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1-1 Interview: Duncan Jones – The Sci-Fi Master Talks Source Code

Mali Elfman — Thu, 31 Mar 2011 23:30:54 +0000

This week in theaters you’re in for a real treat, Duncan Jones, the director of the 2009 Sci-Fi masterpiece, Moon is back with his mainstream action-thriller, Source Code (read review) starring Jake Gyllenhaal. The film won’t disappoint those who came to love his first work, but definitely appeals to a much wider audience. There was a lot of pressure on Jones to deliver after his first success and thankfully he’s done so. Though this his not his Blade Runner, something he’s been talking about making since our last interview with him two years ago, he’s definitely taken a strong step towards it.

Find out how he stays away from falling victim to the usual action/thriller cliches, why taking a detour in life helped him as a filmmaker and some fun extras to look for in the film below…

Tackling the Project:

What did you learn? You’ve taken a big step from Moon, in a lot of ways, but at the same time there’s a certain essence that you have certainly established as your tone, your filmmaking style. What have you learned from making this film?

Duncan Jones: From making this film, I think it’s on a production level. When you’re working on a bigger budget and obviously this is a bigger one, you have a huge responsibility because you’re speeding millions of dollars of other people’s money, and you have to find a way to really bring everyone with you. Obviously you need to make sure that your cast is with you, that’s not a problem, and obviously there’s your core — heads of department and crew who are obviously by you and with you. But there are producers and the money side of things, and there’s this bigger group of people that you have to deal with, that I didn’t have to deal with on an independent film and I had to learn quickly how important it was to not fight them, but convince them. I think that was what I learned on this and I got there pretty quickly, but still it’s a learning curve that you have to go through.

Is that something that you enjoy? Is that something that you’re looking forward to? Are you already envying the days of Moon?

DJ: No, no. It’s something I actually went through a lot when I was working in advertising because in advertising you have clients and you have agencies that you’re working with and you do that all the time, you’re always having to explain things and bring them on and make sure that they feel excited and happy with what you’re doing. But when I did Moon I felt like, oh you don’t have to that on movies, this is great, this is like you do whatever you want. and I had that very fortunate experience on Moon and then Source Code was kind of like a reality check that, in the real world, when you’re working with bigger amounts of other people’s money, you do still have to that. I had to put that hat back on. Fortunately, it’s not difficult to do, you just have to keep on top of it.

Were you overwhelmed at all by this script, because it does repeat itself over and over and over again, even though it’s a different “Source Code” and it’s slightly different, that it could be boring?

Duncan Jones: Absolutely. That was my biggest fear when I read the script was the repetition is intimidating. How do you get through that without the audience halfway through feeling like, ha, I know what’s coming, I’ve seen this before? There was a few things that we had to do, that I felt I had to do: one of them was making sure that I broke down the repetition on a chart to ensure that visually we were able to distinguish each recurrence from the other, so that there was no repetition visually, and also narratively that there was always something new happening.

Once I’d broken it down and been able to decide that we were going to shoot on a set for a train instead of on a real train because I wanted to be able to move the cameras in different ways and have access to angles that we wouldn’t have had on a real train, I think all of a sudden I felt much more comfortable, that it was possible to tell this story even though it was the same event in a different way every time, and sometimes even move it to different parts of the train, so when you watch the film at the end of it you don’t feel like you’ve actually seen the same thing twice.

Is it enjoyable for you to know that I walked out of the film with five different people and we all saw, in a way, five different endings? Is there one answer?

DJ: I believe there’s one answer. It’s great for audiences to talk about the ending. I never followed up to actually see — I remember everyone being so excited about the ending for Inception and discussing what it all meant. I can’t remember if [Christopher] Nolan actually ever addressed it or ever tried to clarify it for anyone.

I don’t think he ever did….

DJ: Yeah, yeah. That’s interesting. I definitely know there’s a correct interpretation, in my mind.

(Jones then went on to tell me what he believes is the true ending, I’ll have this posted in a few weeks once everyone has had a chance to see the film!)

Being an Actors, Director:

You did a great job of that. Can you talk about working with Jake? You got the script because Jake said he wanted to work with you. How did that feel?

DJ: It was fantastic. I was actually on the international part of the press tour for “Moon” at that time. I had the chance to stop here in L.A. and meet some of the people I really wanted to work with and Jake was on the top of my list. Fortunately he’d seen “Moon” so he took the meeting. We discussed projects that we could work on together, and he was the one who suggested I read “Source Code” and I got very excited about it. My interpretation of the script was that it’s got fantastic premise and science fiction conceit to it, and I loved the pace of it. I felt that maybe it took itself a little too seriously and I would love to lighten the tone and inject some humor into it. Fortunately Jake felt the same way, so we knew that from that point on we were approaching it collaboratively and from the same perspective.

We were talking with Jake Gyllenhaal about what differentiates your films from a lot of the other genres is that you actually let your actors act, and you actually give them full scenes to act in; it’s not about catching a line. Can you talk about the importance of why that makes such a different experience for the viewer, and why that’s important to you?

DJ: I can’t remember who I heard talking about this, but directors don’t actually get to see other directors direct, which is really an interesting thought. A lot of actors who become directors have the opportunity to work with other directors and see how they work. I just assumed that this is what you do, is that you let actors act. You try and give them as much freedom to get into their rhythm and their groove, and do what they do, and then when you get to the edit that’s where you pick out the best bits and put it together. I did talk to Jake about this, and he said, “Not everyone works like that. Some people just want one line or one movement, and then cut, and they’re on to the next thing.” But I wouldn’t know how to do it any other way. I work with actors I respect and admire because I want to let them do what they’re good at.

In these stories that you do it seems like the actors doing human emotions are your special effects in lieu of the spectacle that we might see in some blockbustery movies. Is that the approach that you want to continue taking, or would you like to have all those whiz-bang toys that say, Michael Bay gets to play with one day?

DJ: Why Michael Bay? Why not Chris Nolan? I think you can do them both. I think you can have great performances from – I think you can spend time getting the right cast and getting great performances from them, and then back them up with a vibrant and exciting visual world. Ridley Scott does it. I respect those directors who are able to do that. I love “Twelve Monkeys” by Terry Gilliam. I love Luc Besson’s “The Professional,” “Léon”. I like visual storytellers. To make films, you want to make characters and have performances that the audience is going to relate to and care about and empathize with, so I think that has to be the priority. The rest of it is making it seamless and a world that the audience feels captured by.

