Dou­glas Booth

Ti­tus Abrasax in Jupiter Ascending

SFX - - Rated -

This is a pretty epic film. Did it feel epic shoot­ing it, or was it ac­tu­ally quite in­ti­mate?

It felt pretty epic. You’re work­ing on mas­sive sound­stages, you’re tak­ing over the whole of Chicago and fly­ing he­li­copters through it and swing­ing ac­tors through the streets. You’re work­ing on a big scale. The crew is five, 10 or 20 times the size of a small in­de­pen­dent film, so you feel that scale. But you never quite ap­pre­ci­ate what world you’re cre­at­ing un­til you see the fin­ished film be­cause they add a lot of it in later. What was work­ing with the Wa­chowskis like? Did they share re­spon­si­bil­i­ties?

It was the first time I ac­tu­ally worked with two di­rec­tors so it was a new ex­pe­ri­ence, but it was very seam­less. They work to­gether very well. Ob­vi­ously, they’ve known each other since they were chil­dren so they work bril­liantly to­gether. They both have their own role but those roles cross over. Were there any bits of film­ing you par­tic­u­larly en­joyed?

At the be­gin­ning of the movie you see Balem, Kalique and Ti­tus on this planet that’s been har­vested. It sets the scene for the whole movie. We shot that in Bil­bao, at the Guggen­heim, which is an amaz­ing mu­seum with beau­ti­ful ar­chi­tec­ture, and they then du­pli­cated that ar­chi­tec­ture into a whole planet. It was amaz­ing. I’ve known Ed­die [ Red­mayne] since I was 16 years old, and it was great to ex­ist in this very sur­real world to­gether.

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