A dream team reunites to bring zombie horror home again in ’28 Years Later’
When the acclaimed director Danny Boyle, who won an Oscar for films like “Trainspotting” and “Slumdog Millionaire”, creates a horror movie, it tends to resonate deeply. His 2002 thriller “28 Days Later” was being filmed when the September 11 attacks happened, and its chilling post-apocalyptic visuals of deserted streets and a world turned on its head made it a significant film reflecting the anxieties of the post-9/11 period.
The upcoming movie sequel, “28 Years Later,” set to hit theaters this Friday, resonates with current concerns in a manner similar to its predecessor, reflecting the feelings of loneliness, hopelessness, and a world that seems beyond redemption from its era. Just like “28 Days Later,” the visual aesthetic of “28 Years Later” is deeply intertwined with the overall experience, creating an unsettling, disorienting atmosphere. Unlike its predecessor which used consumer-grade digital video cameras in a groundbreaking way, a significant portion of “28 Years Later” was filmed using iPhones.
Boyle, director of “Days” and “Years,” ponders an intriguing query about apocalypse films: What do these characters anticipate? What motivates them when there’s no more holidays or career advancements? Instead, they seem to be working towards preserving their lineage, nurturing the next generation to carry on their legacy. The worth they uphold is the significance and integrity of their homeland. To convey this deep-rooted emotion, we aimed for a phrase that captured that intensity.
The upcoming movie features a reunion of the main creative team from the original production, including director Danny Boyle, screenwriter Alex Garland, cinematographer Anthony Dod Mantle, and producer Andrew Macdonald. Since their initial zombie outbreak project, Boyle and Mantle have both been awarded Oscars for their work on “Slumdog Millionaire” in 2008, while Garland has ventured into directing films like “Ex Machina” and the recent “Civil War.
Ever since our joint endeavor on “Sunshine” in 2007, Alex Garland and Danny Boyle have maintained a close connection, sharing their ongoing projects with one another. However, they haven’t officially collaborated on any project beyond that film. Regrettably, this meant they couldn’t delve deeper into the sequel “28 Weeks Later,” which was directed and co-written by Juan-Carlos Fresnadillo, although Boyle did contribute some secondary footage for it.
Boyle expressed a sense of: Wow, this is unique, groundbreaking, and bold,” he said about his initial reaction to Garland’s script for the upcoming movie. “It was also distinctly English, much like the first film – this was quite extraordinary, as most films aren’t.
He notes that both COVID-19 and Brexit occurred, “traumas that are particularly British, as well as global ones, which undeniably impact the movie in some way.
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68-year-old Boyle exudes a playful, sociable demeanor that camouflages the intensity of his dedication and ideas. Immersed in a global promotional tour and comfortable discussing “28 Years Later,” he welcomed Garland on our Zoom call, joking, “As you can see, I’m fully immersed in creative mode.
At the moment, Garland, who’s 55 years old, is relaxing at home in London, whereas Boyle is staying in a hotel room in Rome. As Garland scrutinizes Boyle’s decor through a Zoom call, he humorously comments, “Those definitely aren’t your drapes!
28 Days Later” is known for popularizing the concept of ‘fast zombies’ – these are aggressive, quick-moving creatures contrasting with the slow-moving ones from George A. Romero’s classics. The latest movie adds some fresh elements to this zombie lore.
Now we encounter “Slow-Lows,” which are ground-dwelling creatures that move slowly and subsist on scraps left by other animals, such as earthworms or small prey. However, what’s truly chilling are the Alphas — they resemble zombies on steroids, large and powerful, with a tendency to sever human heads using their spines intact.
Garland muses, “We were casually discussing ideas, and the question arose: How could things have unfolded differently? I mean, considering the infection’s impact on individuals with varying body structures. It’s a recognition of evolution – perhaps some inherent predisposition or genetic mutation might steer some towards one outcome while others veer in another direction.
In “28 Years Later,” the British mainland, now infested by mutated creatures due to a viral outbreak from the first movie, is isolated from the global community. The survivors are forced to survive on their own. On a small island off the northeastern coast of England, linked to the mainland by a causeway that cannot be crossed during high tide, an agricultural community of people unaffected by the world-destroying “rage virus” has formed, striving to establish a semblance of normality in their new society.