I was so happy when the SXSW poster for “Source Code” was put online and I saw a new poster for “Moon”. Is it nice to see that “Moon” is having this next life along with this film?

DJ: Wow. That is great. I had an extraordinary piece of luck in that I was able to work with Sam Rockwell and he was willing to give everything to that film. I really feel like I got the best of Sam Rockwell. I feel bad for everyone else because I think I sucked out some of the best out of him in that film. He’s an amazing actor and a fantastic guy. It wouldn’t have worked with anyone else.

Becoming a Director:

Does having all the accomplishment in your family add to that, trying to figure out that one thing you’re supposed to be doing so well?

DJ: I think I probably could have let it go if my dad hadn’t said, “You’ve got to find the passion in your life,” which was a gift and a curse, because I completely agreed with him, but it meant that I really had a long hunt to try and get the right thing for me. It’s a real struggle; I know how difficult it is. Some people are very, very lucky and they find the thing that they really want to do early on in life. It took me a long time to come to terms with it and actually go with it.

When did you decide to become a director? What inspired and influenced you?

DJ: It started at a very young age, but I took a big detour. My dad and I used to make short films when I was a kid; little one-stop animations with an old 8 mm film camera, and he actually taught me how to splice and tape together film when I was a kid. I was 7 or 8 years-old, I was doing that. Then I went off into academia for a very long time, went off to college and graduate school studying philosophy. I reached a point where I either was going to become a teacher or I was going to leave graduate school, and that was the point where I decided to take an opportunity I had to work on a shoot that Tony Scott was doing in Montreal to come and work as a wild-cam operator; a camera operator who doesn’t have sync sound.

I did that and was working with him in Montreal for three weeks, and had an amazing experience there. He was very, very generous with his time and talked to me in-between takes about how he got involved in the film industry, and the fact that he started off in commercials, and he was actually the one who suggested, “You obviously don’t want to do philosophy, why don’t you go to film school and work in commercials?” So it was like an epiphany; it was like an explosion in my head and I said, “Yeah, why am I doing this?” And I went back to London and I went to film school and I worked in low-budget music videos and commercials and ten years later I made “Moon.”

Do you think there’s another Duncan Jones in another dimension that’s still teaching?

DJ: I think he’s probably already killed himself. [LAUGHS]

How did you get the job with Tony Scott?

DJ: He was working with my dad at the time. He had a TV show called “The Hunger” and the first season I think Terence Stamp did the first episode and then he would do the joining pieces between the episodes, and then the second season my dad did the first episode and then the joining pieces. So they were going to be shooting up there for three weeks and Tony and my dad said, “Come take a break from graduate school.”

There’s a level of intelligence in your films that aren’t in a lot of other thrillers. Is that just your background? Is that your experience?

DJ: I don’t want to be — I don’t want to be stuck in being — I try to make the films that I find interesting and I can’t help getting excited about ideas and hopefully they’re entertaining. I don’t want make smart films [laughs], I just want to make films that I film interesting. Sometimes it works out that way, sometimes — I have a pretty dumb sense of humor as well, so sometimes, it’s just really that balancing act. You have to try to find the things that make you excited and make you laugh and make you say, “Wow! I haven’t seen that before.”

Working Towards His Blade Runner:

The last time I spoke to you, I asked, “What’s next?” And you said, “I’m making my Blade Runner.” Is this your Blade Runner?

DJ: Source Code? No. Source Code isn’t my Blade Runner. No, no, no. Absolutely not.

So you still have your Blade Runner in you?

DJ: Trust me, you’ll know it when it’s my Blade Runner [laughs].

So what is this step with “Source Code”?

DJ: This step was a unique, perfect -time opportunity — a perfect time and place. I met up with Jake [Gyllenhaal]. I really wanted to work with him. I think he’s a fantastic actor. I really can’t state that enough. I really really wanted to work with him. He was the one who introduced me to the Source Code script and I thought, you know, there’s something I can do with this. I think there’s a lot of opportunities to show some things visually, to work with an ensemble and to work with Jake on something, and I just had to grab that opportunity. Now that I’ve had that and I’ve experienced it and enjoyed it, I would love to do my Blade Runner. So hopefully now I’ll get the chance to do that.

Do you know how you’re going to do that?

DJ: Oh yeah. It’s going to be so much fun.

So have you had it in your head this whole time?

DJ: Oh yeah, yeah, yeah. Actually, while we’re doing this press tour, I’m busy writing the script right now.

That must be keeping your creative imagination going.

DJ: It’s fun. I’m very excited, it’s going to be great… I think [laughs].

Fun Trivia to Look For:

This is a little bit of arcane trivia, but Scott Bakula did the voice of Jake’s father. Was that an intentional nod to “Quantum Leap?”

DJ: Oh, massively, yeah. In fact, if you pay close attention to the dialogue, and we actually managed to slip in there him saying, “Oh, boy.” I think the fact that we got away with that is probably the thing I’m most proud of all in this film.

Does anybody pick up on that?

DJ: Some people do, some people don’t. It’s subtle, and like I said, the “Oh, boy” was the thing that I was not sure about, would we get away with that, but he did a few versions and I think we got it just right, that it just slips past most people.

Are there other little nods to other things, like maybe “Groundhog Day?”

DJ: No other films. That was the only show. There’s a little nod to “Moon” in the ringtone that Christina has. There’s a song that plays, and that’s the same song that Sam Bell’s alarm clock is in “Moon.” That’s it.

Check out Source Code in theaters April 1st (no fooling!)

Source Code: Movie Review

Mali Elfman — Sat, 12 Mar 2011 03:00:35 +0000

Visionary director Duncan Jones is back with Source Code a film that maintains the intellect and sophistication of his first work Moon, but this time with whole lot more punch. His latest film somehow manages to appeal to mainstream audiences with pace, action and effects, without losing the details, story and character development that we loved in Moon. Truly it’s the best of both. A number of directors fumble on their second films after having their first film have such an impact. Many people questioned Jones but any doubts that you might have are blown away by the time you’re finished with the opening sequence of Source Code.

Watch out JJ and Nolan, you’ve got some serious competition in town that’s ready to take you on…

The Players:

Director: Duncan Jones
Writer: Ben Ripley
Actors: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright
Original Music by: Chris Bacon
Cinematography by: Don Burgess

The Plot:

I don’t want to tell you. It’s a sci-fi film about two people on a train — that’s really all you need to know.

