00:02I met up with Jake
00:04a while ago before the script
00:06and Jake was the one who mentioned it to me
00:08and said, you know, there's this great script that I've been reading
00:10I'd love you to have a look at it
00:12and I did read it and I thought
00:15wow, that's a lot of
00:18claustrophobic environments
00:18having just come off the back of Moon
00:20which was very much a claustrophobic environment
00:22I could see why they wanted me
00:25but it sort of
00:27it occurred to me
00:29that there was a real
00:30because of the beauty of the script
00:31without revealing too much
00:32is that there's a constant
00:35there's sort of new exploration
00:36there are new things going on
00:38each time our main character Coulter
00:40actually enters this repetition
00:43that occurs in the film
00:44so there's always something new going on
00:46and I think that became a bit of
00:47that was the challenge really
00:48was how do you make each of these repetitions
00:52new and give the audience something new
00:54that's going to keep them engaged
00:59I had one set of ideas of what we could do with it
01:01and Jake wanted to try some things as well
01:04and I think we had a very good collaborative relationship
01:09and I think what we ended up doing
01:10is we added a lot more humour
01:12there's a lot more tongue-in-cheek humour in the film
01:14than was originally on the page of the script
01:16and I think that mix of humour
01:19and then the sort of
01:19the sort of slightly more science fiction elements
01:22of this thriller
01:24which is a contemporary thriller
01:25but there are definitely science fiction elements
01:27I think we pulled something together
01:31which was quite appealing
01:34I think the audience isn't going to get
01:37sort of bogged down
01:38in the logic or the science of it all
01:40I think they'll just be going along for the ride
01:46I'm a huge fan of Jake Gyllenhaal
01:48I think he's a tremendous actor
01:49to work with him was a real opportunity
01:51that I didn't want to pass up
01:52and the script was
01:54it was tight
01:55it was a good, strong, fast-moving script
01:59and I loved that
02:01I loved the fact that
02:02there was no lethargy in it
02:04it just sort of got on with the story
02:09he starts off in a place
02:11where he doesn't know what's going on
02:12and by the end of it
02:13he's become sort of master of his own world
02:15and I think that growth
02:18that evolution over the course of the film
02:20was fun
02:21because things go wrong sometimes
02:24sometimes something happens spontaneously
02:26and he realises that he has the ability
02:28to control this
02:29and I think it just made it for a fun experience
02:36we built this amazing train carriage
02:38which played multiple parts
02:40and different parts of the train
02:42over the course of the shoot
02:44and it was this beautiful thing
02:45but it was a bit of a monster really
02:47because shooting in that environment
02:49became somewhat limiting at times
02:51and we sort of
02:52the personality of the film
02:53almost came out of
02:55the necessities of how we had to shoot it
02:57as opposed to the other way around
02:58sometimes when you're shooting
02:59you can impose your style
03:01on your location or on your set
03:03and in this case it was really the set
03:05that imposed the style on us
03:10Captain Coulter Stevens finds himself
03:12waking up on a commuter train
03:14heading to Chicago
03:16he doesn't know how he got there
03:18and he finds that
03:19everyone else in the environment
03:21seems to know who he is
03:22but it's not who he thinks he is
03:25and then the story begins
03:31I'm not embarrassed to say
03:32we borrowed liberally from Hitchcock
03:35in parts of the film
03:36there are certainly some shots there
03:38where you might raise an eyebrow
03:41I think it does have a very Hitchcock feel
03:48but at the same time
03:49there is this sort of whole new wave
03:51I think of films coming out
03:52which are more challenging science fiction
03:56and I think
03:57although this is definitely
03:58a contemporary thriller
03:59I think there are elements of it
04:00which are science fiction
04:01and I think it kind of
04:02it treads that ground as well
04:04it's sort of part of that wave
04:05of slightly more cerebral science fiction
04:12Jake and I got on very well
04:13started talking about
04:14how it could work
04:15and who we might want
04:16and I suggested Michelle Monaghan
04:18having seen her in
04:19Kiss Kiss Bang Bang
04:20which was a film by Shane Black
04:22who's a friend of mine
04:23and I talked to Shane
04:24and he said how wonderful
04:26she was to work with
04:27and how much fun he'd had with her
04:32One of the beauties
04:33of working with Vera Farmiga
04:34is there's so much going on
04:36in her face
04:37she's so able to communicate
04:38with the subtlest movements
04:41or gestures
04:42and I think she knows
04:45that she has that ability
04:46and used it in our film
04:50and I'm so grateful
04:51because there isn't
04:52a huge amount of flexibility
04:54of where she can go
04:55or what she can do
04:55or props she can draw on
05:01We wanted to make the film
05:03about relationships
05:04it's about Coulter and Michelle
05:06and Coulter and Goodwin
05:08and about
05:10again
05:10I guess that's where
05:12my interest in the script
05:13really lies
05:14it's about relationships
05:15and people
05:15and the fact that
05:16I want to show
05:18how people bond
05:19I think that's something
05:20that I find very interesting
05:21is how people bond
05:22and I think that's what
05:23we do in the film
05:28There's more humour
05:28in the film
05:29than I think
05:29was originally planned
05:30and I'm very pleased
05:31about that
05:32and I think the love story
05:33is more obvious
05:34and stronger
05:35and more touching
05:36than I think maybe
05:38we originally realised
05:39when we were shooting it
05:41and that's
05:41I think I'm really proud
05:42about that
05:43At the end of the film
05:48if half the audience
05:49comes away satisfied
05:50with the love story
05:51and the experience
05:54of the action
05:54and the other half
05:56are baffling over the ending
05:57but enjoying
05:59trying to work out the ending
06:00then I'll be very satisfied
06:02because I think
06:03I think there's enough there
06:04to keep you engaged
06:06on an action
06:07and romance level
06:09and there's definitely
06:10something which
06:11there's definitely
06:12something to think about
06:13at the end of the film
06:14if you are
06:15of that disposition
06:17and you enjoy
06:18those kind of puzzles
06:19but not enough
06:20to frustrate you
06:21I think that was
06:21the balancing act
06:22was to make sure
06:23that there was something
06:23that would keep you interested
06:24and make you think
06:25but at the same time
06:26not leave you frustrated
06:28but at the same time
06:29you
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