![]() ![]() Here is a man that can genuinely be called a legend, especially amongst geeks, yet he was utterly humble and almost shy. That was the first thing that struck me about him, though. If Sean Bean had asked if I’d conduct the interview on my head, while someone kicked me repeatedly, I would’ve done so gladly. He moved his book aside so I could sit down on the sofa and politely asked if we (myself and Obsessed With Film’s Mark Clark) wouldn’t mind interviewing him at the same time, in case he got called back to film. In the background, the radio was playing the football (which everyone assumed was a Sheffield United game, as his absolute love of the team is common knowledge), before he kindly offered to turn it off for us. Not long after Sean Bean’s scenes were wrapped, we were called outside to his trailer, where he opened the door and welcomed us inside, cigarette in hand. ![]() I made the rather stupid mistake of worrying that he looked incredibly serious and in no mood to be interviewed, then realised he was acting. Seeing the man himself shooting any kind of scene was absolutely exhilarating, having only ever seen Bean on the big screen, even though it was a silent and straightforward one. This was followed by the arrival of a large gang boss-looking character, whose entrance was accompanied by a mean looking, bearded Sean Bean, who seemed to be checking for exits and security risks. Sure enough, with lunch finished, the focus of the crew was shifted to the lobby scene, as we noticed the stunt choreographer talking to a one of the younger children, presumably as the boy was either going to be snatched in some way, or being told how to react to a falling body. We were invited to help ourselves to lunch, but with the update that Sean Bean was reading a script before being called to set to shoot a scene, and then he would see us, my appetite was somewhat diminished by the combination of excitement and nerves. We observed equal attention being paid to camera movements, lighting, extras, fight choreography and reflections (damn that shiny marble), as Ash made his way through the doors to his encounter during multiple takes.Īs well as our good selves, we got chatting to writers from Obsessed With Film and HeyUGuys, who were also reporting back, though, hopefully, as we loitered out of the way, we didn’t end up in shot, especially with the added risk of the film’s entrance door also leading to the toilet.ĭespite the thickening snow outside, everyone was incredibly friendly and accommodating, especially the director, Hadi Hajaig ( Puritan), who actually asked if we were all okay on several occasions, which was a courtesy he really didn’t have to extend with all the responsibility on his shoulders, but much appreciated.Įven a power outage was used to take an early lunch break, lit comically by the crew lights in quite a dramatic fashion. ![]() The film crew were set up around a grand staircase, where a variety of extras were positioned to make the area bustle with life, immediately throwing my brain back to the Battleship Potemkin homage in Brian De Palma’s The Untouchables, especially with children present.Īnd, indeed, things taking place on the floor above the crowd were no less threatening, as the film’s main protagonist, Ash, storms into the building armed and balaclava clad, taking down what looked like a private security guard during a fight, before throwing him over the balcony railings and into the throng below, an then seemingly making his way towards the stairwell and a target protected by Sean Bean’s character, Ewan.Īs with any film shoot, while the end result looks slick and exciting, the process itself can be quite slow and repetitive for the crew, yet strangely fascinating to an outsider. ![]()
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