Expanding upon the world created by Danny Boyle and Alex Garland in 28 Years Later – but turning that world on its head – Nia DaCosta directs 28 Years Later: The Bone Temple. In a continuation of the epic story, Dr. Kelson (Ralph Fiennes) finds himself in a shocking new relationship – with consequences that could change the world as they know it – and Spike’s (Alfie Williams) encounter with Jimmy Crystal (Jack O’Connell) becomes a nightmare he can’t escape. In the world of The Bone Temple, the infected are no longer the greatest threat to survival – the inhumanity of the survivors can be stranger and more terrifying.
As this new sequel prepares to release in Australian cinemas on January 15, Nick L’Barrow spoke with the film’s director Nia DaCosta and star Erin Kellyman about the bold and brutal opening scene, and how the visual language of the film showcases the two very distinct world’s the characters inhabit.
Nick: With all sincerity – I am a fan of the 28 films, but yours is my favourite of the series!
Nia DaCosta: Oh my God! Thank you!
Nick: One thing that really stuck out to me with this film is the visual language you use to represent the different tones in the story. There is this visceral, feral way you move the camera around the Jimmy’s, compared to this patient and calm way you shoot Dr. Kelson’s story. How much of that visual style did you find in Alex Garland’s script, and how much was your interpretation of the story you read?
Nia DaCosta: I’m so glad you noticed that. That was like the first thing I said to the producers when we met, that I wanted to be able to do a different sort of style and make sure there are two distinct worlds – Kelson’s world and Jimmy’s world. And so, the way I shot them was very different. Kelson is measured. It’s still. He has sort of found a sanctuary. And the Jimmy’s are frenetic and crazy and mad. So, that was something that I brought into it, and really wanted to push into the film because I thought it was important that we have those two distinct worlds.
Nick: The opening scene is a really great way to set up the nastiness of the Jimmy’s world. Erin, I’m curious to know how you used your own personal empathy to navigate Jimmy Ink’s journey from that brutal opening moment, and then the emotions that sort of emerge as she gets to know Spike throughout the film.
Erin Kellyman: For sure. I found it in the script and with the conversations I had with Nia. I think I had empathy for Jimmy Ink right from the get go. I think you meet her at a really tricky time, and the way that the Jimmy group is set up, she doesn’t really have a voice. So, I found I had a lot of empathy right from the beginning.
Nick: That opening scene is brutal, and shocking, and disturbing, but as a horror sicko myself, I really loved how bold it was and how it really throttled me into the danger of this world again. I’m curious, Nia, from a filmmakers perspective, how important is nailing the opening scene of a film?
Nia DaCosta: I mean, for sure, especially because we’re reintroducing the Jimmy’s. But when I initially read the script, it was a moment where, for me, it saw a chance to change the narrative and reintroduce Spike in this context. It was so important that we make it very clear to the audience that Spike is in danger and that these kids, the Jimmy’s, have this sort of fealty to this weirdo on his lifeguard throne. There is also this sort of dissidence from Jimmy Ink’s character. All of that had to happen, but you also want it to be punchy and feel interesting.
Nick: And what did that opening scene give you, Erin, to set yourself up for Jimmy Ink’s journey?
Erin Kellyman: I felt the exact way you did. There’s definitely moments later on for the quiet, more intimate moments, and those are done beautifully. But, I also think that my attention span is not great, so I like a lot of action quickly to get me involved!
Thank you so much to Erin and Nia for their time, and to Sony Pictures for organising the interview. 28 Years Later: The Bone Temple is in Australian cinemas January 15.
