, Like is very funny, listen properly, yes, yes, you.
Speaker 1 (01:38):
Know, like it really knows how to do it. And
Cynthia is excellent.
Speaker 3 (01:42):
So it's very I was very Yeah, I was very
I was very impressed by that.
Speaker 5 (01:46):
Okay, I've seen Wicked, but I will see it again
off your recommendation, because I do love that movie very much.
Speaker 1 (01:51):
But but no, seriously, So I'm the twin. I have
a twins.
Speaker 2 (01:55):
I have a twin brother, do he I do?
Speaker 3 (01:57):
So what was the first movie? What was the first
Did you go to the movies together?
Speaker 2 (02:00):
Of course?
Speaker 3 (02:01):
But what but the first time?
Speaker 2 (02:03):
First time?
Speaker 5 (02:03):
First time we went to the movies together, my aunt
took us. I remember that, Okay, I'll tell you my
first memory because I might get the years mixed up,
But it was Tarzan. It was either tars Animal line
which everyone came first, and we were obsessed with that movie.
I think that was It was my first movie. And
it was also the first movie that I saw like
twice in the movie theater.
Speaker 2 (02:22):
So yeah. So I have a.
Speaker 1 (02:24):
Twin sister, and so when we were eleven, on our
eleventh birthday, my dad took me to see this war
movie called.
Speaker 3 (02:33):
Battle of the Bulge.
Speaker 1 (02:34):
Okay, and it is significant because it related it's related
to twenty eight years later in a weird way.
Speaker 2 (02:40):
Okay.
Speaker 1 (02:41):
So he taught me to see Battle of the Bulge,
and he and my mom took my sister see Sound
of Music.
Speaker 3 (02:47):
So there's gender stereotyping right there, right from the get go.
Speaker 1 (02:51):
And that was the first time I'd ever been in
a cinema and I was eleven years old.
Speaker 3 (02:55):
Because it wasn't We're.
Speaker 1 (02:57):
Come from quite a kind of like like what you
call a blue collar background, so and cinema in Britain
isn't like cinema in America.
Speaker 2 (03:04):
So it was.
Speaker 1 (03:04):
It was a big treat to go. Anyway, it's shot,
not that I knew it at the time, but it's
shot in in a format called two seven six, which
is proper widescreen format, and we've shown and there's not
many movies shot in it, like Hateful Hate shot in it.
Speaker 3 (03:20):
Yeah, yeah, yeah, Oppenheimer was shot in it.
Speaker 2 (03:24):
We had like somewhere shot right and.
Speaker 1 (03:26):
Sinners are shot in it, and which was a wonderful movie.
And anyway, we shot twenty eight years later in that
same format and it's quite there's not that many films
shot in it like that, So that was a wonderful experience.
So I don't know whether it's worth going back to
Battle the Bulge for the whole.
Speaker 3 (03:43):
Movie, but I remember bits of it, you know.
Speaker 1 (03:44):
I remember these burning oil tanks, these kind of like
cans of oil burning and being sent at the tanks
and things like that.
Speaker 2 (03:52):
That's incredible, man.
Speaker 5 (03:53):
See now, I know a lot of people, a lot
of our audience will be going to see Battle of
the Bullets just off of your recommendation.
Speaker 2 (03:58):
Which is why we have the show.
Speaker 1 (03:59):
So it was directed by a guy called Ken Amakin, Okay,
and that's where George Lucas got the name amakin.
Speaker 3 (04:06):
For no, yep, where you got it from?
Speaker 2 (04:09):
Ye? I heard some people in the bag just go
what the building? I love this man?
Speaker 5 (04:15):
Well, thank you well, thank you for giving me that.
Now I'm gonna give you a little fun fact. You
say you were surprised about Ariana Grande like being so funny.
I grew up watching her on the show called Victorious.
It was like this Nickelodeon kids show. It was a comedy,
and she plays this character called Cat Valentine, and she's
like this kind of like ditsy kind of character, doesn't
really know what's going on, but she's like everyone's a
(04:35):
comedic relief in the show.
Speaker 2 (04:36):
But she is the funniest one of the shows so.
Speaker 5 (04:38):
Much so as soon as she was cast as Glinda,
I was like, this is perfect for her. This is
like absolutely kind of Cat Valentine, but just a little elevated, right,
And so she we loved her so much that she
got a spin off show just with her and this
other character. So she we we who grew up with Victorious.
We knew how great she was gonna be. And she
got an Oscar for Socscar nomination for it, so.
Speaker 3 (05:00):
She's just wonderful.
Speaker 1 (05:04):
That the progression of that character she does it. Yeah,
and as the friendship girls is useful.