In a transformed world, Jamie (Aaron Taylor-Johnson), a father, embarks on a voyage with his adolescent son Spike (Alfie Williams). This journey is essential because in this new reality, it’s significant for a boy to take his first life from an infected being, a tradition. Jamie’s wife, Isla (Jodie Comer), has been afflicted by an enigmatic sickness that triggers periods of disorientation. Having heard whispers of a legendary physician (portrayed with eerie composure by Ralph Fiennes) who might offer help, Spike decides to secretly leave with his mother for a dangerous voyage to the mainland in search of this doctor.
Finding just the right story that felt worth telling took some time.
Boyle turned to Garland and said, “Remember when we discussed a script a few years back? You even wrote one, an excellent piece of work, yet it didn’t seem to catch our momentum, right?
In Garland’s memory, he penned a “Years” screenplay where the Chinese Special Forces aimed to trace back the origin of the initial outbreak and discover a cure. However, they found themselves up against another military unit, who were planning to turn this virus into a weapon instead.
According to Garland, he remembers saying that Danny might phrase it more delicately, but the truth is, the script I submitted was functional, yet generic. It’s peculiar how when you share something with others and they point out a criticism that you partially recognize, you can’t help but feel a sense of unease because you think, ‘Yes, they’re right.’ So, I set it aside and began working on another script, which later became the one Danny turned into a movie.
Garland developed a fresh trilogy of movies, having finished scripts for two and an outline for the third one yet to be penned. The second installment, named “28 Years Later: The Bone Temple,” has been filmed by director Nia DaCosta and, as per producer Macdonald, is nearing completion. It’s anticipated to hit theaters early next year. Cillian Murphy, the surviving protagonist from the initial film, serves as an executive producer for “28 Years Later” and, according to Macdonald, has a growing role in the following films. As he stated, “He’s coming.” Some filming with him has been done, though specific details are under wraps.
Having the new story land as a trilogy was unexpected but not unwelcome.
According to Boyle, he distinctly recalls asking Alex, “What are the three main themes?”, because it helps him recall where they began their journey. Alex responded that the first movie focuses on grief and family dynamics, the second explores evil, and the third delves into redemption. This detail has stayed with Boyle clearly, and he values it – then proceeds to explore further.
The investigation focused on discovering a style suitable for Garland’s latest three-part narrative, as it should reflect the tone appropriately. Prior to “28 Days Later,” cinematographer Anthony Dod Mantle was recognized for his pioneering work in digital cinematography, evident in Thomas Vinterberg’s “Celebration.” For the “28 Years Later” project, Boyle anticipated they would need to find a creative way to apply modern technology in an innovative manner to capture current anxieties.
Recalling the unique approach we took for our initial movie, Boyle said, “It was delightful to collaborate with Anthony on it once more, and to push the boundaries of how the film would be captured and presented to audiences. This element added a special touch to the experience, much like it did in our first project.
During a Zoom call from London, Mantle stated that these thoughts had been present with him long before our conversation. He was also thinking about finding a light and agile approach for the project he was working on, directed by Kevin Macdonald’s brother. One method among many came to his mind. Eventually, he decided to test this idea out by tossing the phone to Anthony and seeing what information they could gather. So, the film’s testing phase started with that concept in place.
After joining the project, Mantle had approximately six weeks to brainstorm and prepare for the filming process, which he describes as both blissful and challenging. Mantle shares that around 75% to 80% of what is seen in the final movie was captured using iPhones. The team also employed drones and other compact, lightweight cameras during production. To enhance the visual quality, Mantle attached various lenses onto the phones, including a telescope, using adapters.
According to Mantle, he mentions that it’s a tiny collection of gear, and he doesn’t wish to overwhelm you with details. In simpler terms, it’s just a few tools bundled together across two variants of the iPhone 15.
The filming primarily took place in the northeastern part of England, but also expanded to sites in Wales, Scotland, and southern England. This was done to capture the rural, non-urban backdrops as Spike and Isla embarked on their journey. For a distinctive visual effect, production teams devised rigs that could hold multiple iPhones, up to 20 at a time. Initially, each phone had to be switched on individually until software was developed to operate them simultaneously, providing Boyle and editor Jon Harris with an array of unique image options.
According to Boyle, what made the script exceptional was its ability to carry on some genetic material from the initial movie, yet it presented an entirely new and unique tale. It truly deserved to be handled as such.
