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Behind the scenes Review

Dunkirk

Filming in Dunkirk took place at the location of the real evacuation, while the street scenes were shot nearby because most of the buildings in Dunkirk were destroyed in the war. may shots that the production team wanted to achieve cannot be done by CGIs. so, to minimize the need for CGI, cardboard cut-out props of soldiers and military vehicles created the illusion of a large army. Real or scale model fighter aircraft, and real warships and private boats, provided a realism that could not be achieved from CGI. Scale models were created via 3D printing. The mole set was frequently rebuilt after being damaged by bad weather. Because French authorities had prohibited pyrotechnic charges, to protect marine life, air cannons were used instead. Six thousand extras were needed in France. Early scenes of the film were shot at Weymouth harbor and the final scenes at Swanage railway stationUniversal Pictures' Falls Lake studio in Los Angeles was used for interior and exterior sets of a sinking ship and plane, with the ship interiors filmed in a water tank using stuntmen. To get acclimatized to the cold water scenes, Styles and Whitehead underwent training sessions at Point Dume in Malibu, California. The principal cast members did their own stunts.

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The director Chris Nolan wanted to achieve the intense and realistic shots that he wanted, as he said in the video, "it's like a virtual reality without glasses." The film was shot in natural lighting using both IMAX 65 mm and 65 mm large format film stock in Panavision System 65, with more IMAX footage than in any of Nolan's previous films – an estimated seventy-five percent. The sparsity of dialogue made it possible for IMAX cameras, which are notoriously noisy, to be used as the primary format. Panavision and IMAX lenses enabled filming at night. 

Nolan's regular collaborator Lee Smith returned to edit Dunkirk, beginning in September 2016 after Smith had assembled shots unsupervised while filming was still in progress. Editing took place in Los Angeles with an audio mixing team of eight people. Nolan said: "You stop seeing the wood for the trees", and singled out the editing of the aerial sequences as a particular challenge, likening this to a chess game.

Also on that note, Chris Nolan is one of my favorite directors, and I really like his style.

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