The Good:

The Pacing: The film begins with a jolt and keeps moving until the credits roll. There was absolutely no time to think about whether or not this film lagged because you’re so involved as to what will happen next. There’s hardly even time for popcorn in this bad-boy!
The Acting: If there’s one thing that’s for sure, it’s that Duncan Jones’ asks a lot of his actors and when cast right he gets a lot out of them. It’s hard to single out any actor because all of them played their roles so well. Some had to cover their emotions, others were more over the top, all of them had a serious set of challenges in front of them and it was nice to see them all put to the test, succeed and give us a real show .
The Twists: I pride myself on predicting the ending of films and I even thought I had this one pegged and then it threw me and I couldn’t have been more pleased. Perhaps it was because I was so engaged in the story or maybe it was because they made great choices — any way you cut it, great twists always come down to great writing and it’s obvious that this film had a great screenplay to set up the rest of the film for success.
Similar to Moon But Different: I can’t get too in-depth on this without giving too much away and I would hate to ruin such a great experience for you, but there are a number of interesting similarities to Moon (which I will write about on a later date when people have had the chance to see the film) that were nice to see back on screen. There wasn’t enough repetition for anyone to feel like Jones was repeating himself, but enough to draw parallels to themes and characters that he obviously enjoys dissecting. Which leads me to…
Why That’s Good: Not enough people saw Moon, so hopefully after they see this film and know that it has some strong, enjoyable parallels it will finally receive the wide audience it always deserved.

The Bad:

Zip, zero. Go see it!

Overall:

Go see this film. You should have seen Moon - if you didn’t, it’s time to experience the brilliance of Duncan Jones; if you did you will not be disappointed with his second film. This is a bigger, more mainstream Duncan Jones film, but it somehow manages to maintain the intellect and sophistication of his first work. It’s not quite as raw (which is something I love) BUT it’s much more accessible without being dumbed down. It’s without a doubt the best sci-fi, action thriller you’ll see this year – very few directors are able to make such a big film and still remember the small details that make film worth loving. Don’t miss it!

Rating: 9.25/10

Source Code played opening night of SXSW March 11th and will be in theaters April 1st!

Photo Gallery:

Trailer:

I’m not putting the trailer into this review because there are too many spoilers. If you really need more convincing you can watch the trailer here.

Jake Gyllenhaal in Duncan Jones’ Source Code Trailer

Krystal Clark — Sat, 20 Nov 2010 02:35:49 +0000

After the critical success of his 2009 film Moon, all eyes have been on Duncan Jones to see if he’s a one trick pony or the real deal. His latest film is entitled Source Code and it’s a sci-fi flick that stars Jake Gyllenhaal, Michelle Monaghan, and Vera Farmiga. Over at Apple, they’ve released the first trailer for the film and we’ve got it for your viewing pleasure right here. Check it out…

Official Synopsis:

When decorated soldier Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of an unknown man, he discovers he’s part of a mission to find the bomber of a Chicago commuter train. In an assignment unlike any he’s ever known, he learns he’s part of a government experiment called the “Source Code,” a program that enables him to cross over into another man’s identity in the last 8 minutes of his life. With a second, much larger target threatening to kill millions in downtown Chicago, Colter re-lives the incident over and over again, gathering clues each time, until he can solve the mystery of who is behind the bombs and prevent the next attack.

This is like Groundhog Day for sci-fi fans. Doesn’t it seem that towards the end of this trailer they try to make the film look more action heavy than it probably is?

Source Code hits theaters on April 15, 2011.

What do you think of the trailer for Source Code?

Official Plot Synopsis for Duncan Jones’ Source Code

Krystal Clark — Mon, 08 Nov 2010 19:28:10 +0000

After making a splash with his science fiction drama Moon in 2009, Duncan Jones has returned with an equally out of this world follow up called Source Code. The film tackles the subject of time travel and stars Jake Gyllenhaal as the man at the center of a highly complicated story. The official synopsis for the film has been revealed and we’ve got it right here below. Take a look…

Be warned this is a pretty thorough breakdown of the plot, so if you don’t want to be spoiled in anyway you might want to steer clear of this until later. But if you have no reservations and you need to know now, here it is:

Official Plot:

Captain Colter Stevens (Jake Gyllenhaal) wakes with a jolt to find himself on a commuter train heading into Chicago. Although the other passengers all seem to know him, he has absolutely no idea where – or even who – he is. The last thing Colter remembers is flying a helicopter mission in Iraq, but here he is in someone else’s life going through someone else’s morning commute. Before he can do anything an express train zooms by on the opposite track and a bomb explodes, seemingly killing Colter and all the other passengers.

Colter comes to in an isolation chamber, strapped to a seat, and wearing his military flight suit. He still has no idea what’s happening, except that he’s being spoken to by mission controller Carol Goodwin (Vera Farmiga), who calmly recites a series of memory questions to which Colter is shocked to realize he knows the answers.

He learns he’s part of an operation called “Beleaguered Castle,” but before he can progress any further, Goodwin starts up the machinery and suddenly Colter is back on the train, at exactly the same time he first appeared there, once again speeding through Chicago with the same group of commuters.

Colter figures he’s in some kind of simulation exercise, with his task being to find the bomber on board the train before it goes off again. Living the explosion over and over, Colter must uncover the identity of the bomber, while also figuring out what the alternative universe of “Beleaguered Castle” is. Adding to the puzzle, Colter uses the second chance opportunities to make peace with his father, and to find romance with a fellow passenger on the train.

There’s also a new photo from the film that’s making its rounds across the net that features Gyllenhaal.

What do you think of the synopsis for Source Code?

Source: Worst Previews, Coming Soon

First Look: Jake Gyllenhaal in Duncan Jones’ Source Code

Krystal Clark — Fri, 03 Sep 2010 19:30:27 +0000

Now that Jake Gyllenhaal has scratched his superhero itch with Prince of Persia: The Sands of Time, he can move on to movies that actually matter. He headlines Duncan Jones’ latest film Source Code, a thriller that co-stars Michelle Monaghan and Vera Farmiga. The first photo from the movie appears in Empire Magazine, and we’ve found a scan of it courtesy of Wet Dark and Wild. Check out what Jake is holding in his other hand below…

Source Code is a time traveling thriller that centers on a soldier (Gyllenhaal) who, as part of an experimental government program to investigate a terrorist incident, finds himself in the body of an unknown commuter living and reliving a harrowing train bombing until he can find out who is responsible for it. Farmiga plays a hands-on communications officer controlling Gyllenhaal as he travels through time, and Monaghan is a fellow passenger and his love interest.