Gathering unique creative minds like Boyle, Garland, and Mantle for this upcoming movie gives off a sense of reuniting an old band, yet everyone involved appears eager to explore uncharted territories instead of merely leaning on the allure of previous achievements.
According to Garland, the heart of the movie lies with Danny. It’s not about a team; it’s essentially about Danny. This idea is challenging for me to express, as I value the collaborative aspect of filmmaking and the significance of a script.
Garland acknowledges that his statement contradicts some of his past views, yet he’s witnessed the production of this movie up close. He frequently criticizes the focus on the director in film discussions, viewing it as an overemphasis. However, from his perspective, he can clearly see the process and team involved, which was largely composed of individuals who worked on earlier projects. Yet, he doesn’t consider this team to be like the Beatles.
In turn, Boyle acknowledges the valuable input of Gareth Pugh and Carson McColl, the duo who served dual roles as both production and costume designers for the latest movie. Their collaborative efforts resulted in a visually cohesive style that combines an edgy grittiness with an unexpectedly captivating beauty.
Ultimately, Alex is a born writer and Danny is a born director,” remarks Macdonald during a video conference from his production company DNA Films in London. Over time, Macdonald has collaborated extensively with Boyle and Garland, both individually and as a team.
McDonald emphasizes that, in this particular instance, there are two key figures responsible for creating this franchise – Boyle and Garland. He points out that the films’ promotional materials give equal recognition to both of their names.
A lengthy preview for the movie, produced by Sony, the film’s distributor, and released at the tail end of last year, showcased an emotionally charged rendition of Rudyard Kipling’s poem “Boots” from 1915, narrated by actor Taylor Holmes. The repetitive line, “Boots — boots — boots — boots — movin’ up and down again,” was particularly captivating. Director Boyle decided to incorporate this recording into the movie itself, also using snippets from Laurence Olivier’s 1944 adaptation of “Henry V” by Shakespeare, as well as some visuals from “28 Weeks Later.” This was done to establish a profound connection with traditional English culture and depict a shift towards a more primitive lifestyle.
In Boyle’s own words, he reflects on the concept of this character embodying the English virtues of heroic resistance, reminiscing phrases like “We few, we happy band of brothers,” which Shakespeare penned. At one stage, we contemplated incorporating the St. Crispin’s Day speech from “Henry V,” but it seemed excessive. Then, as we watched the trailer side by side in Soho, we were struck with awe. We both turned to each other and exclaimed, “Wow, that’s incredible! I’d definitely go see it.
If you’re interested in applying the movie’s metaphor to a discussion about the actual consequences of Brexit, where the UK departed from the European Union, Garland points out a crucial difference.
According to Garland, the film’s plot revolves around a sense of isolation for Britain, which isn’t voluntary. He expresses his view that Brexit was a foolish decision we made, yet it’s being imposed upon us by others.
Reflecting on the past while pressing forward, I found myself immersed in the creation of “28 Years Later,” a film that encapsulates an intense blend of fear and sorrow. Reviving the original team after over two decades, this new project delved into themes of memory, legacy, and the remnants we leave behind, offering a poignant exploration of the past and its impact on our present.
According to Garland, we don’t consciously decide to create an allegory; instead, our subconscious thoughts and preoccupations seep into the stories we craft. Over time, these stories serve as a reflection or journal of the ideas and concerns that were on our mind during the writing process.
According to Garland, “Danny and I share a common thread in our unconventional approach to storytelling, themes, structure, and more. This movie was headed in a subversive direction, veering from the expected, and it ultimately delivered an unexpected twist.
In the gripping, post-apocalyptic setting of a chilling horror-thriller, I’ve been captivated by the thoughtful work of director Boyle and his talented team. They have skillfully woven together a narrative that delves into profound questions, both the microcosm of personal survival and the macrocosm of societal origins. It’s a riveting exploration that leaves me eagerly anticipating the next two chapters of this intriguing saga.
Despite minor obstacles, Boyle suggests that civilization as a whole seems to be progressing. The question then arises: Is this sense of progress tied to technology? If technology were to cease functioning, as it is in this scenario for these individuals, could we still advance? Or would we, like them, instinctively turn back to the past?
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2025-06-18 13:32