47 Meters Down: Uncaged
revulsion master Johannes Roberts returns to shark - infested urine this month with47 Meters Down : Uncaged , the sequel to his 2017 fad hit . While the story takes place in a fresh location with fresh look , the topic of turn tail cold - full-blood predators is very familiar . The seasoned director spill to Screen Rant about how his own diving experience informed the story of the movie , as well as what might be in store with his upcomingResident Evilreboot .
First of all , congratulations on the film . It ’s a heavy film . First question I have for you : is there anything that you learned from the first celluloid that that you either did or did n’t want to take into the second movie ?
Johannes Roberts : I learned a lot about filming underwater . I learned what shoot well in terms of sets , so that was why I wanted to do the underwater city . Going through tunnels and cave and stuff really snap beautifully . I ’d say that I really wanted to make this different from the first , which was just endless down in the mouth . I wanted this one to be a maze , just like a complete snarl . So that was a big thing that I take from the first flick .
And then I just desire to play around a little bit on this one with have the sharks be totally different from the first one – like easy , creep up behind , Michael Myers shots . That was just a unlike way of doing it , so I just want to take everything I ’ve learned from the first one and maybe flip it on its headland a turn .
Interesting . Water - base films are some of the trickiest to produce in Hollywood . Can you talk to me about how much meter daily you guys spent in the water ?
Johannes Roberts : The camera crew and the roll are only allowed four hours . So , the style it works is they get the tanks on , they go down , and we dash for however long the tankful go – which count on what they ’re doing should be half an hour , then they come up . Everybody recharge and stuff , and then we get fresh tanks on . And then they basically do that every time they arrive up , and someone ’s timing . You cognise , you burn off masses out . Sometimes I have to take a camera hombre out , because he ’s been in for four minute now , put in the 2nd cameraman , and then ply out of clip with the actresses so you put the two-fold in .
It ’s a tricky one . If you get four hours solid of people underwater a day , it stand for that we ’re shooting all Clarence Shepard Day Jr. but we ’re swapping people in and out .
Were there any extra tricks that you use to get your actors into character or into the reality of the office ?
Johannes Roberts : They did n’t really take it , to be true . Because , you acknowledge , there ’s caves . I mean , there were these build up caves . If you got into trouble down there , it would be really fucking firmly to get out of it . You ’re down quite a deepness , like , 7 - 10 meters . And it ’s pretty scary stuff and nonsense , you get laid , getting tangled out there . There ’s four of you , flashlights sound everywhere , you ca n’t really see what ’s choke on . Yeah , it ’s moderately scary .
They really were having to do some stuff that that would make me very uncomfortable . So , they did n’t require an awful mickle of remind there .
Can you spill the beans to me about how the curing may have helped the carrying out ? Because you said some of these sets , like the cave , were built ?
Johannes Roberts : Yeah , so we built the whole thing and shot it in two tanks . One in Basildon and one in Pinewood , because it was such a big endeavor , and nobody ’s ever really done it before .
So , there ’s very little CGI , really . Little bit of cubicle annex , but otherwise , it ’s all completely constructed . When they ’re swim through these cave , they ’re swim through caves , but they ’re also sets . But it ’s dangerous . What they ’re doing is very dangerous .
Interesting . I was spill the beans to some of your actors last week , and they were telling me that originally , they thought it was going to be almost a pushover doing this movie . But then they realized how difficult it was to do this flick , mainly because they had their scuba masks on , and their peripheral vision was taken out . Can you verbalise to me about directing actor when they have those kind of restrictions ?
Johannes Roberts : It ’s tough , you know . Those masquerade party are horrible . When you dive , you never use full facemasks . It ’s not really a matter . You only have it for the camera , so you’re able to see the whole face .
They ’re atrocious to utilise , and you have to be very careful because you build up your own carbon dioxide within the masquerade . If you do n’t flush oxygen through the masquerade every so often , you could just pass out underwater . So , the girls were having to , as multitude that have never been subaqueous before , really train to be a high technological level . It ’s dangerous , those masks are sonorous , and it ’s really intemperate to hear one another and communicate . It ’s a real challenge for them .
In my research , I read that you ’re an experienced cave plunger . Can you talk to me how much that may have informed the narration of this film ?
