Fallout s1 - Set Your Sights on 2296

Fallout s1 - Set Your Sights on 2296 - Plot Synopsis:

Transcript

00:00A show like Fallout is such a deliciously weird world.

00:05The tone of it, the oddness of it, the violence of it.

00:09I was constantly amused by the possibilities on the page.

00:13It's the only way I know how to do it,

00:15is to choose subject matter that I'm excited by.

00:25Jonah wanted to make it cinematic.

00:29You know, we were going to shoot on film.

00:31We were shooting a lot of things on locations.

00:33It's like, so how do you transform the outside world

00:36into looking not only post-apocalyptic,

00:39but Fallout post-apocalyptic, which is a whole different thing.

00:42We built massive, beautiful sets in New York City,

00:45and then get on the road, get down to the skeleton coast in Namibia,

00:49out to the western wastes of Utah,

00:51in order to really make these things real.

00:54Amazing landscape of Namibia,

00:56where it's whole suburban houses and Main Street,

01:00and then some of these weird, giant buildings.

01:03Actual post-apocalyptic, not digital.

01:06It was just, like, stunning.

01:12Jonathan Nolan, along with his brother Chris,

01:15have been people who've really stuck with film as a capture medium.

01:20Which is, from my point of view as a cinematographer, fantastic.

01:24The thing I like about film is the happy accidents.

01:28The photochemical negative does seem to have the ability

01:31to capture highlights in particular.

01:34It's very kind to the human face.

01:38In film, there are often little things that creep in

01:41that you're not aware of when you're shooting,

01:43and they can be subtle things like shifts of color,

01:46or flares and highlights.

01:48They're not always a success, but when they are, they're magic.

01:54Everything that Jonah does with someone like Howard Cummings,

01:58or his DP, he brought the things that were written on the page

02:02into the real world.

02:05There's always a moment, you sort of wake up and you think,

02:08God, why do we drag all these people around the world?

02:10And then you look out the window or you get out of the bus,

02:12and you go, oh, this is why.

02:24¶¶