Disclosure Day <\/i>has come in peace, but its props were left in pieces.<\/p>\n
Indeed, Steven Spielberg\u2019s penchant for in-camera action sequences and on-location filming meant lots of grinded metal for the UFO thriller\u2019s intricately staged train collision.<\/p>\n
For More Disclosure Day:<\/h3>\n
Steven Spielberg Reveals Backwards Way He Developed Disclosure Day<\/a> \u201cThe train sequence is a real train with a real car crashing into it. And me, driving that car into the train tracks,\u201d Henry Lloyd-Hughes, who portrays Casper Boyd in the film, revealed in an exclusive chat with SYFY Wire<\/strong>. \u201cThese are cherished moments in the history of filmmaking, because how many people have the power and influence to be able to say, \u2018No, this is how I want to do it.\u2019\u201d<\/p>\n The iconic director spent three weeks alongside his cast and crew at a New Jersey railroad line to shoot the set piece, with a few days dedicated to filming Lloyd-Hughes crashing into a car carrying Emily Blunt and Josh O\u2019Connor.<\/p>\n Emily Blunt and Josh O’Connor filming the train sequence in ‘Disclosure Day.’<\/p>\n \u201cUniversal and Amblin wanted to do it the authentic way\u2014or the old school way,\u201d he noted, on top of raves for Spielberg\u2019s go-to DP Janusz Kaminski, who crafted a massive crane shot from 50 feet away as the camera arrives on the actor\u2019s menacing\u00a0reaction. \u201cIn spite of this being a fantastical event movie, so much of what you see on screen was present for us as actors and filmmakers when we were making it.\u201d<\/p>\n After\u00a0all, these sequences are near and dear to Spielberg, who opened his semi-autobiographical The Fabelmans<\/i>\u00a0with the onscreen\u00a0stand-in for his younger self mesmerized by a train crash in The Greatest Show on Earth<\/i>.<\/p>\n \u201cTrains have been an integral part of the wow factor of what people go to the cinema to have their minds blown by,\u201d Lloyd-Hughes pointed out, \u201cgoing back to the origin of people sitting in a cinema.\u201d<\/p>\n Henry Lloyd-Hughes, behind the wheel while chasing Josh O’Connor and Emily Blunt’s characters, as Casper Boyd in ‘Disclosure Day.’<\/p>\n Spielberg dreamed of bringing that locomotive wow\u00a0factor into some of his earliest work.\u00a0Long before he\u00a0had teenage Indiana Jones (River Phoenix) chasing his first relic\u00a0atop a\u00a0railcar in the The Last Crusade<\/i>\u2019s opening moments, the director had planned\u2014but ultimately never shot\u2014a heart-pounding continuation of the train scene\u00a0in\u00a0his first studio feature, 1971\u2019s Duel.<\/i><\/p>\n Midway through Duel<\/i>, the truck stalking traveling salesman David Mann (Dennis Weaver) tries to push his car into a moving freight train, but the crisis is ultimately averted.<\/p>\n \u201cThe train passes and Dennis Weaver\u2019s car never gets hit. But with Disclosure Day<\/i>,\u201d\u00a0Spielberg revealed in the film\u2019s production notes,\u00a0“I got to do what I really wanted to do with that sequence.\u201d<\/p>\n Dennis Weaver in a promotional photo for Steven Spielberg’s ‘Duel.’<\/p>\n Enter Lloyd-Hughes and his henchman character Boyd becoming Spielberg\u2019s new terror behind the wheel, helping the director fulfill his original vision for Duel <\/i>through a new cinematic story five decades later.<\/p>\n But it wasn\u2019t the only full circle moment of Spielberg\u2019s that Lloyd-Hughes witnessed while playing the righthand man to Noah Scanlon (Colin Firth) at WARDEX, a shadowy military agency gatekeeping evidence of alien contact and the Roswell incident of 1947.<\/p>\n Needless to say, that\u2019s all well-worn territory for the helmer of E.T.: The Extra-Terrestrial<\/i>\u00a0and War of the Worlds<\/i>\u00a0(not to mention his producerial role with the Men in Black<\/i>\u00a0and SYFY\u2019s Taken<\/i>\u00a0miniseries\u2014plus the time he dropped off Indiana Jones at Area 51 in Kingdom of the Crystal Skull<\/i><\/a>).<\/p>\n Colin Firth, Henry Lloyd-Hughes and Steven Spielberg chatting between takes on the set of ‘Disclosure Day.’<\/p>\n \u201cSo many parts of this movie and the process of making it, I think have felt full circle for Stephen,\u201d Lloyd-Hughes figured, \u201cas a filmmaker, to sew up so many threads and themes, particularly the science fiction elements that he has touched explored in other films.\u201d<\/p>\n \u201cIt wasn’t until I saw [Disclosure Day<\/i>] for a second time that I actually saw even more Easter eggs,\u201d he continued, citing \u201creferences to beings from other planets and the way in which they’re photographed that I think are breadcrumbs for the fans.\u201d<\/p>\n But the real out-of-this-world throughline can be traced back to Close Encounters of the Third Kind<\/i>, Spielberg\u2019s big-screen foray into asking what might lurk beyond the skies. (In fact, Blunt has said<\/a> Disclosure Day<\/i>\u00a0answers questions posed by the 1977 classic.)<\/p>\n 171030_3610754_Close_Encounters_of_the_Third_800x450_1086455363642<\/p>\n \u201cDuring Close Encounters of the Third Kind<\/i>, I would say to myself: ‘Wouldn\u2019t it be wonderful if all of this turned out to be true?\u2019\u201d Spielberg remarked of his seminal science-fiction masterpiece in the production notes. “Almost 50 years later, I\u2019m now thinking: \u2018Wouldn\u2019t be it be wonderful for us to actually know that all of this is true?\u2019\u201d<\/p>\n
Steven Spielberg Would Make This One Change to Close Encounters of the Third Kind<\/a>
Steven Spielberg’s Disclosure Day Went Through 42 Drafts\u2014Yes, Really<\/a><\/p>\n<\/span><\/div>\n
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