Johannes Roberts : Yeah . experient , I ’m not . But I am a cave underwater diver . essentially , I do a lot of diving . I love diving . I ’m not the best underwater diver in the world , but I do enjoy it .
When we were doing the first movie , I learned to cave dive with the line of descent producer during the weekend . And it ’s a really grievous , crazy sport that is , yes , mad . And while we ’re doing it , I was like , “ This is terrorise down here . ” The thought that was in my mind in the descent underwater was that it was awful , and also , ” What a great way to have a subsequence to do ; exploring submersed places . ”
So , that was really where it came from . Taking what I study with cave diving event and during the first movie , and applying it to the script .
There ’s been an encouraging trend of natural selection repugnance films as of late , including47 Meters Down , The Shallows , and this yr ’s button ofCrawl . Why do you think the subgenre is find winner with the contemporary consultation ?
Johannes Roberts : I do n’t know , actually . I think maybe there ’s been a lot of spook repugnance for the last 10 age ; mayhap people are face for something slimly unlike .
Things come in course . People always talk about how successful shark movies are , but it ’s not really true . There ’s actually not an awful lot of them . They sort of disappeared for a while , and the 47 Meters Down and The Shallows came , and then The Meg . It ’s cyclical , I think . repugnance just move in these cycles , and I think it ’s sort of there for a moment . I do n’t cogitate it will pass on the level of trace horror , but it ’s definitely having a little fun revival .
I was front on your IMDb and it had something interesting that really pique my stake , which wasResident Evil . What can you order me about ?
Johannes Roberts : We are in fighting development of that at the moment . I pitched them a take , and they really loved it . So , we are just gearing up on that as we speak , really . I ’m in the function all the sentence there . So , yeah , it ’s great . It ’s gon na be extremely scary . It ’s super , super scary . And it ’s just getting back to the rootage of the plot . I believe , at the moment , I ’m not really allow to say much more than that . But it ’s gon na be a lot of fun .
Is that going to be a serial ? Or is that going to be a film ?
Johannes Roberts : It ’s gon na be a photographic film .
Perfect . There ’s a lot of sort of throwbacks here toMean Girlsand even John Hughes , teen romcoms in the 80 . verbalise to me about the tone that you were hoping to achieve , both above and below water .
Johannes Roberts : Yeah , I love those teen picture . When it came to working out a way back into the sequel , it just was n’t easy . I ’s really concentrated to sample and find a manner in that I would answer to . Then the idea of make it a little flake like Mean Girls but underwater came . I was like , “ Wow , this is expectant . ” And then the way it all sort of comes together at the end , I just really enjoy and really react to . I loved that ; I ’m endlessly fascinated by American high school and that kind of world .
The film did its job ; it dash the shit out of me . I now look at the ocean in a wholly different means , as if the first one was n’t enough . So majuscule line .
Johannes Roberts : Thank you , I really apprise that .
Even up until the very end , I was on the edge of my tooshie . You have a bunch of fresh new face in this film . Can you peach to me about why that decision was made , but also what they contribute to the characters that may not have been on the Sir Frederick Handley Page ?
Johannes Roberts : We did n’t inevitably have a go at it if the movie was conk out to be anchored off the brand , so we really try out around to find four people that I just wanted a great energy from , that would lift this moving picture . Sophie and I had chatter before , actually , on various things and wanted to ferment together . I wanted to bring with her , so she was kind of [ the first one ] on and she was a very serious actress . Serious in the way that she ’s really done music genre mostly , and I really esteem her craft . Then Sistine just came in with this bundle of Energy Department , and Brianne just yield this amazing read . And then Corinne come in in quite late actually , just sort of almost by chance . It just turned out that the oral sex of Entertainment Studios , Byron , eff Jamie , and we get down to foregather Corinne . It was just all perfect and all just came together .
But it was really about find four girls to sort of bond , that were totally ego - less , totally fresh and new to this . I think it ’s the only elbow room it could really work . And they really did connect and become those four role .
Well , awe-inspiring job . I ca n’t wait for everyone to see this celluloid . Thank you so much for your clip today .
More : Sophie Nelisse , Sistine Rose Stallone , and Corrine Foxx Interview for 47 Meters Down : Uncaged