Speaker 5 (05:10):
It makes me, it makes me so excited for Wicked
for Good Man, It is so excited to see, Like
because I hadn't watched the Broadway production of it, I
haven't seen it on the stage, So watching the movie
was my first introduction to that. And so watching that
story play itself out, not in full and a half, obviously,
it blew me away, Like my publist is, Paul right there,
I was right next to him. I was like, I
(05:31):
just saw something transformative, like what is this? And like
I just fell in love with their performance. I fell
in love with the music, the production design, Like that
movie is just fantastic. So I'm glad that you got
to see it. I hope you make time to go
to the theater to see Wicked for Good I will
so will get it on.
Speaker 2 (05:46):
The big screen.
Speaker 1 (05:46):
Man.
Speaker 5 (05:46):
Yeah, all right, So yes, let's talk about your movie, Like,
thank you for telling me about that, But let's take
it a step back, and I want to talk a
little bit about twenty eight days Later, which changed the
game when it comes to like infected and you know,
how do we like see these monsters?
Speaker 2 (06:02):
And you are someone who kind.
Speaker 5 (06:04):
Of like introduced the world to fast moving infected which,
as I understand, like Alex kind of walked up to
you and said, hey, let's let's try this thing because
you kind of felt that zombies are a little like
daft and like whatever.
Speaker 1 (06:16):
But yeah, Alex, Alex Garland who wrote it, and he's
a fantastic filmmaker and he's a big zombie fan and
he liked zombie movies.
Speaker 3 (06:24):
I wasn't sure about zombie movies. I always had this thing, which,
which is a bit stupid, I thought I could.
Speaker 1 (06:29):
Just away yeah, like yeah, you could just kind of
like just speed up a little bit, get away from him.
And so that's not the point obviously about them, but
that's sort of what I felt. So yeah, when we
came to this, we tried to think about doing it
in a different way, and I did this incredible thing,
which is I suddenly I remembered that I had a
(06:50):
I was I was in a relationship with a dancer once,
like this was a long time ago.
Speaker 2 (06:54):
Yeah you said she was a ballerina, right, ballerina?
Speaker 1 (06:57):
And it was weird because I never know on somebody
who lived through their body so much, just their concentration
was in their body, not up here and out.
Speaker 3 (07:07):
Here like we are. Well, there's not know. You may
be a dancer anyway.
Speaker 2 (07:11):
I dance. I'm not a dan, sir, I can get
on the floor.
Speaker 1 (07:14):
But anyway, I thought, well what about so we started
thinking about athletes then, you know, and we started and
everybody said, you can't get athletes because they're just on
such strict timetables getting ready for the Commonwealth Games or
the Olympic Games or the World Championships or whatever it is.
It's very intensive for their training everything like that. And
then somebody told us about this agency in East London
(07:38):
for retired athletes whose careers were over. Because for a
lot of athletes it's over at you know, it just
gets younger and younger.
Speaker 5 (07:46):
Especially because they put a lot of their time into
holding their bodies and.
Speaker 3 (07:49):
They get wrecked and all that kind of stuff.
Speaker 1 (07:50):
Anyway, but there was this agency and gave them, gave
them jobs like they'd fly them out to Dubai to
turn some summersaults and cut a ribbon to open a supermarket,
things like that.
Speaker 2 (08:01):
Okay, so we get we went.
Speaker 1 (08:02):
I went along to this agency and they got all
these athletes in and I did this workshop with them,
and I said to them, like the crew were gathered there,
I said, okay, attack me, and I said, as violently
as you can, okay, but.
Speaker 3 (08:14):
You're not going to hurt me. You've got to stop
at the last second and not hurt me. So I
was very clear about.
Speaker 2 (08:21):
And you're walking a line.
Speaker 3 (08:24):
They came at me. It was absolutely terrifying.
Speaker 1 (08:27):
I remember thinking, that's it, that's what we'll do. It's
because you can't get away because they're moving so fast,
they feel so powerful, and they're so infected with this
feeling of wanting to hurt you that you'd stand no chance.
Most people would stand no chance, or you'd have to
think of other things to protect yourself.
Speaker 3 (08:43):
So that was the idea.
Speaker 1 (08:44):
So we used we used we sped up the infected,
and we call them the infected rather than zombie, so
that people wouldn't get the wrong idea about them.
Speaker 3 (08:52):
So that was the idea.
Speaker 5 (08:53):
Well, that's that's what I find fascinating about them, right.
It's because like, well you have zombies, they're kind of decay.
