I’m going to need to shoot with low light because we’re under rain forest canopies and there’s not a lot of sunlight under there. But I knew we were going to have very difficult shooting situations. What I found though was that I was open to just doing tests with the digital cameras and the film camera and doing environment stuff because, clearly, this is an environment movie. I would have sworn I was going to die as the last man shooting on film.
This is the first movie I’ve done that wasn’t on film. What was it like shooting on a 4k Digital Camera, rather than on film?Ī. I think it’s the greatest job in the world. I get to dabble in all of the art forms and use them as different fingers towards this goal. Do I put Will here and Jaden behind him, so that Will never looks at him? That’s the dance and the choreography. Filmmaking, for me, is dance – and by that, I mean the choreography. But I’m really excited for people to see a sci-fi movie that has a real message to it and a real meaning to it. I was like, “Oh my gosh, I’m actually in a sci-fi movie!” That’s been my dream for the longest time. That’s the coolest thing ever.” Oddly, only half way through the movie did I realize there were extraterrestrials in because I was so focused on the father-son story. I was like, “Oh my God, I get to make a movie with extraterrestrials in it. The reason that I was so excited to make this movie is because I’m obsessed with extraterrestrials. Kitai couldn’t see the baboons anyway because they were behind him.Ī. So, you see a monkey at Nova Prime, you throw a rock at it and it’s like, “Oh, snap, let me get out of here.” But the baboon scene’s kind of easy because all you had to do was just run. He’s too stuck on how it works on Nova Prime. It’s like, if I hit this baboon with this rock, it’ll go away. Can you tell us a little bit about shooting the baboon chase scene?Ī. So we tried to really keep the basic, powerful human essence and build upon that in this extreme world that just becomes the backdrop for what every parent is dealing with in their kitchen with their teenager who knows everything. It’s basically the problems that a father or any parent would go through with a teenage child except set 1,000 years in the future. and say, “Well, what would that look like in 700 A.D.?” What we tried to do with this is take a story that is essentially a basic, human survival story with just a father and a teenage son. To take something that happened in 322 B.C. What we were trying to accomplish with this story, and sort of the fun for me as an artist, was the question of the juxtaposition of story. Can you talk a little bit about keeping the human base of the story?Ī. So he went through all of the vowel sounds and he essentially created a language from his perception of the 1,000-year projection. You lose the fluidity and the poetry of language when life or death is on the line. What happens, historically, in military circumstances is that words get cut. He said, “Most likely, guys, everybody would be speaking Chinese.” So, we said, “Okay, what’s the second most likely?” And he said, essentially what would happen is he felt that humankind would agree on a single language for the purpose of survival. First, we got a language futurist to come in and essentially explain to us what would happen if everybody got jammed onto these ships and what would happen with language. Can you tell us about the altered language you use in the film?Ī. By Admin AFTER EARTH INTERVIEW – Will Smith, Jaden Smith & M.
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