This story sounds intriguing and terrifying at the same time. Talk about the Groundhog Day from hell! Who wants to relive a bombing over and over again?

Source Code is slated to hit theaters on March 11, 2011.

What do you think of Gyllenhaal in Source Code? Are you interested in seeing the film?

First Piece of Concept Art For Mute

Mali Elfman — Mon, 14 Sep 2009 22:59:30 +0000

I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it’s much deeper characters, I think.

Not long ago this was one of Duncan Jones replies when I asked him “So what’s next?” in a one-on-one interview for Moon. Well Mr. Jones, if that was your goal was, from the looks of your first piece of concept art to hit the web for your upcoming sci-fi thriller Mute, you’re definitely on your way!

Check out the photo below…

Below the photo on Liberty-Films, where the photo was released, it stated that the film is currently in development, with writers Duncan Jones (Moon) and Mike Johnson (Sherlock Holmes), with Jones at the helm. It also stated:

Project currently in preproduction and set to shoot in Berlin early 2010 with Studio Babelsberg.

As you might have guessed, I am one of Jones’ biggest fans. I was completely blown away by his film Moon, which was one of the best films so far this year competing only with Up, Drag Me to Hell, and The Hurt Locker.

The colors, the drama, everything about this photo gets me excited for the film to get going. Hopefully he won’t fall victim of the curse of the second film, in which a director gets overwhelmed and instead of following their gut listens to others and ends up making a middle-of-the-road film which doesn’t live up to the first

I have hope for Jones! I think he can deliver! Do you?

After Moon It’s Mute For Duncan Jones

Jeffrey Hyatt — Mon, 29 Jun 2009 20:51:26 +0000

British director Duncan Jones is prepping a $25 million, sci-fi thriller titled Mute. The movie will be Jones’ follow-up to his indie-debut film about isolation in outer space, Moon.

“Moon is about alienation and isolation,” Jones told Screen Daily.com. “The next one will have a different vibe. It’s not about one actor on their own, it’s an ensemble piece.”

Stuart Fenegan, who produced Moon and will work with Jones again on Mute, tells Screen Daily.com:

“Mute is about a woman whose disappearance causes a mystery for her partner, a mute bartender. When she disappears, he has to go up against the city’s gangsters.”

Duncan is presently receiving numerous plaudits for Moon, which won the Michael Powell Award for Best New British Feature Film at the Edinburgh International Film Festival this weekend.

“We award Moon for its singular vision and remarkably assured direction as well as for the inspired manner in which it transcends genre,” reads the festival’s jury citation. “The central performance by Sam Rockwell embodies the film’s emotional complexity and compelling philosophical perspective.”

Filming of Mute evidently will start in early 2010. Jones is also scheduled to direct World War II submarine thriller Escape From the Deep next year.

Source: Screen Daily

Edinburgh Film Fest Winners

Mali Elfman — Mon, 29 Jun 2009 17:37:02 +0000

Finally, Duncan Jones is starting to get some recognition for his amazing film Moon starring Sam Rockwell! His low-budget masterpiece just won the Michael Powell Award for best new British feature at the Edinburgh Film Festival this past weekend. The panel was not a easy one to win over, Joe Wright and Frank Langella were two of the five panelists who voted for the film.

Also, 18 year-old Katie Jarvis who one big at Cannes Film Festival for role in Fish Tank, also received praise from Edinburgh. She took home the honor Best Performance for her role in the film. According to Empire she said: “This has been an amazing year for me in more ways than one,” she enthused. “I was lucky enough to spend my 18th birthday in Edinburgh last week, where Fish Tank was shown, and this is such a great present.”

Check out the full list of winners below…

Michael Powell Award for Best New British Feature Film
Moon – Directed by Duncan Jones

PPG Award for Best Performance in a British Feature Film
Katie Jarvis – Fish Tank

Best New International Feature Award
Easier With Practice

Standard Life Audience Award
The Secret Of Kells

Best Documentary Award
Boris Ryzhy

Skillset New Directors Award
Cary Joji Fukunaga

The Rotten Tomatoes Critical Consensus Award
Humpday

UK Film Council Award for Best British Short Film
After Tomorrow

Best International Short Film Award
Princess Margaret Blvd.

Scottish Short Documentary Award
Peter In Radioland

McLaren Award for New British Animation
Photograph Of Jesus

How Moon was Made

Mali Elfman — Fri, 12 Jun 2009 21:00:11 +0000

Now that you have had a chance to see Duncan Jones‘ film Moon, starring Sam Rockwell, check out the details behind how he was able to pull off such an extraordinary looking film with such a minuscule budget. Due to his commercial background in special effects, he was able to make the moon come alive without all the fancy equipment other Directors have.

What’s the secret to his success? Nothing more than photoshop, find out more below…

***Note: There are some slight spoilers below. If you’re looking to see the film without knowing how it was made (which I would highly recommend), save this post for after you have seen the film.***

To begin with the landscape shots they had to build a mini-set:

So we used model miniatures, we built a piece of lunar landscape about 30 by 40 feet, not much bigger than this room actually. And we had sort of these Tonka trucks style models that we were dragging across the landscape with fishing line. We had an amazing company called CineSite, and they were able to clean up all of the stuff that I was able to shoot in live action. But it was really that hybrid of shooting as much as I could in camera and then being able to work on top of it afterwards, which really gave us the kind of unique look that I think we’ve got. And allowed us to make something that didn’t feel like a little independent film that was stuck in one sound stage.

How did you create the depth to all of the stars, the moon, the earth and everything else?

Jones: Basically—you ever use photoshop? The nice thing about photoshop is that everything gets broken up into layers, and you can isolate those layers, and when you start thinking that way, when you are working in special effects, all of a sudden all of those things become possible. It’s just a matter of working out—basically imagining a shot in your mind and then working out how to make that shot by breaking it up into separate layers. And then compositing those layers together to create the shot.