They just kind of like eat because it's like something
in their brain function telling them to do it, but
you know, they could just essentially live forever, where it's
like the infected in your films, like they can die,
they can starve, they can you know, but they they
also I got to tell you about this scary ass
moment that happened when I watched twenty eight Days Later,
(09:15):
and it's the in the church scene. It's like our
first introduction to the infected, and you know, killing Murphy
like says hello after seeing like this kind of like
pile of dead bodies, and then you see two people
just kind of like get up and just they're staring
at him, right, and you could tell there's this still
this thought process in the in their eyes where they're
(09:35):
not necessarily like lumbering zombies who are just going off
an instinct. They're just kind of like food and they're
still they're trying to figure him out just as much
as he's trying to figure it out. And that right there,
to me, separated zombies from infected. I said, this is
a different thing, right and that and that's what I
love about like your versions of you know, infected people
in this. But that being said, you know, obviously people
(09:57):
will still associate this with zombies, and a lot of
filmmakes will kind of like, you know, take this and
Trainable Sign Dawn of the Dead, which was made two
years later by Zack Snyder. Right, you have all these
fast moving zombie movies that I would say were inspired
by twenty eight days later. Did you think that people
were going to follow suit or did you think this
(10:17):
was going to be a cool, one off type of thing.
Speaker 1 (10:19):
Oh, you never think people is going to follow suit,
because you're just you. It's as you're all in for
just one thing. Really, you're not thinking about anything else
other than trying to make the one thing work. I
think it did kind of obviously trigger a fascination in people,
but I think it was something. I think it was
slightly different, and it wasn't necessarily to do with our movie.
The world had changed because while we were shooting it,
(10:40):
nine to eleven happened, and I think that changed people
in a way that we still find hard to appreciate it. Yeah,
and I think it was to do with cities that
suddenly cities which looked to us to be because I
come from outside a city and I moved into a city.
You know, when I got old enough. When I became eighteen,
I'd moved to a city, you know, like you do
and stuff like that, and they always felt like incredibly
(11:03):
powerful things that you could kind of like disappear inside
and nobody knew what you were doing, you.
Speaker 3 (11:08):
Know, and all that kind of and suddenly they felt vulnerable.
Speaker 1 (11:11):
After nine to level, they felt fearful, and how can
a city be fearful? And I think we benefited from that.
Suddenly there was this feeling of scared. And I think
that's one of the reasons that the the genre became
so popular and it span off into TV shows and
all sorts of stuff like that, because it expressed as
(11:31):
horror does.
Speaker 3 (11:32):
It expressed the fear that people.
Speaker 1 (11:34):
Have and that they could hook onto and and and
then you get COVID and all those kind of things
were just going to feed into it as well like that,
and cities feel suddenly. Do you remember when we emptied
out the cities in COVID Think and you look, it
was like I seen from twenty eight days later, It's
like this is crazy.
Speaker 5 (11:52):
Yeah, it's the themes of isolation is so heavy in
these films, and it's been even heavier in twenty eight years,
Like when I when I saw the trailer, and also
just kind of like, you know, reading your interviews and
listening to you talk about it, but I'm glad that
you brought up kind of you know, this being made
twenty eight days being made after nine eleven, but now
twenty eight years is being made after COVID like a
post pandemic that we had. What is it about kind
(12:16):
of those real world parallels that make these type of
like isolation stories so palpable Because I feel like twenty
eight Days Later got a new audience once the pandemic
happened because they said, this is exactly how we're feeling. Right,
So like, when making this film after you know, a
pandemic of our own, is this still in your mind
of like wow, like we had nine to eleven and
(12:37):
now we have like a new pandemic and now I'm
making this film.
Speaker 2 (12:40):
Do you feel like the world's talking to.
Speaker 1 (12:42):
You in a way? You don't do it directly, but
it does influence you hugely. And I think a lot
of it is to do with a lot of people
think how would I survive?
Speaker 3 (12:51):
They think about that.
Speaker 1 (12:52):
It's almost cool like when you're a kid, when you're
playing and you hunk it down, and of course yeah,
and it's really an extension of that. I think, how
would I actually would I be able to live? Would
I be able to survive? And how would I go
about it? And our story is set on this tidal
causeway island which is protected by the tide other than
(13:14):
at certain moments at low tide when they have to
protect it. And that's how that particular community has survived,
and it's shrunk to the ideal size for a community,
which is about apparently this is all provable. About one
hundred and fifty people is about the ideal size for
a community, because you can remember everybody's names, and therefore
(13:37):
you have trust.
Speaker 3 (13:39):
Because you know everybody, you can learn them all.
