FIRING ON ALL CYLINDERS
Free Fire, the latest masterpiece from Ben Wheatley (Kill List, High Rise), is a high octane action fest where no one is safe to hide. Shot at a single location, entirely in a warehouse in sunny Brighton, Free Fire is Ben’s first film targeting a more mainstream audience, and it does so with a bang.
Set in 70’s Boston, with all the style and swagger that the decade entails, two gangs blast at each other in a fascinating shootout that lasts through the duration of the film. Having just had its premiere at the 2016 BFI London Film Festival, critics have been raving about the non-stop ride (here’s The Telegraph and EMPIRE’s take on the film).
With a tremendous cast including Armie Hammer (The Social Network), Cillian Murphy (Peaky Blinders), Sharlto Copley (District 9) and Oscar winner Brie Larson (Room), this one should be a stylish gunfest you don’t want to miss.
This is the third film Mission Digital has worked on with cinematographer Laurie Rose. After using our services and working with our technicians on films like A Field in England and High-Rise, Free Fire represented a step up. To help him achieve great results in capturing all this action, our DIT Harry Bennett-Snewin was by his side every step of the way, with Mission Digital also providing a Near Set lab run by our DIT Neil Gray.
While working on Ben’s previous film High-Rise, he edited every night after shooting. On Free Fire, it was fundamental to be able to edit on set, in order to ensure matching eye lines cutting between the cast in the vast warehouse space. Mission Digital provided a unique, custom setup that allowed Ben to ingest captured footage immediately and edit on set throughout the shoot so he knew when he wrapped the scene he had it in the edit. At one point Ben was so excited about the system we put together he said ‘why isn’t everyone doing this….?’
While working on set on Free Fire you had to listen carefully: hearing the word ‘cut’ from Ben could often mean something completely different to what you’d expect – with an edit quite literally cut together.
Set for release in UK cinemas in early 2017, rest assured: it’s worth it.