So, if you want the moon surface with a satellite gliding over it, you shoot the moon surface first with a little model or with a piece of photography of the moon that you have sort of adjusted and then you shoot your satellite and then you stick your satellite on top of the lunar landscape and all of a sudden you have this nice model of the satellite going around the lunar surface. There are all sorts of ways that you can—that’s really the special effects background and that is what I use to do in commercials for such a long time that makes me think that way, I kind of know how to do that.

See! Anyone can do! Just find yourself $5 million and you’re set!

Further Reading:

Exclusive Duncan Jones Interview Part 1
Exclusive Duncan Jones Interview Part 2
Review of Moon
Clip From Moon
Moon Poster and Trailer

Moon Review

Mali Elfman — Fri, 12 Jun 2009 17:30:44 +0000

Duncan Jones‘ first feature film, Moon, starring Sam Rockwell with the voice Kevin Spacey, hits theaters today, June 12th. If I could recommend any film to you this year, it would be Moon. It gets me excited just thinking about it. It has everything, drama, intensity, visual effects, and most importantly a greater meaning for you to walk away with.

What’s funny is that this film is being released the same weekend as The Taking of Pelham 1 2 3 which is the exact opposite film. For however pointless and tiresome Pelham is, Moon is equally as meaningful and intriguing.

Check out the good, the bad, and the plot below…

The Plot:

Sam Bell (Rockwell) works for a company named Lunar, mining Helium 3 from the moon. He’s been a faithful employee with no direct contact with anyone aside from a robot GERTY (Kevin Spacey) on board for three long years. In two weeks, his tour of duty is over and he finally gets to go home to his wife and child and retire for the rest of his life. Just before he’s about to go home, Sam starts seeing and hearing things and begins to not feel well. When a routine extraction goes horribly wrong he discovers that things are not quite as they seem and he’ll have to figure out what’s wrong before his contract expires.

The Good:

Working the Genre: I am the first person to admit that I don’t like Sci-Fi films because in the past decade or so, the terminology and effects over-ride the characters and more often than not, they come off as cheesy. Not in this film. This film is reminiscent of classic Sci-Fi films like 2001, where Sci-Fi was used to ask greater questions. The character study and moral questions that arise in Moon, are really what this film is about. It let’s the Sci-Fi aspect of it be a part of the film, but not the driving force.
The Acting: Basically the only person we see on screen for the entire 97 minutes is Sam Rockwell. Very few actors are interesting enough to watch for that long, luckily Rockwell is one of them. He wins you over immediately with his charm and yet you never know exactly what to expect from him and you are intrigued by him from start to finish.
The Story: Often times when you’re dealing with space travel, hallucination, and Sci-Fi, things tend to get confusing. Although you will have moments when you’re thinking “what the f*ck is going on?” you do so in a good way. He leaves confused just long enough for you to feel a pay off at the end, with the character in the film.
The Ending: Without wrapping things up in a nice little bow, Jones gives a satisfactory conclusion that allows you to walk out of the theater feeling fulfilled and yet still inquisitive.
The Special Effects: Completely believable which to me is completely unbelievable. This film was made for $5 million and yet it could go toe-to-toe with movies with ten times the budget. It’s beautiful to watch.
The Directing: I think Duncan Jones is about to be the new director to watch out for. I could say that he’s shown the potential to make some of the greatest films of all time, but if you ask me, he already has. I think that once Hollywood grabs hold of him he will be the next Stanley Kubrick, James Cameron, you name it. From the story and special effects, to the acting and overall tone, this film is great.

The Bad:

It’s Not Crap: And some of you seem to love crap movies (that’s right, I’m talking to you Paul Blart fans). This is not a pointless action thriller, if you want that go see The Taking of Pelham 1 2 3. It makes you think, it questions you, and don’t get me wrong, it is a fun ride, but it’s not stupid slap-stick comedy that will have over the top action and stupid jokes every 30 seconds. It’s a FILM.

Other than that, I honestly have nothing negative to say about this film. I absolutely loved it. I think it caters to a variety of different audience types and although it may not be playing everywhere, it’s definitely finding and driving a few extra miles to.

Rating: 10/10

Exclusive Interview with Duncan Jones Part 2

Mali Elfman — Wed, 10 Jun 2009 22:00:33 +0000

Welcome to part 2 of our exclusive Duncan Jones interview! If you haven’t already read our the the first part of our Duncan Jones interview I would suggest checking it out before reading the following, although it is in no way necessary.

As I’ve already said, Duncan Jones was a pleasure to talk to and his new film Moon starring Sam Rockwell is absolutely amazing and will be in theaters this Friday. The second part of our interview is probably more for you film geeks out there than anyone else, but is equally as interesting.

In this interview we talk about:

Why Sci-fi films have stopped being popular and how Jones is changing that
Sam Rockwell’s contract to be naked on film
Art vs Entertainment
Sam Rockwell almost giving up on two Sams at once
Getting a film made in the UK
Learning how to take criticism: the good and the bad

Check it out now…

In recent years there haven’t been that many successful Sci-Fi films, in fact it seems like the sci-fi audiences are not watching comic-book remakes. Are there room for both in theaters?

Jones: I think there is. I think there are a lot of science fiction films getting made. The problem with the Sci-Fi films getting made right now tend to be quite dumb down compared to the science fiction films that used to get made and they are certainly no where near the cerebral nature of science fiction writing. In literature whether it is Phillip K. Dick, J. G. Ballard, William Gibson, George Orwell—whatever sort of Sci-Fi film you are looking at, it is a hell of a lot more heavy weight. And it is about how human beings are impacted by the future as opposed to the kind of films that get made and called science fiction in big popcorn films.

As far as comic films go, I guess, with Watchmen they tried to make sort of an adult fare in comic book films, I don’t know if it has quite worked yet. I think there is quite a few graphic novels, which people are starting to look at now that more traditional comic book films have done quite well. I still think there is many ways to go as far as doing more grownup content, in that realm as well. It is totally understandable though because it’s generally done by studios and it is usually studios spending a lot of money on something they want to make as safe as possible that is going to most likely going to guarantee a return. So they have to keep their audiences as wide as possible. And by doing that, the necessity, unfortunately of making a film that is very accessible to a guaranteed audience is that you have to hit certain markets, you have to appeal to the adolescent boys, you have to have the special effects, the explosions, and the half-naked women; and all of the things required to make a successful movie.

You have the for a moment!

