![]() ![]() ![]() I didn’t quite understand why Joe wanted to make a film on Churchill. Jack English/Focus FeaturesĪt first, I was very puzzled by the idea. Leaving no stone unturned, Bonelli would support the “ House of Cards-type machinations” unfolding on screen by scrutinizing every line, and every space in between. In this sense, even amidst the world’s darkest hour, Bonelli found one of his brightest, experiencing an intimacy of collaboration that is now rare. Spending time on set and setting up shop in a house alongside Wright and his assistants, Bonelli worked with Wright in a way that felt refreshingly “old-fashioned,” as the pair watched rushes together every night, rather than alone on their respective devices. On closer analysis, it was a film about 20 days in which the world could have become a much different place if one man didn’t stand by his convictions. Receiving the script for Darkest Hour after working with Joe Wright on “Nosedive,” one of Black Mirror‘s most acclaimed episodes, editor Valerio Bonelli found more of a thriller than the straightforward period drama he was expecting, exploring ways to build tension through the cut and convey the stakes at hand during a critical turning point in World War II.Įxamining Anthony McCarten’s script-which depicted Winston Churchill’s unexpected rise to the position of Prime Minister, and his battle against the Nazis- Bonelli realized that Darkest Hour wasn’t really a film about Churchill. ![]()
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