Speaker 1 (13:41):
Whereas above that number you start to have to have
a different system to trust, and you all put your money.
You're trusting money as a system, or you put your
trust in religion as a system that you all observe
and obey, and therefore you trust everybody else who also
obeys that system as well. But beyond before that, and
(14:03):
none of that's available to these people because they literally
are alone and there's no money anymore. Of course, their
size is about one hundred and fifty people, right, and
our story is about this boy who goes out with
his father for his first kill, for literally like a blooding,
because he has to learn how to protect the island.
Speaker 3 (14:21):
Right of course, is what he's doing at the beginning.
Speaker 5 (14:23):
Yes, that's a hell of a coming of age story, man,
coming you know wow. Like usually when I think of
coming of age, I think, you know, nice and sweet.
Speaker 2 (14:30):
When you get a girlfriend, it's a little bit tough.
Don't expecting go kill your first effective. Man, It's gonna
be cool. It's gonna be cool.
Speaker 5 (14:41):
Just one last question I have about twenty eight twenty
eight days, and then we'll like full it because I
have a lot of questions about twenty years, especially when
it comes to the infected and their evolution. But in
twenty eight days, I found it funny that one of
the masters of horror, one of the masters in like
the zombie movie, George Romero, Like, you know, I remember
reading something where he kind of didn't like the.
Speaker 2 (15:01):
Fast movie Zombie Infected Craze.
Speaker 5 (15:05):
And you know, and I wonder, you know, I don't
know if you've looked up to him or if, like
you know, you're like a big fan of him. But
do you think there's usually a resistance to from old filmmakers,
old Hollywood to kind of like do something new, especially
since you've done something that a lot of other filmmakers
have kind of like taken suit and just kind of
like ran with it, no pun intended.
Speaker 1 (15:25):
Yeah, you've always got to watch out for it, especially
people my age getting protective or defensive about stuff.
Speaker 2 (15:30):
Yeah.
Speaker 1 (15:31):
The amazing thing about cinema is it's I always think
of it as vanpiric.
Speaker 3 (15:36):
It wants blood, new blood, Yes, like it wants your blood.
Speaker 1 (15:40):
It was young people with new ideas because it's primary
audience still is young people.
Speaker 3 (15:46):
It's you know, it's going out with a girl or
a may or whatever it is. You know, when you.
Speaker 1 (15:51):
Got the movies and and and it wants fresh ideas.
And I think that's one of the things that separates
it from television.
Speaker 3 (15:58):
I really do.
Speaker 5 (15:59):
You know.
Speaker 1 (15:59):
I'm there's all this talk these days about streaming, and
you know, is it going to replace cinema? And it mustn't,
because there's something about the ritual of the cinema space.
Speaker 3 (16:10):
And you go there and.
Speaker 1 (16:11):
It's cruel because if it's not good, they'll let you
know that will be seriously disappointed.
Speaker 5 (16:16):
I mean, people are going like they're spending time in
the theater and spending all this money to do it.
Speaker 2 (16:20):
They're expecting to get something.
Speaker 3 (16:22):
They want something new and fresh and different.
Speaker 1 (16:24):
Anyway, that was one of the principles behind why we
didn't want to just make a straight sequel that just
kind of just followed the first film. This is You
don't need to have seen the first film to have
seen this film. It's a standalone idea in its way.
There's definitely benefits if you have seen the first film
and know a bit about it. But it's an original
idea and an original story from one of the great
(16:46):
one of our great minds, Alex Garland.
Speaker 3 (16:49):
He was one of our wonderful story rights.
Speaker 2 (16:51):
He's killing it right now.
Speaker 5 (16:52):
Man. Yeah, we'll get to more Alex like towards the
end of this interview because he's His movie is like
that he's been directing has been just like Balls of
the Wall amazing. But when you talk about evolution from
twenty eight days to twenty eight years, I see it right,
because you know you have infected that you've described as
being more evolved like animals, and how they've kind of
(17:13):
adapted to kind of like being around. Talk to me
more about the infected in this movie and how they
kind of like have changed, how they're like a little
bit different than most people will remember them.
Speaker 3 (17:22):
So everybody remembers that.
Speaker 1 (17:24):
If you remember the first film, you remember these pretty
not emaciated looking, but they're pretty basic looking, ferocious movement,
infected with this terrible rage. The red mist of rage
permanently occupies them, and we imagine that the virus itself
is mutated within them, and it had mutated both ways.
(17:47):
That been those who had withdrawn from that incredible expression
of energy, exhausting expression of energy, and had literally gone
to ground, had literally and no fed off the ground
itself and literally became almost part of the ground and
those beyond. And then it went the other way as well,
which is that these things called alphas emerged, which are
(18:10):
bigger and more dangerous, and we're not allowed to show
what they do.