I do, I have Sam Rockwell named in a shower. That was in his contract, he demands it. [Laughs] And he has to dance as well.

Is a guaranteed audience something that sounds appealing to you as a director? Or do you think of your films as a piece of art that you’re putting out there to the world and if people see it great, if not no biggie?

Jones: I wouldn’t call Moon art. No I don’t think so. I tried to make a film that was entertaining. I mean hopefully it’s a little bit smarter and there is an awful lot of personal stuff in there, but I think it’s smart and personal in a very universal way. You know, it talks about very human issues about what it would be like to meet yourself, you know, about loneliness, you know about relationships and long distance relationships and it talks about things that everyone can kind of understand and relate to. So I think that makes it accessible in some ways.

What would you say if you met yourself?

Jones: I would definitely, if the me of now, met the me who was sort of young, frustrated, angry, the guy at grad school, I’d tell myself to just chill out and relax, it’s all going to be okay.

Everyone always says that you have to be in L.A. to make films, but it has been shown that a lot of great filmmakers are form the U.K. or other great parts around the world. Do you find that a challenge, being from the UK, or does it help being in L.A. now?

Jones: I have to be careful about what I say about the UK film industry. It is at a very closed society. I kind of got this film made, not through traditional channels because of the contacts I had on the commercials side. The UK film industry is very conservative about the films they make. Normally they go for period, the go for romantic comedies, and if it is not, than it is very, very difficult. A little independent science fiction film is not their cup of tea. Now that I have made the film and it seems to be going pretty well all of a sudden they really want to help, but it’s good, I understand that. But as far, if you want to be ambitious in Britain, you really do have to be somewhat ingenious in finding ways to make it appeal or just find independent ways of financing because they are very conserved in the kind of films they make. But I hope that maybe it is starting to change in a way.

Many smaller films decide that it’s better and safer to stay in an indoor, set environment, bu not you. How did you set up some of those outside shots? What made you make that decision knowing how hard it would be?

Jones: Well, that was one of the decisions we made earlier on, and Stuart (my producer) was very supportive of me, and I said, “Look we could make this feature film, we could make an independent film, but wI am not making a feature film that looks like everyone else’s little first independent film, I want to make something that feel like a big film and this is how I think we can do it.” We used model miniatures, we built a piece of lunar landscape about 30 by 40 feet, not much bigger than this room actually. And we had sort of these Tonka trucks style models that we were dragging across the landscape with fishing line. We had an amazing company called CineSite, and they were able to clean up all of the stuff that I was able to shoot in live action.

How did all of the stars, the moon and the earth and everything like that? Because you also start with a wide shot, which couldn’t have been you? Was it?

Jones: Basically—you ever use photoshop?

A little bit.

Jones: The nice thing about photoshop is that everything gets broken up into layers, and you can isolate those layers, and when you start thinking that way, when you are working in special effects, all of a sudden all of those things become possible. It’s just a matter of basically imagining a shot in your mind and then working out how to make that shot by breaking it up into separate layers and then compositing those layers together. There are all sorts of ways that you can—that’s really the special effects background and that is what I use to do in commercials for such a long time that makes me think that way, I kind of know how to do that.

What was one of the hardest things to shoot? Was it going outside or was it two people being one person?

Jones: The hardest was a very difficult special effects shot where there is a shot of the two Sam’s, face to face and they have a physical interaction. One of them helps the other guys with his fly and then puts his hat on. That was something that no one else had really done before and for an independent film to actually be able to push the envelope and the technical level is something that we are very, very proud of. That is shot that no one else really has done.

How long did it take?

Jones: That little sequence was probably about a day shooting just to make that work, and in fact we had to come back to it because it as so complicated we couldn’t make it work the first time. And Sam was getting frustrated because he was trying to stay in character and me demanding all of these technical things from him. What we did was we actually did some other effect shots first, and sort of showed him what the results were going to be, and he was able to go “oh I know what you are doing.” The he felt more comfortable doing it. And then we came back to that sequence and it went really well.

What was your greatest moment on this film?

Jones: I don’t know if I have had it yet. I mean I am proud of it and I think we have done an amazing job, but I am very self-critical, I have always been, and I find it difficult to be happy with anything that I have done. So as far as I am concerned, this is a great first step, I’ve made the film, it seems to be going well, it gets released on June 12th, and I am hoping that perhaps I will feel a little bit more relaxed and happy with things when it is released, and we’ll kind of see if there is an audience out there for it. But I am already sort of getting all flustered and ready to do the next film, hoping I get the chance to do another film, so that is what I am concentrating on now.

So no sense of satisfaction?

I know it’s pathetic isn’t it? [Laughs]

Is it hard for you when you see the film to take a step back and watch your film as an audience member?

Jones: Sometimes I can watch the film, but I still have problems at the start of the film. When you go through the first ten-fifteen minutes of the film; oh I wish I could have done that, but you know, it must be a pretty good film because about 15-25 minutes in I actually get sucked into it and I just kind of watch it and enjoy it. So that’s a good sign. I’m very, very aware of the things that I would of loved to have done, that I didn’t get the chance to do, but I am also aware of the limitations of the time and money that we had, and there are really only a few areas where we could have done things any other way than we did. We kind of stretched and maxed out everything that was possible for the time and money we had.

For young film-makers looking to do what you have done, would you recommend going the commercial route?

Jones: I would certainly say, do commercials. There are some talented guys like Chris Cunningham that are just the most amazing technical directors with the ability to visualize and create things, who should be making feature films and who are never going to. Some get trapped in the money because commercials pay very well and then if you go off and make an independent film like I have, I have just spent the last three years of my life not making commercials and you don’t get paid to not make commercials. And you certainly don’t get paid to make an independent film.

You sort of have to find a way to leave that life style and just do the sacrifice to do feature films and for a lot of people they don’t want to do that. And then there is another crowd of directors who do commercials who are just not that interested. They make amazing visual things and they like doing it, and the like having a new project every sort of month in a half, and working with actors in any sort of deep way doesn’t interest them. And some of them do try to make feature films even though some of them are not particularly interested, and those are the guys that make feature films that maybe are kind of a bit shallow; some of them do sort of big budget ones.

You say that this is your calling-card, but what if this film becomes a huge hit at the box office?

