Ben Wheatley on the Influence of Architecture and Viral Videos

Ben Wheatley on the Influence of Architecture and Viral Videos

bad people and everything they're bad they just occasionally make bad life choices which they kind of you know pose justified but their general day-to-day stuff they don't wear a kind of black hat and a cape and go around kind of laughing maniacally and no they're not obviously evil except for maybe Jimmy Savile you know ben wheatley began his career making viral internet videos and animation shorts before turning his attention to filmmaking in the run-up to the release of his movie adaptation of JG Ballard seminal novel high-rise we're here at the Barbican one of London's most famous high-rise complexes to meet the man himself what are you doing what are you doing in there teething problems bill is still settling sitting on that a man can fall from the 39th floor and not one police Carter where's the siren what have you got there a kaleidoscope what can you see through that thing the future I heard that the Barbican was voted London's ugliest building what when I think it was quite okay yeah well no god I don't say that there's plenty of other horrible buildings that have been built into this has been built I think I like it it's like a castle not for ballad I think he kind of saw the high-rise Tower as almost like a character is that something that you were thinking of when you were planning for the film yeah I mean I think that the character the tower is a character within it but also yeah just in design terms we wanted it to impinge on the people in their apartments and stuff so that's why you've got these kind of buttresses and breaking down of the spaces I mean I kind of experienced it in a hotel in Stockholm it had no consideration for the people staying in it so they put the architects just got you know maybe this these beams through the middle of the room like ducting over them to get to the sofa thinking well this is arrogant you know in building form you know and we wanted a bit of that in the tower you built all this I put all my energy for the start but I am the architect of my own accident said a horse probably in the Fortis law we've Ballard and with high rise there's sort of this idea of a social utopia that then collapses do you see any parallels with the resistance to sort of social engineering in London 2016 I mean it's the same as that is a resistance to any kind of strong dogma I mean I think it's the you know royal within the film is someone who has the arrogance to think that he can make an environment that will make people think in a certain way in it and they rebel and they they become very different from from his initial plan we may the same charges at the top floors we want our picture of the power things would be better if we could afford to retire for it would be a kind of pointless thing to make films that have no relevance to now even if you would making a sci-fi film or you're making a period drama they really should be talking about this moment because otherwise what the hell are you talking about you know that's one of the things that tracted me to the book I mean I read it when I was a kid but then when I reread it stuff jumps off the page like the fact that them everyone in the building is filming each other all the time and projecting it you know the walls of the building wind up like YouTube effectively but there's no surprise that Ballard is you know predicting all this stuff way ahead of time and that was his gig you know the heritage of dystopian narratives is quite a British thing was the film Brazil much of an influence I think Brazil is an influence to me across all the movies are made and it's one of the movies that made me want to make cinema in the first place I mean with seeing the trailers for it when I was at school I mean I was probably about 13 or something and just thinking I need to see this movie and I remember buying every magazine about it and I've got Brazil on every format that it's ever come out on and kind of obsessively by it's one of those movies it's only Blade Runner as well so I try not to be that kind of postmodern filmmaker that kind of looks at stuff and then recreates it but inevitably these things come up my favorite thing about your films is actually the realness of the human relationships you know the more real that you make the emotional honesty of it then the more chance you've got of getting through to the audience and for them to relate to the characters they good and bad often though good and bad at the same time you know and I think that's again trying to be real and that we like her characters you know we like them all no matter how despicable they are especially someone like Wilder in high rises he's incredibly charming buddies and is a monster at the same time and you can have both those positions and the problem I have with straight narrative is that there is a reward often a massive reward for certain kinds of behavior and bad is always punished and it's much more ambiguous like that you know I mean the bottom line with life is that you die you don't win at the end you lose fundamentally and everyone does and no one gets away with it so that's never kind of really reflected in cinema and that's kind we try and reflect that more in the films that we make you built your career making viral shorts and now you're making future films you can kind of see those viral stunts being brought back into your films I mean I think the viral work was interesting because it was at the same time as being something that could only exist in that moment but at the same time really they were talking to cinema right at the beginning of kind of slapstick Mack Sennett stuff all the gags are always the same we kind of realized that there's only like two or three different jokes and one of them involves someone kind of being arrogant and then falling down a hole that's it and which is a gag that you can see all the way through comedy from you know from vaudeville all the way through to Tom and Jerry and all that kind of stuff so I was looking at that kind of old silent comedy stuff and then kind of nicking it and putting it into viral and that's what Cunnings done was the one the first one we did part of my kind of development as a filmmaker I guess was through necessity and with us with the stuff that I had and that that immediacy that are kind of learned from doing that viral stuff is being able to communicate quickly and concisely stories so you shot in a high-rise building you've had a film set in just a house you've had a film set mostly in a caravan is there something about having like a restricted space that is creatively freeing for you it seems to be I don't know it's a house a caravan a field a building yeah it's certainly not something that we went we want to make a series of movies set in resource places it might be of something to do with budget maybe it's somewhere along the line we always try to make the film's really different and they always end up kind of the same so their sets of themes that run through all the movies that we keep coming back to this you know adults as children or men as children usually the surviving woman who has to deal with lots of stupid men seems to be a theme that comes through a lot in that in our films amy jump who wrote the script and I'm also married to be kind of what we saw in the book as we saw as we were older is that we were probably the children in the book we were both born in 1972 in the book comes out in 75 so lang and Wilder a kind of it pretty close to our parents ages at that point so I perspective on it is very different than it was at the time though I don't co-write a lot of the film some of them I have my sets of things I'm interested in and amy has her sets of things and I think the film's across the board feel like them films made by a couple I mean the first three movies we made a kind of about angry couples or couples against the world you know but then later it's people you know trying to find themselves within groups and then high rises more more about couples not forming or falling apart now you're working on bigger budget movies what is that like creatively I don't make films as the calling card films to go to Hollywood you know so it's not a stepping stone thing to get bigger and bigger budgets and we've done it you know when we made sightseers which is one two million then we made field in England which is three hundred thousand that was a conscious thing I'm just going war you know we'll make something really crazy might be the last time I get to do something this bonkers for a while and we'll have complete control of it at that budget level maybe blasted by Google Planet or to which you are set toward me chew up all the selfish scheming and ill intentions that men like you for some on men like me I always want to be working so it and filming something's the more you try and get a project together there's bigger budget the more chance it's going to fail and then just leave a big hole in the year so I've always got stuff on my back pocket to think well then we'll go and do something that costs you know 100 grand or something that cost no money at all I think we should be prepared to me moderate resistance the ones that were the real danger of the self-contained types like you perhaps you're right the reviews for it have been interesting so Evo like one or two star two stars or they're like five star is that kind of a measure of success for you I talked to Geoff Barrow who from portishead news who did one of the tracks and Geoff said oh yeah you know in music it's the best thing you can get is like one star and five star and that's it and then I won down them note down the middle or even lots of people hating is much better than Lots people liking it I was like yeah okay you know it's been kind of like that since the beginning with all the films we've made when ego gets involved of it in terms of worrying about reviews you just make kind of quite dull films you know thank you for your time Ben oh no worries thank you