Speaker 3 (18:17):
You have to go what they do. But it is
a progression beyond.
Speaker 1 (18:25):
So in the first film, it's about getting infected, and
you turn into one of them when you start.
Speaker 3 (18:30):
It's a bit of a progression from that, I'm afraid.
Speaker 5 (18:33):
I mean, it seems it seems from the trailer and again,
like I've been I've been following this movie very closely.
It seems for the trailer and kind of like what
you've been saying of, like you know, these infected, it
seems that they're almost like a clan a little bit.
There's like the scene in the trailer where they're like
on the horizon and they're just kind of there standing
and it's almost like they're hunting in a way, you know,
(18:54):
and you don't have to spoil it, they give you
to watch, but it's you could tell they've gotten smarter.
You could tell that that they're living here. This is
their land now, like the whole of Europe seems to
be the wasteland that they occupy. And there's this thing
that you said where you said that you film the
movie in a way that makes you feel like you're.
Speaker 2 (19:12):
Surrounded by the infected, that they could just be anywhere.
Speaker 5 (19:16):
Talk to me about that filming technique, because from twenty
eight days to now, I feel like twenty eight days
have this kind of like surreal like you're on the ground.
It's very grillly gritty, feels very gorilla. And you shot
that on like digital so it feels like it's I believe,
as you described it, just good enough to where it
has the look and feel. But here, like now, you know,
(19:38):
we have these wide, beautiful, wide angles where like you
don't know where to look, you don't know where they're
coming from. Talk to me about the decision to kind
of like employ employ that filming style.
Speaker 1 (19:46):
It was to because like the first film is set
in a city, this is very much set in.
Speaker 3 (19:52):
The countryside, if you like.
Speaker 1 (19:53):
Yeah, And the idea was to capture as much of
it as possible and they could be anywhere in that
in your widescreen view. So that the unease which came
from being very jittery in the first film and very gritty,
this is to do with much more to being able
to see this landscape which has changed enormously because man
hasn't been putting its its fingerprints on it for twenty
(20:16):
eight years. But the danger could be anywhere out there
within that, so that we shot in that format. That's,
like you said, sinners uses as well, and what was
the other film creature the creator creating beautiful usual.
Speaker 2 (20:33):
I love that anyway, I think best visual effects for that, yes, yeah.
Speaker 1 (20:39):
And rightly, so that scene of the baser things mapping,
mapping the sea.
Speaker 5 (20:45):
And oh my god, it reminded me of his earlier
film Rogue one the Star Wars film. Yes, you know,
it also has like that beautiful kind of like landscape.
Look I do it, so we can expect to see
that in twenty eight years something.
Speaker 3 (20:57):
It's kind of there's a bit anyway.
Speaker 1 (20:59):
Anyway, it's very Yeah, so they can come at you
from anywhere. Really, that's the idea of it. But you
touched on something really interesting. It's really smart what you
picked up from the horizon shot where they appear to
gather because they're random in the first film, there's no
clown ship, whereas this feels more like it hints towards
they're more like that they are slightly organized, that they
(21:22):
have survived and and like some of them haven't survived.
There's one very thin guy that you see in the
trailer who's clearly last legs, but others have organized so
that they can feed, so that they can survive. And
that's the instinct that's in all of us, whether you're
fill of rage or not, is survival instinct. And even
more than that, they kind of appear to be organized
(21:45):
by this other figure that's significantly larger than them, and
that's the Alpha, and you meet two of them in
that I shouldn't have been.
Speaker 2 (21:57):
But I do.
Speaker 5 (21:58):
I do find this extraor like it's that's really interesting
because again with the heavy things of like isolation and
kind of like you know, them being quarantined, and what
happens when the countries and other nations from the outside
are just kind of like leaving them to their own devices,
right and saying you're on your own, we can't help you.
But then within that the people who are infected are
banding together and they see the importance of kind of
(22:20):
like we need each other in order to even.
Speaker 2 (22:23):
Feed, right.
Speaker 5 (22:24):
So I find like all these things working together is
just very very fascinating.
Speaker 1 (22:27):
It's very nature finds a way. Is that you think
you can kind of like just lock the island down
and kind of just let it kind of eradicate itself,
but it will find a different way of going about.
And there's a scene which I can't tell you about,
and you have to go to the cinema to see.
There's a scene later on when something happens and you
know they are continuing to evolve, Okay, really that's all
(22:51):
I can say.
Speaker 2 (22:54):
Really hard.
