I dont even remember the first-time I was told about the events at Dunkirk.
As kids, we received this very simplified, almost mythic fairytale version of what happened there.
We made the crossing at about the same time of year the evacuation had taken place.
The crossing was extremely difficult.
The channel was very rough.
On how he chooses each project:
For me, its always been about story.
Im very single-minded, I really only do one thing at a time.
After that, I really took the view of trying to make those decisions on the page.
All these people here can attest to that.
Everything in the film is intended to be intense, suspenseful and subjective.
I didnt want to cut to generals in rooms with maps, kind of pushing thing around or whatever.
We were able to get real Spitfires, real bombers, real Heinkels (German WWII bombers).
There was a lot of attention to detail, a lot of careful planning.
We shot all those sequences on IMAX and overwhelmingly for real, that was the intention.
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You cant worry too much about previous roles that Mark has done, or Harrys celebrity, or whatever.
You know, really take them there.
IMAX is the best format to be able to do that.
Obviously, that produces production challenges, but I think thats well worth it in the finished product.
As far as influences creatively on the film, we looked at a lot of suspense films.
We looked at Hitchcock.
We looked at various influences.
I like to cast a pretty wide net in terms of films to show the crew before we start.
We looked at a lot of different things.
We looked at some David Lean films for the treatment of landscape.
We looked atRyans Daughter, the treatment of the beaches in that extraordinarily visual film.
But I thinkWages of Fearwas the one that we most honed in on as that language of suspense.
Dunkirkis out in theaters today (Friday, July 21).
