00:00We made a decision to try and film the majority of the movie in one location.
00:04One of the reasons I wanted to shoot there both inside and out was because of the weather.
00:08If it's raining outside and we need rain, we'll go from inside to outside.
00:12You know, we could adapt.
00:13If you're shooting in different locations, it's very hard to move a big film crew like this.
00:18Whereas if it's just a matter of moving from inside to outside, it takes a bit of time,
00:22but it makes you more adaptable.
00:24I was adamant that I didn't want to shoot it in a studio.
00:26I wanted to shoot it in real locations with a real sense of history.
00:30I think it helps everybody.
00:31I think it helps the actors where they're in a real place.
00:34The flip side of that, though, is that you have to deal with the weather.
00:37But when we got to shoot our D-Day sequence, we had some really real big issues
00:41because, you know, we needed the weather to be a particular way.
00:43We were meant to film on a Monday.
00:45And on the Wednesday, we had our own team of meteorologists, you know,
00:49for months in advance checking everything.
00:50They came to me in a big production meeting that we had,
00:53and they said, look, we've got some news for you.
00:55There is going to be a mother of all storms on the Monday.
00:57There is going to be 50-knot winds.
01:00There's going to be six-foot waves.
01:01It's going to be a washout.
01:02Forget about it.
01:03And I thought, well, okay, we'll just push it later into the schedule.
01:06They said, no, we're going into an English winter.
01:07It's probably going to get worse.
01:09And I thought, well, if we don't film it, we're not going to have our climax.
01:11But we can't film it if there's a massive storm because it just won't work.
01:15And then on the weekend, like Art Imitating Life,
01:18they came to us and they said, you're not going to believe this.
01:20We think there's going to be a gap on the Tuesday morning.
01:22Go on the Tuesday.
01:23And we're all pinching ourselves.
01:25I thought it was a joke to begin with.
01:27But sure enough, the Monday came.
01:29It washed all our sets away.
01:31Like all of our production design went into the sea.
01:33But the Tuesday morning, a gap came.
01:35Our production design team went and fished out a lot of this material from the ocean.
01:39They set it up again.
01:40And literally the clouds parted and we shot our D-Day sequence.
01:44So it was very much a case of art imitating life, imitating art, imitating life.
01:48So we had a guy called Ryan Condor who is an old friend of mine
01:53who worked on one of my early short films that I shot in Cyprus many years ago.
01:58I found out he's working in London.
01:59He bought rain machines and all this stuff.
02:01So we did have that as well.
02:03However, on many of the days that we needed rain, the rain actually came.
02:07But, you know, he augmented it and really made it come down.
02:11So we tried to use as little visual effects as we could,
02:14but we used some visual effects sparingly too.