Speaker 3 (22:56):
But the very strange instructions.
Speaker 2 (22:58):
But this is what I love, like.
Speaker 5 (22:59):
The that you're showing, just talking about, like creating this film,
like it shows whenever, like like audiences go and they
see it, like you could tell, you could tell what
someone's hardest.
Speaker 2 (23:08):
Mad in it, and your heart is very very clearly
in it.
Speaker 3 (23:10):
Well, it's family, one of the things that's interesting.
Speaker 1 (23:12):
So I said to Alex when he first give us
the script, I said, well, you know, when we talked
about it, I said, what's it about then, and he said,
because we made this other film. So we shot this
first film, and we've shot a second film, Bone Temple. Yeah,
Bone Temple, which near the Costa is directed. And they're linked,
very closely linked through character, and they're and they're continuous,
(23:33):
so you don't have to as seen one to see
the other day.
Speaker 2 (23:35):
Both.
Speaker 1 (23:36):
They're independent films in a way, but they are linked,
very closely linked. And I said, what's the what's the
definition of them? He said, the first one is really
the nature of family, which is a weird thing to
say about a horror movie, but it is about the
nature of family.
Speaker 3 (23:49):
Maybe not so weird. Families can be pretty horrible, We're not.
Speaker 1 (23:53):
The first one is about the nature of family and
what you refer to about now gathering on that hillside
is also to do with family, and and he meets
a family at the end. This kid meets a family
at the end. That's a very strange thing. And features
Jack O'Connell who's in Sinners, the Chief Vampire. He's an
amazing act and he travels into the second film. And
(24:14):
the second film is about the nature of evil. So
that's you get this balance between them, which is really interesting.
So there are ideas in it. There are They are
a new and ambitious and yeah, you will have to
go to the cinemas to see them.
Speaker 2 (24:28):
I will see them in a sense for sure, all right.
Speaker 5 (24:30):
So I want to give I want to hit one
more point on the shooting technique of this film.
Speaker 2 (24:34):
So I've been hearing.
Speaker 5 (24:37):
Conversations around the internet that this entire film was shot
on iPhone cameras.
Speaker 2 (24:42):
Can you confirm or debunk that right now?
Speaker 5 (24:44):
Because I've seen like your rig it looks insane. I
want to get that from my phone hopefully, so my
tiktoks will look a lot better. But can you confirm
or did not other like kind of like deny like
it whether or not that's true.
Speaker 3 (24:56):
So we use a lot we use.
Speaker 1 (24:58):
We used an array of from cameras for it, and
the iPhone was one of them, and we use them
for those rigs that you've seen.
Speaker 3 (25:05):
They released some pictures of those rigs, which.
Speaker 2 (25:07):
Is insane and goes around.
Speaker 3 (25:09):
But it's but it's basically it's the matrix.
Speaker 1 (25:11):
It's it's a poor man's version of bullet time from
the matrix, you know, from Keano and those amazing shots,
and we wanted it. We wanted something that startled you
about the way that the alpha particularly.
Speaker 3 (25:24):
Is depicted, and so that's what we use it for.
Speaker 1 (25:26):
And it's a shot they can't put in any of
the trailers because for all because of its content, so
it has to.
Speaker 4 (25:33):
Yeah, but but we used that.
Speaker 1 (25:40):
But we also use all these other cameras, Like there's
a very there's a very weird Panasonic camera used and
these shots are in the trailer. The red these red
shots of them filmed at night, these kind of heat
there's sort of almost like a heat camera at night,
but they're kind of it's a red filter thing that
they use on this. It's called the EU one two
three Panasonic, and so there's some various sophisticated cameras used
(26:03):
as well. So it's a it's what they call a
smorgas board, I believe is the word of all sorts
of different cameras that are used. But we wanted to
we did want to use some of some of them
everyday technology that we all have, because that was the
idea in the first film, is that we shot it
on domestic video cameras because we thought, well, they'd be around,
(26:26):
you know, if.
Speaker 3 (26:27):
The apocalypse happened, they'd be lying in the street.
Speaker 1 (26:29):
At the time, just like iPhones would be now, you know,
and you could pick them up and.
Speaker 3 (26:32):
If you could get in them, they'd probably have.
Speaker 1 (26:35):
A depiction of what was happening or evidence of things
that would be either terrifying or very moving stuff like that.
So it felt like we had an obligation to kind
of reflect that. But the technology has moved on so
much now that when you use these things they shoot
at four K, which is just incredible quality anyway, So
(26:55):
it was and it gave us a wonderful lightness and
flexibility about being able to travel to parts of Britain
that people haven't seen before and which you don't want
a camera crew trampling on. So we use a lot
of drones as well. And I think drones are coming
more and more into our lives. They're going to be
delivering stuff, they're going to be recording stuff, they're going
to be following you around.
