Transcript
OLLIE MADDEN
Some of the challenges we had with this film is that it had to feel like a very big film. We were entering a genre, the spy genre, that has a lot of huge franchises such as Bond or Bourne in it. And the film, although we had nowhere near those kinds of budgets, had to feel and wear the clothes of a bigger movie. So that's where post-production really comes into its own in terms of the sound design, the music, the visual effects.
CLARE MACCLEAN
Film is like a jigsaw puzzle. You have your pieces. You have your pieces picture, your sound, visual effects, and music. And they all come together to make a film. So for Spooks to make it bigger, the sound design was imperative. The big set action pieces became so much more with a digital mix. And our music score- Dominic, our composer, was incredible. It was shot beautifully by the DOP Hubert, who's got an incredible eye. The production design was amazing, and then the role in post is to embellish that, make it grander.
And the look of the film, the grade, which is when you create the look of the film- colour it to a certain degree- we gave it different looks for when you're in Russia, when there's flashbacks, helped make it much larger. There was also something that came in in post-production which was within the script. London is almost like another cast member for the film, and we're very, very lucky that in post-production we finally got the approval to do a helicopter shoot. And the scale that gave the film was incredible. London then definitely became another cast member- these beautiful aerial shots of London, they were just fantastic.
SIMON BOWLES
The locations in London we had to choose really carefully because we wanted to really open it out and give it a really good sense of scale. So we were shooting on Waterloo Bridge and all these fantastic locations that lot of people will recognise and see as a big location. To give even more scale to the film, we shot on the National Theatre, on their rooftop, which was fabulous. It's a beautiful modernist building, and you got a sniper. And our hero guy kind of jumping from one level to another. And also they're lining up to shoot people who are standing on Waterloo Bridge. So you got that relationship between the National Theatre and Waterloo Bridge.
It's a fabulous moment, and it adds a lot of scale to the whole film.
SPEAKER 1
MI5 is teetering on the edge.
SPEAKER 2
Prisoner escaped!
SPEAKER 3
An officer has been shot.
SPEAKER 4
Escape was set up by someone in the service.
SPEAKER 1
There has been no breakthrough in the hunt for escaped terrorist-
SPEAKER 2
Code one! Code one!
SPEAKER 1
The threat level has been raised to critical-
SPEAKER 5
Cannot let him go.
SPEAKER 6
Who are you?
SPEAKER 7
Harry Pearce.