{"id":2043,"date":"2012-05-01T15:59:50","date_gmt":"2012-05-01T15:59:50","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2043"},"modified":"2014-06-05T19:30:30","modified_gmt":"2014-06-05T19:30:30","slug":"exposure-peter-berg","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/exposure-peter-berg\/","title":{"rendered":"Peter Berg \u2013 Battleship"},"content":{"rendered":"

Director Peter Berg has worn many hats in the film business, working in various production capacities before beginning to land acting roles in the late 80s. After appearing in feature fare as diverse as A Midnight Clear<\/em>, Fire in the Sky<\/em>, The Great White Hope<\/em> and Cop Land<\/em>, Berg took a continuing role on TV\u2019s Chicago Hope<\/em>. During that show\u2019s run, he wrote and directed episodes, paving the way for his 1998 feature Very Bad Things<\/em>. He continued to direct theatrical features, including 2004\u2019s Friday Night Lights<\/em>, which in its latter incarnation on television has allowed him to become a creative force on the small screen as well. His lifelong interest in things military has manifested not only in this month\u2019s epic sea feature, Battleship<\/em>, but also in the upcoming Lone Survivor<\/em>, produced under his Film 44 company banner, about Operation Red Wing, a doomed 2005 attempt by the Navy SEALs to capture Bin Laden. Kevin Martin<\/strong> talked with Berg about his love for spectacle and shooting movies alongside the U.S. military.<\/p>\n

<\/p>\n

ICG: After helming smaller-scale, character-oriented stories for features and television, your last three projects have all been epic-sized: <\/strong>Hancock<\/em><\/strong>, the <\/strong>Dune<\/em><\/strong> remake and now <\/strong>Battleship<\/em><\/strong>.<\/strong> Peter Berg: After Hancock<\/em>, I became interested in larger pictures, wanting to explore filmmaking that had a kind of global reach. When we look back at this period of time in our industry, the definitive films are going to be what I call super-movies. These take audiences to places they\u2019ve never been visually, most often through a large CG component. They don\u2019t just speak to 14-year-olds here, but also to kids in South Korea, 80-year-old grandparents in Brazil and just about everybody in between. Experiencing such diverse feedback on Hancock<\/em> was really enjoyable, and I wanted more of that. I just came back from traveling the world with an hour of Battleship<\/em> footage, meeting film-loving people from different cultures who love that kind of escapism and adventure.<\/p>\n

Merchandising seems to go part and parcel with the super-movie experience. Did dealing with Hasbro and incorporating nods to the game require some care?<\/strong> One of the fun challenges was figuring cool and fun ways to pay homage to the game. Care had to be taken, because you didn\u2019t want to put something in that would induce groans in the audience. People sometimes act like the game Battleship<\/em> is a deficit, something to overcome when adapting it, but it actually provides a pretty good engine for a movie. We have tactical situations that recall the puzzling out of an enemy\u2019s location from the game. People remember gameplay as a benign experience, with the calling of letter-number combos. But when you get hit by one of my calls, you become desperate to do the same to me because I have located you and am trying to kill you. That brutal component is at the core of the game, which has been around over 85 years, back when people used to play it with paper, pencils and cardboard. I think they\u2019ll still be playing it long after we\u2019re all gone.<\/p>\n

Did the film\u2019s naval setting hold a big appeal? <\/strong>My dad was a naval historian, and I\u2019ve wanted to do a naval film for a long time now. I\u2019d really like to tell the story of John Paul Jones, or of the Indianapolis<\/em> [cited in Jaws<\/em>] or the whaling ship Essex<\/em>, which ended in cannibalism. I\u2019d love to tackle World War II battles like Midway and the search for Bismarck<\/em>, but those kinds of pictures are often not all that commercial. Whereas Battleship<\/em> was something that would let me go out on the ocean aboard these huge ships and make a big fun movie.<\/p>\n

Logistics for a show this size must have been daunting. What steps did you take during prep to get the show organized?<\/strong> I\u2019m a huge believer in previs, because you can solve problems up front. If everybody knows their part beforehand, it\u2019s even better for me, because I can mix things up a bit without anybody losing the concept. With this kind of film, it\u2019s even more the postvis than the previs that is so important. When you come back from location on a film like this, with aliens and craft still to be added, you\u2019ve really just got plates. On other films, the editor already has an assembly, but when the main component of your shot isn\u2019t even part of the live-action shoot, that can\u2019t happen. So where\u2019s my movie? How do we get it to live enough to be able to cut it properly? Postvis helps get you moving back toward that movie you were making. The main previs guys [HALON Entertainment] also did our postvis, and it really helps keep you going until the point when ILM starts delivering so finals can get cut into the film.<\/p>\n

VFX in <\/strong>Hancock<\/em><\/strong> were a major part of the storytelling, but this picture is an even larger step in that direction.<\/strong> Getting ILM aboard was one of my first deals with the studio when agreeing to do the film. I couldn\u2019t be happier with those guys. Grady [Cofer, co-VFX supervisor] is just fantastic. We put their guys into the live experience of being at sea on these ships, so they\u2019d know exactly what was needed to make their end match to the reality of the navy at sea. They got a good idea of my style and approach, so they could find ways to bring the realism across I needed to sustain the picture. It is really tough to go from a wide shot of a real destroyer to a medium shot of a CG destroyer, since having to match to the reality of that ship is a lengthy process, one they really earned their money on.<\/p>\n