Speaker 3 (27:14):
Yeah.
Speaker 1 (27:16):
So the opportunity of the twenty eight world is that
you can use technology that's kind of evolving in front
of us to capture these stories.
Speaker 2 (27:25):
So that makes a lot of sense.
Speaker 5 (27:27):
Now I'm over here hoping that, like I can get
that rig from my iPhone so I can make my tiktoks.
Speaker 2 (27:32):
Look, that's worth it.
Speaker 3 (27:34):
It's a really lovely thing as well.
Speaker 1 (27:36):
When you I mean anyway, you'll see there's this shot
at the Alpha where he drops stone in this train.
Speaker 3 (27:40):
Yeah, anyway, you'll know it when when you see that sht.
Speaker 1 (27:44):
When you see you'll think, oh, that's what he meant
that It is okay, it is cool that shot. And
I don't say that about my own work, but that
is kind of like wow.
Speaker 5 (27:52):
When I see that at the premiere, imna run up
to your seat in the middle of the movie and say,
that's what you were talking about back that's what's going
to happen, all right. So I want to like talk
about how you've reunited with Alex Garland, who you've worked
with very closely on the first film, and now you
guys are I think a lot of people are happy
that you two are back together with this film, right.
Speaker 2 (28:09):
I feel like a lot of people have been waiting
on this.
Speaker 5 (28:11):
Can you talk to me about kind of like seeing
his journey from kind of like you know, novelists to
screenwriters and now he's directing him and he just had
a want two punch of warfare and civil war back
to back, and now he's also going to do the
elden Ring movie as well, like as a colleague, as
a friend, can you talk to me about like seeing
him kind of like succeeding that way and watching his films.
Speaker 1 (28:31):
So a mate of mine, a friend of mine, was
actually in this movie.
Speaker 3 (28:35):
Really he plays Sam, this older guy in the movie.
He's called he's an actor. It's called Chris Fulford.
Speaker 1 (28:40):
Okay, We've been mates for like donkeys' years. And he
gave me this book about twenty five years ago. Somebody
gave me this book called The Beach. He said, you
read this is not really good, and I read it
and it was really good, and I was like, nobody
knew about it at the time. It was on a
very small print run and he just kicked off. So
we bought the rights for it, and we got and
we met Alex and he was clearly a cinematic writer
(29:01):
because his novels, and there's a number of them, are
written in a very cinematic way. And so we met
and he came out to Thailand when we were filming
The Beach and just watched a bit and stuff like that, and.
Speaker 3 (29:11):
Was obviously observing. He didn't adapt it.
Speaker 1 (29:15):
John Hodge used the regular guy I work with, kind
of adapted it anyway. He got the taste for it,
and then he produced this very very thin little script
and it said twenty eight years later, twenty eight days
later on it. And I remember at the time thinking
we can't call it that. There's a Sandra Bullock movie
just come out called twenty eight days and everybody will
get it confused, and they altern up thinking they're going
(29:37):
to watch the Sandra Bullock romantic comedy and he's.
Speaker 2 (29:39):
Going to do this thing people tearing his father apart.
Speaker 1 (29:42):
So but thankfully we didn't change the title because everyone's
forgotten about the Sandra bullet maybe and we've gone all right,
we've managed to survive survival technique anyway. And he was
wonderful to work with. So we started working on it
and he loved. He loved elaborating on the script. You know,
he loved kind of like he writes in such a
(30:04):
cool way, doesn't over describe things. He just very simple.
You just kind of reach.
Speaker 3 (30:10):
Into it yourself, rather than be told everything that you're.
Speaker 2 (30:13):
Expecting to love about his movies. I love that.
Speaker 3 (30:15):
And then and he it was clear that he wanted
to direct. I think when he learns enough.
Speaker 1 (30:21):
So we work with a number of different people, realized
we were all rubbish.
Speaker 3 (30:27):
I could do this now. He realizes our tough job.
Speaker 1 (30:31):
And he's got a lot of he's got a lot
of time for now, like directors complaints rather than the
other way, rather than complaining about directors. So yeah, no,
he's great. And yeah, and his first film his first film.
So one of my theories is that your first film
is always your best film. The other films may be
more successful, they may be more admired, they may be
(30:54):
more technically brilliant or whatever, but your first film is
always your best film because you don't know what you're doing,
and if you survive rather than get massacred, it's gonna
be it's gonna be quite interesting to see that. And
his first movie was ex Mackinner and he'll be hard
pressed to make a better movie than that. And it's
career because it's a wonderful movie.
