Issue link: https://digital.copcomm.com/i/1541535
more than anyone expected at the beginning. For Matthew and America, this style of shooting felt more real, and the kids also responded well. We had twenty-two kids, and they were really good. Our 1st AD, Cliff Lanning, set up the schedule, so that if we were in Santa Fe, we'd start the day shooting on stage, maybe with our number one and number two cast, or we'd get all the kids on the bus. After lunch, we'd move outside to film scenes around the lot. Our AD team was well organized and very supportive of the crew. Paul would make changes and things would move very quickly. Cliff gave us the time to make adjustments which I appreciated very much. RL: There are parts of the film that have a documentary feel to them LP: Paul Greengrass got his start working as a journalist for the UK ITV program World in Action. Although he uses enormous crews and loads of the latest technology on his feature films, he is still focused on creating a realistic "you are here" aesthetic in his films. He gives his cast a realistic environment to react in. The practical special EFX help create a lot of that realism during the shoot, then the VFX team led by Charlie Noble are on the scene to take what is shot to the next level for the audience. For all the movie magic in this film, I think the audience will find itself feeling immersed in the moment and on the edge of their seats as this story unfolds. Paul had many of the people who experienced the Paradise fire play roles or guest shots in the film. Many of the firefighters featured in the film were the actual firefighters who fought the fire in Paradise. They also worked closely with Paul and the crew to help us understand what they and the town's residents experienced during the fire. We had set visits from Kevin McKay and Mary Ludwig during the shoot. Paul brought them in so they could experience the production process and meet with the actors. I think they may have wished their story could be told using Paradise as the location, but moviemaking doesn't always allow that. RL: What about the sets, were there also standing sets on stage? 1st AD Cliff Lanning instructing the kids Lisa Piñero off the bus with Emily Jane Price