"We were in a very cold, dangerous place, so you don't need to play that. "If you are shooting this in a studio against green screen, you have to play that it's cold, or that it's dangerous," explains Abu- Assad. (Photo: Kimberly French/20th Century Fox) Hany Abu-Assadįor The Mountain Between Us, in which a photographer (Kate Winslet) and a doctor (Idris Elba) are stranded on a snowy ridge after the light aircraft they commission crashes, director Hany Abu-Assad insisted on physically arduous locations for authenticity's sake. The controlled set also featured an escape route, says Kosinski, "so if anything did catch, we all knew exactly which direction to run to get out of there as quickly as possible."
That heat can range from a few hundred degrees, from which the actors were protected with fire-suppressant suits and gels to help protect their skin, to the thousands of degrees-hot enough to make rocks explode.
And it gives you real respect for what these guys encounter out there in the real world." "I think we all were astounded by how much heat even a relatively small fire can put off. "That was all real fire, right in the middle of our fire set," says Kosinski. One of the most perilous scenes involved Teller's character fueling a backburn, which requires a volatile mixture of kerosene and diesel, when his torch malfunctions and he's suddenly surrounded by flames.
THE BRAVE CAST 2018 HOW TO
"They learned how to cut down trees, they learned how to dig line, they learned how to look like real Hotshots onscreen." "The guys went to Hotshot Camp and learned how to do backburns (pre-burns designed to limit the spread of a wildfire)," says Kosinski. To help ensure safety, Kosinski had the benefit of local fire departments with water trucks at the ready in case things got out of hand, and for authenticity, he consulted with real Granite Mountain Hotshots Pat McCarty, who acted as a technical advisor, and Brendan McDonough, played in the film by Miles Teller. But anytime the fire gets in close proximity to the actors, you have to have real fire, because it is a light source and it alters the behavior of the actors in a way that makes it feel more visceral and realistic." "I wanted this film to feel as much in camera as possible, so in the very wide shots, where Marsh (the Hotshots leader played by Josh Brolin) and the guys are looking at a forest fire that's burning 100,000 acres on a nearby mountain, that is digital. "Generally, when actors are working very near a fire, it's real," says Kosinski. In some scenes with the actors, digital fire was placed on top of practical fire to add to the intensity. The filmmakers took advantage of real wildfires that were burning in southern New Mexico during production, as well as manufactured fires ignited on a set built on the backlot of Santa Fe Studios-a few acres of artificial forest that combined both real and synthetic trees.
"Shooting fire, particularly wildfire, is a very difficult thing to capture," says Kosinski. The film also points to the challenges of placing cast and crew near harm's way so that they're safe and sound. In the wake of one of the most staggering fire seasons in the western U.S., Joseph Kosinski's Only the Brave-about the real-life Granite Mountain Hotshots, an elite firefighting unit that operated out of Prescott, Arizona-not only depicts how unpredictable and destructive wildfires can be, but how vulnerable mankind is in the face of unbridled natural disaster. (Photo: Richard Foreman, Jr./Lionsgate) Joseph Kosinski
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Two directors embrace the challenge of working in extreme conditions, taking full advantage of their environments
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