Were you and [DP] Tobias [Schliesser] constrained in any way visually by the cramped realistic recreations of naval vessel interiors? <\/strong>We didn\u2019t use as much handheld as usual. The movie is pretty dynamic, so we use a lot of crane work to move fast and fluidly around parts of the ship. I can do this because the German Sensation [Schliessler] is a great guy, and I won\u2019t make a movie without the hardest-working man in Hollywood. We\u2019re brothers, like Siamese twins, so we\u2019re always on the same page. He knows my preferences and really puts a lot of care and love into lighting and composing shots, and he will just keep going, delivering more and more for a shot till I tell him, \u201cYou got it.\u201d Before we shoot [laughs], I usually have to pick him up and physically move him away from the camera.<\/p>\n

This was a film show; did you use any other systems?<\/strong> We did some digital shooting, and it\u2019s clear the gap is narrowing between film versus digital in terms of look and what you can accomplish. At the outset, I felt strongly this should be a 35-mm anamorphic project, but there were days when I\u2019d come on the set and see an unfamiliar camera \u2013 Tobias had some new Sony system that he wanted to demo. So we\u2019d shoot it and see. When I work with actors, I\u2019m known for improvising \u2013 I really don\u2019t like to cut and prefer the repetition of going again and again \u2013 and digital lets you do this without running out of film.<\/p>\n

You had production jobs but never went to film school. Was there a particular plan for your career when transitioning from acting to filmmaking? <\/strong>I don\u2019t think in those terms. I\u2019ve been doing film and TV and acting and commercials in one form or another since I was in high school. Going onto a film set is largely the same experience regardless of the size and budget, it\u2019s all<\/em> about creating compelling moments visually, and that always involves actors. Even when there\u2019s a CG component, I always try to visualize fully in order to think about how best to make that aspect compelling \u2013 for the actors and the audience \u2013 so there is an imperative to watch what we\u2019re putting up there. Acting and filmmaking are just all part of a process of creation, so I don\u2019t distinguish between my first feature Very Bad Things<\/em> or Friday Night Lights<\/em>, even though I\u2019ve got Billy Bob Thornton in the latter film. And I don\u2019t really distinguish between that filmmaking experience and that of shooting on an Aegis-class destroyer.<\/p>\n

How far back do your filmmaking interests go? <\/strong>I made my first movie, in Super-8, as a high-school sophomore in Connecticut. Two friends are playing the board game Stratego, and after one of the guys gets knocked out, he experiences a fantasy of the game coming to life.<\/p>\n

Given the positive portrayal of the military in this film, was obtaining approvals a pretty cut-and-dried process?<\/strong> Approvals were a huge issue. You don\u2019t just get access to Navy assets like Aegis<\/em>-class destroyers and aircraft carriers. The people I met while going through this are friends now, but they don\u2019t want you to put anything up there that radically opposes naval or DoD policy. Another thing that helped was that we were very specific in our requests, well before shooting, about what we needed: one vessel in dock, these ships at sea, being able to get tech advice and making sure the art department could get aboard to photograph the ships. Act of Valor<\/em> also dealt with all of this in a really smart way. Early on they found out about eight exercises the navy was going to do, and then they just wound up piggybacking on those, so the navy didn\u2019t have to adjust for them. The military can\u2019t be in the business of working around our schedule, so if you want to avoid problems, don\u2019t ask them to do something they aren\u2019t scheduled to do.<\/p>\n

With so much of the film dependent on VFX, is the DI process one that requires a lot of finessing to make it all seamless?<\/strong> DI is not a process of discovery for us because we have an idea going in and there isn\u2019t much call for discussion. You can do so much in DI these days that \u2026 [laughs] let\u2019s just say the alterations possible are so extreme, that for some people, all you really need is a bright clear image and then start changing and building from there. On this film, we just talk color, saturation and vibrancy, and as needed we\u2019ll pull references, just to get everybody in synch for the bright, colorful dynamic look. We try to respect the real navy and show their stuff off to good effect while delivering audiences a fun movie.<\/p>\n

Interview by Kevin H. Martin. Photo by Frank Masi. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Director Peter Berg has worn many hats in the film business, working in various production capacities before beginning to land acting roles in the late 80s. After appearing in feature fare as diverse as A Midnight Clear, Fire in the Sky, The Great White Hope and Cop Land, Berg took a continuing role on TV\u2019s Chicago Hope. During that show\u2019s run, he wrote and directed episodes, paving the way for his 1998 feature Very Bad Things. He continued to direct […]<\/p>\n","protected":false},"author":1,"featured_media":3647,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6],"tags":[103,176],"class_list":["post-2043","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exposure","tag-battleship-cinematography","tag-peter-berg"],"acf":[],"yoast_head":"\nPeter Berg \u2013 Battleship - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/exposure-peter-berg\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Peter Berg \u2013 Battleship - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Director Peter Berg has worn many hats in the film business, working in various production capacities before beginning to land acting roles in the late 80s. 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