Fallout s1 - Set Your Sights on 2296 - Plot Synopsis:
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00:00A show like Fallout is such a deliciously weird world.
00:05The tone of it, the oddness of it, the violence of it.
00:09I was constantly amused by the possibilities on the page.
00:13It's the only way I know how to do it,
00:15is to choose subject matter that I'm excited by.
00:25Jonah wanted to make it cinematic.
00:29You know, we were going to shoot on film.
00:31We were shooting a lot of things on locations.
00:33It's like, so how do you transform the outside world
00:36into looking not only post-apocalyptic,
00:39but Fallout post-apocalyptic, which is a whole different thing.
00:42We built massive, beautiful sets in New York City,
00:45and then get on the road, get down to the skeleton coast in Namibia,
00:49out to the western wastes of Utah,
00:51in order to really make these things real.
00:54Amazing landscape of Namibia,
00:56where it's whole suburban houses and Main Street,
01:00and then some of these weird, giant buildings.
01:03Actual post-apocalyptic, not digital.
01:06It was just, like, stunning.
01:12Jonathan Nolan, along with his brother Chris,
01:15have been people who've really stuck with film as a capture medium.
01:20Which is, from my point of view as a cinematographer, fantastic.
01:24The thing I like about film is the happy accidents.
01:28The photochemical negative does seem to have the ability
01:31to capture highlights in particular.
01:34It's very kind to the human face.
01:38In film, there are often little things that creep in
01:41that you're not aware of when you're shooting,
01:43and they can be subtle things like shifts of color,
01:46or flares and highlights.
01:48They're not always a success, but when they are, they're magic.
01:54Everything that Jonah does with someone like Howard Cummings,
01:58or his DP, he brought the things that were written on the page
02:02into the real world.
02:05There's always a moment, you sort of wake up and you think,
02:08God, why do we drag all these people around the world?
02:10And then you look out the window or you get out of the bus,
02:12and you go, oh, this is why.
02:24¶¶