27 thoughts on “Ben Wheatley on the Influence of Architecture and Viral Videos

  1. وني سنت السمين لا يفكر في بيت ولا شقة كل همة بطن يا حمار حتى المبنى كبره ما جب خبره فكل المشغلة المقابله يبي يخلصها عشان ينزل ياكل ماك وكنج وطقتهم من مطاعم خنازير النصارى لعنك ولعنهم الله

  2. اقول يا السمين الخسيس والنجس ادعس هالقحبه في ذنبك ولعنت تلعنك وتلعن كل كلب عربي بلندن من اهل الكفر او ماخوي هالكفر في الصفات ولا الافعال والاقول

  3. what she said about the "nice" religious right is pretty naive. They have had generations to perfect the 2 face technique. Since they have been losing their hate agenda in USA, These ppl are actively fanning hate around the world….Look what happened in Uganda with kill the gays law. Now most of africa has hate laws! Many other countries are influenced now….Scary evil shit!

  4. I don't think Ben needs to worry about reviews, it's only poncey IMDB reviewers who only care about big budget simple films that give him mediocre reviews. RT on the other hand actually have taste and understand the thought and meaning that goes into his beautiful films. His 75% to 87% are well deserved. What an inspiration.

  5. Kill list and a field in england are two of my favourite films, really looking forward to high rise

  6. hey vice can you stop rolling the credits halfway through the video??
    the guy's trying to explain something and then boom, CREDITS–"just in case you were paying attention to what he was saying, you damn well aren't now!" seriously, it's tacky

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