00:00Peggy 18
00:32To officially kick off the campaign for Metro Last Light, THQ, in partnership with creative agency Itchy, created an epic
00:39live-action short film to tell the story of those present at the end of the world, and the beginning
00:43of the world of Metro.
00:55What drew me into the project was the sheer epic scale and sort of scope of the story.
01:00Reading the basic script that I was given, there was so much potential for character development and the idea of
01:07depicting this event that is the end of mankind is something that was very alluring.
01:16When we were looking for a director to pick up this piece, we were really after someone that understood the
01:22necessity to create this bleak vision of a near future,
01:26and something that Jim's treatment really brought to life was at another level to our storytelling, and he just got
01:32it completely.
01:34Obviously a big part of getting the right director on board was also finding a great director of photography, and
01:39Jim recommended Mark Patton,
01:41who was just coming off Prometheus, so he was absolutely the right choice for us.
01:48From experience of working in Kiev before, I knew that we could cheat Moscow and make that work for us.
01:55It just has this fantastic look about it, which really epitomises this bleak vision that we were hoping to achieve.
02:02Kiev was pretty much the ideal location apart from the weather.
02:06Extreme cold meant that we couldn't stand still, we had very little time to think, and on top of that
02:12we had to throw in a hundred extras,
02:13car stunts rampaging through the streets, but through planning we actually got away with a lot in the time we
02:21had.
02:22We also invited a lot of people from 4A to help add to the weight of bodies, and in actual
02:28fact I think we cleared out most of the office.
02:30Yeah, that was a lot of fun.
02:33The third day was the hardest shoot. We shot for 22 hours without stopping, which was pretty incredible.
02:39We had to shoot in three locations, including being on the Metro Underground system at 4 o'clock in the
02:45morning.
02:47The ranger's costume is based on Artyom's character.
02:50I really enjoyed developing that because that's toys for boys, you get to sort of build guns and knives and
02:56create uniforms.
02:58It was a real process of exploration to design and make his weaponry and his outfit as close as we
03:04could to the character in the game.
03:06Take your time. Action!
03:09One happy accident we had while shooting was the fact that the Metro Commander happened to have a child who
03:14was the exact age we were looking for for the baby.
03:17So in the film, the baby that is passed to him is actually his own son.
03:24Towards the end of the film, we needed to tie in the idea that perhaps this ranger was also the
03:28baby.
03:29And we felt that one really vital cue would be to use the lullaby.
03:34We had a lot of actresses into a casting session and got them to act out the scene with the
03:40baby.
03:40And one particular mother started to sing the child a lullaby.
03:48And it was so moving and emotive that we knew immediately that that was the woman and we were going
03:53to use that in the film.
03:54The mother's lullaby was one of those things that no matter how much you prepare, how much you plan,
04:00some things just come along and they absolutely click and make perfect sense.
04:23We wanted to make a very intelligent film. It's nice to come to your own conclusions and to make your
04:28own assumptions on what might be happening.
04:32It became apparent very quickly that we had so much great material and so many different converging storylines
04:38that we realized in order to stay true to our initial vision and create the epic trailer we always intended,
04:44that we allow these stories to be told.
04:50I think we did that very well.
05:03Of course, it's so wonderful.
05:21And what we will do is make that the text,
05:21Grazie a tutti.
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