Going Deep With the Costume and Production Designers of 28 Years Later: The Bone Temple

AH: How does this carry over to this Bone temple?

GP: With the Jimmies and their leader Jack O’Connell, we’re definitely able to have a lot more fun and creative freedom. A lot of what you see on screen comes from Alex Garland’s script, like this crazy idea of a marauding band of bloodthirsty teenagers who essentially wear patchwork tracksuits. We’ll try not to spoil it, but in the movie, they engage in this rather cruel act that they call “charity.” Danny really wanted them to wear some kind of mask, like an executioner’s mask. But since we received a brief about these sportswear, we decided to create these masks out of repurposed sneakers and T-shirts to build a world beyond what we know.

AH: A lot of things that resonate. 28 years laterAs with many of Garland and Boyle’s works, the scariest aspects are not necessarily the supernatural elements, but rather the mirror of human nature. How did you convey this sinister stunted young man through the Jimmys’ unique appearance?

Carson McColl: You hit the nail on the head. One of the key pieces of research we did specifically for the Jimmies was looking at youth culture, isolationist cults, and these worlds within worlds that have their own internal logic. We looked closely at the photography of Derek Regis and looked at these very aggrieved youth cultures who were building their image and how to do that when you’re in isolation. Obviously, Alex gave us some visual clues, but there were also some things that they didn’t directly connect to us in the script, like Teletubbies or Power Rangers.

AH: Speaking of the Teletubbies, they were in the opening scene on TV. 28 years laterhow Do Are you going to make them post-apocalyptic?

CM: What characterizes these two films is 28 years later and then Bone Temple It’s that one 28 years later This is a hero’s journey – a classic story told in a radical visual way. and then with this Bone Templea very radical script told in a more classical way. The way Nia DaCosta and Sean Bobbitt shot it is beautiful, but the story is less than 28 years later. For us, the first movie was always about death, and the second movie was very much an examination of morality. Nia gave us the freedom to style Jimmies. It’s very heavy metal and she allowed us to push it to a more surreal place.