Speaker 5 (31:14):
Yeah, it's a wonderful I still think about the discoss
scene in that movie, to be honest. Get Down Saturday
Night was on my playlist for years after that movie,
and every time I talk to someone about that movie,
I say, hey, I'm not gonna show.
Speaker 2 (31:26):
I'm not gonna say anything about this movie. Just watched
this discoss scene. They're like, oh, this looks nice, so
so so.
Speaker 1 (31:31):
Because you're saying about recommendations. If anybody hasn't seen on
your if anybody watches your show, hasn't seen.
Speaker 3 (31:37):
The first Coen Brothers movie. It's called Blood Simple, okay.
Speaker 1 (31:41):
And the Coen Brothers are geniuses and they've made some
great films, you know, but they have never made a
film as great as Blood Simple, Okay, if you want
to watch, because they made it for nothing and they
clearly were just learning how to do it as you
do it. So it's a wonderful thing to watch if
you want to do it yourself, if that's what you're
interested in.
Speaker 3 (31:58):
These watching people's first film gotta be good.
Speaker 1 (32:01):
Yeah, because you're not overreaching then, you know, because you
when you get, when you get, you know.
Speaker 3 (32:05):
If your film's working, you get famous or whatever.
Speaker 1 (32:08):
Everybody surrounds you with all these experts and stuff like that.
It's much better looking at what you're actually when you're
just working out yourself.
Speaker 3 (32:15):
So I made this film, Shallow Grave, that was my
first film.
Speaker 2 (32:18):
Was that your best?
Speaker 1 (32:19):
So my dad, God bless him, he's dead now, but
my dad used to go to all.
Speaker 3 (32:23):
My films and it's say and he come up and
me say, no, it was good, but it wasn't as
good as Shallow Grave.
Speaker 1 (32:29):
What he said about every film because he said the
same thing, yeah, which I think was to keep me
in my place, right understandably, Right?
Speaker 5 (32:36):
Is that is that where your theory kind of came from? Like, yeah, well,
as we like wrap this up and as we like
are giving like Alex Garland his flowers, what do you
think do you do you really think that that's like
his best film x Makina Or do you have like
a favorite film or do you like consider best and
favorite to be two separate things?
Speaker 1 (32:57):
They're often are because yeah, yeah, they often are different.
You know, people admire films and films with like huge successes,
but you always have your favorite. My favorite filmmaker remains.
I mean, my favorite film has always been Apocalypse. Now, yeah,
it's just like and I can watch that film, and
I have watched that film multiple times over the years.
(33:18):
And if anybody on your crew hasn't seen it, I'm
sure they've also.
Speaker 4 (33:21):
I'm hoping, but I rate love this British film director
called Nick rog And he made a film and it's
films with and he's passed away recently sadly starring Gene
Hackman called Eureka, which is one of those films that's disappeared.
Speaker 1 (33:38):
It's just vanished and if you can get ahold of
a copy of it and watch it. The first half
of Eureka, it's about this man played by Gene Hackman,
who is literally literally discovered liquid gold.
Speaker 3 (33:51):
He is the richest man.
Speaker 1 (33:53):
He has everything, everything and what more could he what
more could he want? If you see the film, you'll
see just extraordinary. He's a brilliant filmmaker, a non literal filmmaker.
He kind of like follows, He follows images and ideas,
and yet he still remains within the mainstream.
Speaker 3 (34:12):
His most famous film is.
Speaker 1 (34:13):
Don't Look Now, I Think Yeah, which is with Julie
Christie and Donald Sutherland who also passed away quite recently.
Speaker 3 (34:19):
But that's worth watching as well. That's an amazing film.
Speaker 2 (34:21):
Welcome on that. Well, thank you Danny Boy for coming
to talk to me on get Wrecked.
Speaker 5 (34:25):
Wet We're done, We got the Little five and I'm
clocking that over here.
Speaker 2 (34:29):
So dude, this is such an amazing conversation.
Speaker 5 (34:31):
I hope to talk to you more about Alex this
film and any other movies you got you got for
me because that was amazing.
Speaker 3 (34:36):
Oh fun, Thank you very much, great.
Speaker 5 (34:38):
Nice, nice, Well, guys, thank you so much for watching
Get Wrecked with straw had Goofy. Make sure you guys
go on substacked and then it will come out later
on your Spotify, t apples, YouTube's wherever you watch a
podcast you green. This is Danny Boy, and we'll catch
you next time when you make me your movie.
Speaker 3 (34:51):
Guy,
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