Jones: We’re going to Vegas! I can’t even imagine that, but it would be fantastic. I guess the only thing I would hope that it would give us the kind of films we want to do for the next film and that it would give—it would be wonderful if the actors that I admire all of a sudden were like, you know I wouldn’t mind doing a film with that guy. That would very cool.

Which actors?

Jones: There are people I would like to work with, and people who I have sent my next script to kind of, a little bit, ambitiously, I don’t think they actually end up doing it, but I’ve got to try and if they did it would be amazing.

Are you excited for any upcoming films?

Jones: On the science fiction front I’ve got to see James Cameron Avatar. He’s one of the top sci-fi guys I love and admire everything he does. I’ve heard mixed reviews about it, but I’ve always been a fan of Terry Gilliam so I want to see The Imaginarium.

Do you follow the news online about your film?

Jones: It’s difficult, I can’t help sort of wanting to know if people are seeing it and what they are thinking.

What’s that like?

Jones: So far it’s been okay, I haven’t wanted to kill myself, which is a pretty good reaction. I’m kind of a mad twitter so I’m kind of on the all the time. I’ve been kind of lucky, I’ve built up a group on twitter and I’ve personally been running these sort of really silly competitions online to giveaway Moon posters. I know that Sony is doing everything in hand and they’re taking care of it, but I can’t help myself thinking” what can I do to promote the film, how can I make sure people go see the film.” And I started this twitter thing by doing these competitions.

What is it like hearing the bad/good criticism of people?

Jones: It’s really hard—I’ve developed a really thick skin for my personal life as far as people attacking me, I can deal with that. If people don’t like the film, I always want to immediately defend it, but I think that is something that I am going to have to learn how to deal with. Everyone has his or her own taste and I can’t please everyone and I have to be confident that at least I have made something that I can be proud of. So I guess that I am going to have to learn that, I mean I know about it because obviously my dad’s an artist and he’s had to suffer from severe criticism over the years at times and he is very good with dealing with it so I certainly can learn from him.

Thank you so much for you time!

Thank you!

Go see Duncan Jones new movie Moon, in theaters this Friday, June 12th starring Sam Rockwell.

Exclusive Interview with Duncan Jones Part 1

Mali Elfman — Wed, 10 Jun 2009 00:45:18 +0000

***Update: Duncan Jones Interview Part 2 now available***

First of all, Duncan Jones is my new hero. He took $5 million dollars and made Moon, an amazing sci-fi film starring Sam Rockwell in multiple roles. The film is better than almost anything currently being made for hundreds of millions of dollars. And just to make him that much more amazing, he is a complete sweetheart to talk to.

I showed up late for my interview (I hate LA traffic) and Duncan had already finished his day and although most directors would have been long gone, he was sitting in the press room signing away Moon posters (his contribution to the marketing campaign) and welcomed me despite the time. I was originally scheduled for 15 minutes, but Duncan and I ended up chatting for nearly 45 minutes and if I’m honest the time flew by so fast I didn’t even notice.

Due to our extremely long interview, we’re making this one a two part-er! Check out more below…

In the first interview one we’ll talk about how the following:

How Duncan Jones started in the film industry as a director for commercials
Calling up the big names in film and asking for a helping hand
Getting Clint Mansell to score his film
Tackling the special effects in the performances
Why Sam Rockwell was the man for the role
Asking Sting’s wife for help
Talking about his next film, where he wants to make his Blade Runner

Let’s get to the good stuff…

It is very rare that an independent filmmaker who is starting out says “I want to do Sci-Fi!” And then actually does it. Normally they start out with something that is much easier to do. What made you say, no matter what I am going to do a Sci-Fi film?

Jones: I’ve been working my way to doing my first feature film for about ten years. So I went through the commercials route and some people come from a theatrical background and some people come from a writing background, but I directed commercials. So I had a real comfort with being on a set and in particular working with special effects and because of that background, it became much easier for me to base a first time feature film on a low budget cause I was sort of already knew how to do that. When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying “you need more money to make this film,” and us saying “no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million.” That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.

Normally it’s the other way around.

Jones: I’m really glad that we didn’t, it would have been very easy for us to say, ‘You are right, we need more.’ But at the same time it wouldn’t have been the same film and it’s also the wrong move for a first feature film. When we first made this whole idea this was going to be calling card film and it was going to give the opportunity to make my first feature film. But it turned out a lot better, we just couldn’t stop ourselves from going into it, and we are very proud that it turned into something that people wanted to see.

This is a Sc-Fi film that transcends it’s genre, how would you categorize it?

Jones: I think we tried to make a film that was about human beings as opposed to going from one special effects set piece to the next one, which is what a lot of science fiction films these days do. The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.

I was amazed because you referenced all of these old films, but you didn’t reference 2001. When I saw the trailer immediately popped into my head.

Jones: Absolutely! I think that for everyone who does science fiction films that is like the granddaddy of them all. To me that is such a touchstone for everyone and there is a particular similarity between the character of Gerty and HAL from 2001, but other than that I think we were sort of more appealing to those later films because it was like sort of a generation of films that were definitely looking at 2001 and we were looking at those films because that film was like over 40 years ago.

And just like in 2001, the music played a huge part. Was that important to you to have such a strong score?

Jones: Well it was Clint Mansell that usually works with Darren Aronofsky. And I had met him once before and we got on pretty well, but he was going to be way out of our budget range. When it came to sort of doing the offline cut part of the film I kept using bits of his music from the Requiem for a Dream soundtrack and all of these pieces of music we were using. I just couldn’t get away from it and Stuart Fenegal (my producer) and I were like, well we can’t afford him, but instead of going through the usual way, I sort of went directly to Clint. And He got so excited about the project and loved what we were trying to do and he said he would find a way to make it work. So, we did it!

How involved were you with the music process. Did you allow him to just go and do his thing?

Jones: It was more about standing back and letting him do his thing because he is very talented. But if there were points where he wasn’t going for the mood that we were going for, or if something wasn’t quite working, I would be there to sort of just give my little two cents and try to steer things whenever I thought they needed steering. But he knew what he wanted to do and it was perfect, very happy with it.

There were a few times, that I noticed that you chose to go with no score, which was silent and beautiful. Was that your choice to leave our Clint’s score? And was it hard telling someone you respect that it is better without music?

