00:00Can I just say, what a marvel that first take was, like 1917, absolutely incredible. Why
00:06did you do that to yourself? It must have been pretty difficult.
00:08Well, you know, on the plus side, you get through a lot of text very quickly. You don't
00:13have to do any other set-ups. I felt it was like, I thought, do I do this again? But actually,
00:18I felt like I wanted to drop the audience into the middle of a movie, in the middle
00:24of shooting a movie. So day 25 rather than day one. And I wanted them to play catch-up
00:30with who the characters were, what they did, what their jobs were. And I felt like there
00:34was a way of doing it that introduced the characters, introduced the world, introduced
00:39the tone within one single three, I don't know how long it is, three-minute, four-minute
00:43take. And I felt in the end, we got somewhere, and that was nice. But the job was really
00:51to set up the insanity of the world there.
00:54Thanks for not using green screen. I'm so pleased you don't use green screen. You make
00:58it so real, and that's so different about you. How does this vary from Bond, this franchise?
01:03Well, you just said it. I mean, Bond is based in the real world. I did, I think, three days
01:08of green screen, maybe on Skyfall, and it felt like three weeks. I mean, it is really,
01:12really hard. Honestly, it's very easy to take the mickey out of people doing it, but it's
01:16very, very hard to do, because what you have to do is you have to explain constantly to
01:20the actors where they are, and what it looks like, what it feels like, and what's happening
01:24to them, and the wind, and the arctic conditions, or the boiling heat, or whatever it is. There's
01:29nothing to react to. And when you're on location as an actor or as a director, you're in the
01:34middle of something, and it gives you an immeasurable amount. You're in a world. Blue screen, green
01:41screen movie making, there is no world. There's just a studio. And so there's something heroic
01:45about the people who make one.
01:47And you said that you're not going to be involved, maybe, in the next one. What are people going
01:50through at the moment, trying to find a new lead? And what must be going through their
01:53lives, and how do they actually do it? What's the process to finding in someone the new
01:57Bond?
01:58Oh, I've no idea. I've never been involved in that particular search. I just know that
02:04Barbara Broccoli, I would have immense faith in her finding the right person. Every time
02:11it's regenerated, there has been a slew of articles, if you look back, and news stories
02:15about Bond is dead, it's over. In fact, when I did Skyfall, in the middle of pre-production,
02:21the studio went bankrupt, MGM. And I'd already signed on to the movie, and on the front page
02:27of Entertainment Weekly, the magazine, it said Bond is dead. And I thought, well, that's
02:31nice, because I'm supposed to be making the next movie.
02:35So I think that's part of the myth, is that it's going to no longer be relevant. And somehow
02:40they make it relevant. So I wouldn't discount anybody or any version of the story.
02:45Are you as excited as we are about it? You're going to be watching as a fan, right?
02:49Yes, I'm really excited to find out how they're going to get out of the corner that they painted
02:52themselves in by killing him. That's really an interesting question. I couldn't answer
02:58how they're going to do it.
02:59And what's your favourite franchise that isn't this one?
03:02Gosh. I think when Nolan did the Dark Knight franchise, that was pretty exciting. I think
03:07the Bourne franchise is pretty great. And I think the early Star Wars movies still get
03:12me. So, you know, they're the few.
03:13Thank you so much. Pleasure to see you.
03:14My pleasure. Thank you.
03:15And I like the director's scarf.
03:16I know. Indoor scarf. Internationally recognised.
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