and the complexities of the timing of the flares - that exercised us

for a few months in preproduction.

We, in a sense, constructed the set in order to create the shadows.

The window splits in half and opens,

just after the technocrane's pushed through it, and floats down.

The cameras then unhook from the technocrane...

..and then operated by two grips, who follow George down the road.

In the reflection of the puddle on the right there

you can get the flares overhead, and as that goes out,

it reintroduces you to Schofield, who's walking away.

And there's this feeling of triumph, that somehow, even though

he doesn't know where he's going,

even though he's forgotten everything,

he's still stumbling blindly on, and he's going to succeed.

GUNFIRE

Then, out of nowhere, from the same place that's firing the flares,

you hear these off-camera shouts and these gunshots.

GUNFIRE

When you're in the cinema, all you hear is his breathing

and the music, and the footsteps.

And then we built in this moment where we pan around as he throws

himself down on the floor, and the two grips climb onto

a small jeep, which accelerates away, pointing obviously the camera

backwards off the jeep, as he runs towards the camera.

And he times it, so that as the light just begins to die,

he's up and running again.

HE PANTS

And again we go into darkness, and again the flare goes up

and the music builds.

DRAMATIC MUSIC PLAYS

Ah!

And here, behind him, on the wall, is a little homage to my grandma.

That is a poster for the circus, because my grandmother

grew up in the circus, in South America, in the '20s and '30s.

Wow! You can be the first to hear it.

That's incredible.

There's a blend point when he crosses behind the wall

through the little... There's a little tobacconist.

The flares die and we go into this Main Street.

HE PANTS

One of the things I said to Dennis Gassner,

the fantastic production designer, was you need to construct the town

as it would have been before it was destroyed,

so it has a logic to it, and then we can destroy it.

Wow!

GUN CLICKS

This is Main Street, leading into Main Square, um,

with the colonnades on either side.

So, we knew where the tobacconist was, we knew where the cafes were,

where the square was,

where the rich people lived, where the allotments were.

And, of course, where the church is and the sort of slightly

cross-like fountain is in the middle of the square.

And you get this De Chirico landscape, this sort of...

These empty towns with these big shadows and big archways

that you feel like you've been to in a dream sometime.

Here's a cafe on the right.

You see the remnants of the cafe tables,

and suddenly...he's open, out. This is the epicentre.

And this is the big lighting rig.

The largest lighting rig Roger Deakins has ever created.

I think it was something like 2,000 lights... That's stunning.

..which then was turned in by visual effects to a burning church.

Mm.

Out of the brightness of it, just to the right there

emerges this shadow, and because the shadow is relaxed,

Schofield assumes him to be a friend.

And the man assumes Schofield is a friend, until they get so close

and they realise, "Hang on a second..."

And here, behind him, a small motorbike backs up...

Uh!

HE PANTS

..onto which the camera operator climbs,

and when George starts to run, the motorbike accelerates with him.

Wow.

There was a fair amount of rehearsals there.

There's so much in that that was required,

the timing in particular.

You know, when he falls and then waiting for the flare to...

..at that right moment, and knowing when he's ready to move,

when the cinematographer's ready to move,

all that kind of thing as well.

Does that excite you, or is it terrifying,

or do you like that...? Oh, I loved it. Loved it.

SHE LAUGHS Yeah.

It's so fascinating.

It's like, bloody hell, just for that one shot!

HE LAUGHS