Jones: Yeah, it was. Clint is incredibly talented and I asked him to score the film wall-to-wall and he was willing to do that. It was sort of an interesting thing; he was willing to score it wall-to-wall, with the understanding that I was going to be taking some stuff back out. But I wanted to have everything covered and kind of judge the mood of it. So, he basically scored the whole film. And through the quite moments, it was me saying, as much as I love this piece of music, it works better without it. It worked out really well.

What did you see in Sam that made you know that he could literally carry this entire film?

It’s sort of a Rockwell overload. He’s a fantastic actor and I’ve been a fan of his for years. I saw him Charlie’s Angels and I loved him in that. I loved him in Lawn Dogs, The Green Mile, Confessions of a Dangerous Mind, Galaxy Quest — I mean everything I’ve seen him in, he just steals the scene. I think it is because he is incredibly charismatic, he’s very funny, but he is also very empathetic and you feel for him when he does things. And he has this quirkiness that keeps you watching. And there aren’t many actors who have that magnetism to their performances that even though he had just done a couple of lead roles, I feel he is one of the most underrated American actors. He is incredibly talented and it doesn’t hurt that he is also and incredibly nice guy. And as a first time director I needed to work with someone that I felt comfortable with, and that I could get along with. It was a perfect match; I am so thrilled I got to work with him. He is a really nice and incredible guy.

How did you actually cast him? Did you say I want him?

Jones: I didn’t cast him; I did the film for him. That is why the character is called Sam. We met three years ago to discuss another film, but that one didn’t work out and I knew that I wanted him in my first film so I said, ‘Look if you just please read the next script I write, I’m going to write something just for you.’ I’m sure he was a little unsure if I would get around to doing it, but I did. I left that meeting and that was my priority was to get that script written. And nine months later it was ready for him. One of the reasons why I wanted to call the main character Sam was because it was for him, but also because of what happens in the film; I wanted him to feel uncomfortable reading the film, of actually seeing his own name when he was reading it. I thought it was a good way to immediately put him into this unusual mind set.

What were some of the challenges on set because many times he is acting with himself?

Jones: Yeah, it was a very technical shoot and like you said it was a very small budget and we were doing some very technically ambitious things in it. We had two sources of information basically, on how we did the effect of Sam acting with himself. There are actually a lot of different effects in the film for different things, but for the two Sam effects; there is a film called Dead Ringers that Cronenberg did and it was a criterion edition with the DVD, with a lot of special features in it about how they did that particular effect. So Sam and I both watched that a lot and I watched it in particular for the technical side, and that was sort of a first step.

Then, I also watched Adaptation by Spike Jones and he did a sort of similar effect and I had the good fortune of talking to him about it. One of the pieces of advice that he gave me was “when you are breaking down the film into scenes work out which of the characters is actually driving the scene and film that scene first.” So that is what we did when we were actually shooting the film, we would break down the scene and work out which of the Sam’s was driving the scenes and we would film that one first.

And Sam would have a real sort of freedom at that point and sort of improv a little bit, while he was doing that first take. Then, we would choose a particular take that we liked and Sam would go up into makeup and he’d have a little iPod that we would basically put that take unto while he was getting his makeup on, and then he’d come downstairs and he would wear something called and earwig, which is sort of a speaker in his hear that you cannot see on camera, but we gave him the audio from the take that we had chosen. Because he has a really good sense of rhythm he would be able to time his answers and to sort of correspond to the conversation and we would give him an eye line and that’s how we did it.

Did you have any time to rehearse before shooting?

Jones: We rehearsed for a bit for an Indie film, which is kind of unusual, we had a week of rehearsals before we actually shot the films so we were able to really break down the script and kind of work through all of the improvisational things that he wanted to do, so he had a chance to really feel his way through before we actually shot it and I think that helped a lot.

How did you get Kevin Spacey on board?

Jones: We were very lucky, Stuart and I, with our financing where we were like 90% of the way there, but we still needed this pocket money for our effects and Trudie Steinler who is Sting’s wife became involved, and she basically closed the financing for the film. And getting her on board, she is very supportive, in particular, of the young British directors being British herself. She was able to get the script to Kevin Spacing knowing that I would really love him do the voice. That was what Trudie was able to bring, she is very well connected, very well thought of, and was able to get the script through to him.

He kind of has the perfect voice doesn’t he?

Jones: It’s kind of smooth and at the same time you don’t know if it’s malevolent or not. I knew that I needed that because anyone who is into new Sci-Fi is going to immediately think of HAL from 2001, and rather than trying to void that, I wanted to play with the audiences expectations about what the robot character was going to be and then sort of surprise them and take them a different direction and the great thing about Kevin Spacey’s is that he helps reinforce the new idea in the minds of the audience of what to expect of Gerty.

There are all of these huge movies: Terminator (200 million dollars), Wolverine (150 million dollars), and yet, who spend so much money on special effects and yet you were able to do so much with so little. What do you think about all of these enormous budgets? Would you like to some day want to have that kind of a budget, or do you think that people are just wasting there money on things that are not necessary?

Jones: I think that I would like to have that kind of a budget and I think the reasons for it are it gives you more time and it gives you the opportunity to be more ambitious with what you want to do with the camera and also how a scene works. I wouldn’t want to direct those kinds of scripts. My biggest difference with our film and those kinds of science fiction films is that they are going from one special effect set piece to the next, what we were doing was more of a character study. And I think that is the freedom that you get by doing an Indie film. You can only really do that with a lower budget. So I understand where the conflict is between those two priorities. Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I’d like to do.

Is that what is next?

Jones: Hopefully, I’m trying. I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it’s much deeper characters, I think.

Are you writing that?

It’s already written. It is by a guy called Mike Johnson and I. Mike Johnson wrote the Sherlock Holmes script that Guy Richie and Robert Downey Jr. are doing right now. But we went to film school together so way before either of were successful we’d already written this film.

Check out the second part of our exclusive Duncan Jones interview tomorrow on ScreenCrave where we talk about how he almost broke Sam Rockwell, making the special effects look real on a budget, and a whole lot more!

ScreenCrave.com » Duncan Jones

1-1 Interview: Duncan Jones – The Sci-Fi Master Talks Source Code

Tackling the Project:

Being an Actors, Director:

Becoming a Director:

Working Towards His Blade Runner:

Fun Trivia to Look For:

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Source Code: Movie Review

The Players:

The Plot:

The Good:

The Bad:

Overall:

Rating: 9.25/10

Photo Gallery:

Trailer:

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Rating: 10/10

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