“Right from the start, I wanted my film to be an homage to these sorts of movies, and deliberately so,” he says. “I wanted to make a movie for a new generation of audience that hadn’t seen those movies in the cinema – hadn’t seen them at all maybe – and to give them the same thrill that I got from watching them. But kind of contemporise it, pump up the action and the blood and guts.”
This is a rather surprising shift for the filmmaker behind Dog Soldiers and The Descent, two claustrophobic thrillers that got deep into their characters’ heads. But Doomsday is a big, loud action movie, and Marshall reveals to RT readers the films that inspired him most…
The three Mad Max movies set the bar for this kind of movie, but for me personally it’s the second one. I do love the third one, Mad Max Beyond Thunderdome (1985); there are elements in it that are rubbish, but most of it’s pretty good. The first one, Mad Max (1979), has a great car chase at the start – a real jaw-dropper – and a pretty good one at the end, but the rest of it is quite slow. But with The Road Warrior, once the bondage gear comes out – the Mohawks and all that kind of stuff – it was like, “Wow, OK, we haven’t seen this before.” My thinking is that if you’re in the apocalypse and you survive, you’re going to choose to wear a leather jacket instead of a tweed suit. People are going to look like punks, because it looks cool!
The Road Warrior is so concise, beautifully written and beautifully directed. I love the use of cars and locations. And Mel Gibson is just so perfect in that role. He hardly says a word, but when he does speak, it counts. Like him, Rhona Mitra‘s character in my film, Eden Sinclair, is a police officer who has a history. So there’s another connection.
What a fantastic vision and idea, and certainly my film is a huge homage to this film, what with the concept of something being walled off and all the gang warfare. The anarchic spirit of that movie is definitely something I was going for. And of course Eden Sinclair has an obvious connection with Snake Plisken. It’s no accident that she wears an eyepatch in the film. But I said right from the start that if I was going to have her wear an eyepatch, I’d have a bloody good reason for that. So the eyepatch became a plot point, with the fake eye and the camera. And that also enabled us to have her not wear the eyepatch all the time. So that was fun.
This isn’t a post-apocalyptic film, but it had that same ethos, and it’s one of the films that deeply inspired me when I first saw it. I think John Boorman did a wonderful job with the whole genre; no one has ever touched the artistry of it. I mean, compare it to King Arthur! Excalibur has that beautiful look about it – it’s so rich, and I wanted to tap into that a little bit. There’s just a kind of logic in that they’re living in this castle, and they’ve gone to a feudal society and have divided into tribes at war with each other. Scotland is full of these amazing fortresses, so what better place to hide out? They’re all museums as well, so they’re all going to be full of suits of armour and swords and stuff. Maybe go that way – you don’t need to find ammunition when you’ve got bows and arrows and other useful kit.
One of my biggest inspirations is Walter Hill. He made these very tough, very violent adult action movies during that period. And The Warriors is just a classic example. It’s completely nuts – just the visual style of the gang warfare. When I first saw it I took it as being pretty literal, like this kind of stuff was going on in New York. And now of course he’s explained that it was very much an exaggeration and he sees it as a comic book movie. And I don’t see it that way at all. I love the idea of these crazy gangs roaming around New York – it’s scary but fun. But its world is New York at night, and it’s a brilliant depiction. And he did a similar kind of thing with Streets of Fire, another great movie. It’s not post-apocalyptic, but it’s certainly set in a nonspecific future world.
It’s about a virus that wipes out all the crops in the UK, and there’s bikers roaming the countryside, somebody trying to make their way up north, and they end up hiding in a country house full of soldiers – just like in 28 Days Later. And it was made more than 10 years before Mad Max. I think 28 Days Later and 28 Weeks Later are great movies, but they’re very straight-faced, and I wanted to make mine a lot of fun. It’s not to be taken seriously, really.
My generation’s version of the whole empty city thing. It’s a subgenre that I really like. This generation has had 28 Days Later and I Am Legend. But I prefer the gritty, darker side of it.
I like the world of it, and that sort of sun-scorched look. And I just loved the relationship between Don Johnson and his dog, and then at the end when they eat the girl – one of the best endings ever. I think that’s kind of where the whole Sean Pertwee sequence in my film comes from – the cannibalism idea.
I just love that gritty thing, with everyone just scavenging to survive, and how they’ve adapted to the future world. Although some of those things don’t really go there enough.
I think Ridley Scott gave us the most amazing spectacle put on screen in years. It’s brutal and giant. And it’s what my film is about – trial by combat. I wanted to put Eden Sinclair through that, and she’s not supposed to survive it. And I just liked the idea of this little woman facing off against this seven-foot knight in armour and managing to outwit him. She’s not stronger than him, but she outsmarts him, and I thought that was a lot of fun.
An excellent movie. But it was kind of frustrating that it came out during the course of making this film. Oh great, let’s do a version of post-apocalyptic London after they do it, and they had something like a $130m budget. So we knew we were going to have to make ours more bloody and more fun.