Aliens vs. Hoodies
ATTACK THE BLOCK, directed by Joe Cornish and shot by cinematographer Tom Townend, is an alien invasion tale with a twist - instead of the usual LA or New York setting, these aliens touch down in a working class council estate in South London. Camera equipment was supplied by ARRI Media in London, while the lighting package came from ARRI Lighting Rental.
ATTACK THE BLOCK, directed by Joe Cornish and shot by cinematographer Tom Townend with ARRI 35 mm cameras, is an alien invasion tale with a twist - instead of the usual LA or New York setting, these aliens touch down in a working class council estate in South London.
When Townend met first-time director Joe Cornish to discuss ATTACK THE BLOCK, they discovered a common affection for a certain genre of 1980s American movies that would influence the look of the film and lead to some creative challenges. "Joe and I discussed the way films like THE TERMINATOR and THE WARRIOR looked, particularly in street scenes at night, and why British films of that era look completely different," says Townend.
There was a big discussion right at the start of the process about whether or not to shoot anamorphic. "Almost every film Joe mentioned as a visual reference was shot either anamorphic or spherical 1:85:1, which were the two main options in the 1980s era. Plus, I had shot a commercial in anamorphic in a night setting that had caught Joe's attention and was the reason he'd approached me in the first place," Townend explains.
"However, I argued against it for this project. To shoot anamorphic would have required a much bigger budget; we'd have needed more lighting and we'd have been playing with half the depth of field. For me, it wasn't an acceptable risk for the budget, and with the results we achieved I stand by that."
Townend opted for two ARRICAM Lites for the main camera package, plus an ARRIFLEX 235. "Early on it was decided we'd run 'A' and 'B' cameras, so ARRICAM Lites made sense," he says. "It's a fairly fast-paced film and they are lightweight, so Julian Morson [the 'A' camera operator] and I could easily lift them onto our shoulders to move about, although Joe wanted to avoid 'shaky-cam syndrome,' which has become something of a trope and it's a bit lazy as you can get away with more because the geography is not clear. Some of the praise we had from early screenings is that you can see what's going on even during fast-paced action sequences."
For reasons of budget and clarity, the film was closely storyboarded. The intention was to shoot most of the boarded shots with the 'A' camera, while using the 'B' camera (operated by Townend) to grab supplemental material only when appropriate. However it soon became clear that, with a tight shooting schedule, having two cameras available to shoot from different angles was necessary to get all the shots required in the time available, and would also add more interest to the storytelling.
The ARRIFLEX 235 was used on exterior locations mainly for action sequences. Townend explains, "It seemed like a natural choice, as someone often had to run around or shoot from vehicle to vehicle. We stripped right down to basics and often operated off a monitor for these scenes."
There was also a section in the script that Cornish had simply marked, 'This sequence in slow motion.' Townend notes, "This was the dramatic climax of the film and it was an area where we really didn't want to scrimp. All credit to the line producer James Biddle who understood that it would look so much better if we spent some money on a proper second unit." The second unit filmed the sequence mainly using an ARRIFLEX 435 shooting at 100 fps. "We had five setups and seven shots," continues Townend. "All were meticulously planned out because they involved pyrotechnics, live creature effects and some greenscreen effects to be comped in - it was very complex and time consuming."
Townend chose Cooke S4 lenses and mainly stuck with focal lengths ranging from 25-75 mm, with 16 mm and 18 mm used for one or two studio shots and a short zoom for a couple of night shoots. One small snag was that Cornish wanted plenty of lens flare, "And of course the main selling point of Cookes is that you can shoot into light without any flare! But I believe if you want something, you should make it happen rather than just let it happen," says the cinematographer.
The production wasn't able to use cherry pickers on the estate due to cost and space, so Townend and the gaffer, Julian White, installed 18K lights on ARRI MaxMover stirrups on some rooftops of the blocks of flats. "The fact that we could remotely control and angle the MaxMovers was a lifesaver, as it meant we could shoot in several directions," says Townend. "Otherwise there was very little in the way of traditional lighting fixtures. We had a selection of ARRI lamps - both sodium and mercury - but there was no point using gels. If you want a street light, why not use the street light that's there? We wanted a gritty, real look so we decided to make it authentic in a heightened way."
Colorist Asa Shoul completed the DI grade at Technicolor. "He did a great job and we didn't tamper with it too much after his first pass," says Townend. "The look of the film was always going to be dictated by the way it was lit; we didn't alter the contrast or color much, it was just a case of balancing everything out. It was only my second time grading a film and putting a version out to film, and it was a very smooth, pleasant experience - much like the shoot as a whole."
Other Top Stories >>
- ARRI equipment in China on ANIMAL WORLD
- ARRI Trade-In / Trade-Up Program launched
- MAGIC SEVEN DP Laurent Dailland on TRINITY
- FIFA LEGENDS highlighted by AMIRA Multicam
- Weightless control with ARRI Master Grips
- DP Adrian Cranage on the ARRI Look Library
- DYING TO SURVIVE hits big in China with ARRI
- ARRI behind the scenes on WRATH OF SILENCE
- Beethoven in China with AMIRA Multicam
- Spotlight on DP Christian Sprenger