Flee!
In Danny Boyle’s latest thriller, “28 Years Later,” audiences are treated to one of the year’s most gripping chase scenes. The movie follows Jamie (played by Aaron Taylor-Johnson) and his son Spike (portrayed by Alfie Williams) as they explore the mainland, only to encounter a new, terrifying breed of infected called The Alpha. Unlike typical infected, Alphas are more formidable and aggressive. One such Alpha, named Samson, is notorious for gruesomely decapitating his prey.
After a dangerous mission to hunt and eliminate these threats, Jamie and Spike must return to their safe haven. Their route leads them across a causeway to Holy Island, accessible only at low tide. However, as they make their precarious crossing, The Alpha emerges, sparking a frantic race for survival with the monstrous creature in relentless pursuit.
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The production of these intense scenes took place across various locations including Holy Island, Newcastle, and North Yorkshire. However, finding the right setting for the causeway scene proved challenging.
Cinematographer Anthony Dod Mantle, alongside the production crew, scouted several coastal areas near Newcastle. Despite potential spots, concerns about safety and environmental control persisted. “The water could be hazardous, and there was a risk of injury,” Dod Mantle explained about the initially considered locations.
The filming coincided with Alfie Williams being just 13 years old, adding further complications due to his restricted working hours. This limitation made scheduling scenes particularly difficult.
Ultimately, the crew set up at a former COVID-19 vaccination center near Newcastle. “It was a massive hall,” Dod Mantle recalled. Recognizing the potential of the space, the team constructed their own water-filled causeway. “We built the entire set, complete with a 450-foot long stretch and a centrally placed gate, all under controlled temperatures,” he added.
To create the perfect ambiance, Dod Mantle employed visual effects to enhance the sky, using images sourced from an astronomy center. “The lighting had to reflect the natural luminance we wanted to portray in the sky,” he stated. He also speculated that in the world of the film, 28 years post-apocalypse, the absence of pollution would result in exceptionally clear skies.
Dod Mantle and Boyle aimed to capture the chase with dynamic fluidity, employing cranes, dual dollies, and technocranes equipped with an array of iPhones for a unique filming perspective. “It was quite intense and scary, especially with high-speed movements close to the actors,” Dod Mantle described the technical setup.
The scene took about three to four days to shoot and was described by Dod Mantle as “blissful yet terrifying, beautifully melancholic yet horrifying.” He appreciated the complex emotions and aesthetics intertwined within the horror genre.
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For scenes involving zombie eliminations, the choice of bows and arrows raised concerns for Dod Mantle, who was anxious about the aesthetic outcome. “It reminded me of old Robin Hood movies. I was unsure about how effective it would look,” he admitted. However, the slow-motion capture of arrows striking targets proved visually impactful.
Reflecting on the causeway chase, Dod Mantle admitted to feeling unexpectedly terrified during the shoot. “The sound and lighting, combined with the Alpha charging towards us, created a genuinely frightening atmosphere,” he shared.
The film also introduces a new type of menace: the Slow-Lows, scavengers that feed on remnants left by the infected. “They bring a different kind of fear, one that’s stealthy and subtle,” explained Dod Mantle. Despite their less intimidating appearance, the Slow-Lows proved to be a uniquely eerie addition to the film’s array of threats.
In one particularly tense scene, Jamie and his mother, played by Jodie Comer, seek refuge in a deserted church. As they hide, a Slow-Low stealthily approaches, a moment Dod Mantle found particularly unnerving. “The blend of humor and horror in that scene was striking. It’s that attention to detail that makes Danny’s approach to the genre so effective,” he concluded.
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