Danny Boyle Talks ‘28 Years Later’ Trilogy Plan, Turning Down ‘Alien’ and the Time ‘127 Hours’ Made Pixar Animators Faint

On Danny Boyle’s eleventh birthday, he and his twin sister were treated to something special: their first movie outing, arranged by their parents. While Danny and his dad caught the Henry Fonda war epic “Battle of the Bulge”, his sister and mother opted for the Academy Award-winning “The Sound of Music” instead.

As a boy, Boyle’s circumstances didn’t suggest his future success. Growing up in a working-class neighborhood near Manchester, England, it would have been unlikely for anyone to predict that he would eventually produce an Academy Award-winning film, the 2008 hit Slumdog Millionaire. Over the past five decades, Boyle has established himself as a versatile director, applying his unique, dynamic style to a wide range of genres. This includes dark comedies with drug themes like Trainspotting, zombie thrillers such as 28 Days Later, true-life dramas like Steve Jobs and 127 Hours, hard science fiction films such as Sunshine, and even feel-good musicals, such as Yesterday.

On a Friday, the filmmaker brings a new movie titled “28 Years Later” to cinemas. This is a $60 million sequel that’s been released over 20 years after he and writer Alex Garland rejuvenated the zombie genre with their low-budget hit “28 Days Later,” which was made for just $8 million. Over the years, they brainstormed ideas, and in early 2024, they stunned Hollywood by presenting two screenplays. A fierce competition ensued, and Sony eventually agreed to produce both “28 Years Later” and its sequel “28 Years Later: The Bone Temple,” back-to-back. There’s even talk of a potential third installment.

As a fervent admirer, I’m thrilled about the reunion of Boyle with Sony film chief Tom Rothman, who has collaborated with the director on no less than eight films, among which is the acclaimed “Slumdog Millionaire”. Rothman admits that while “28 Years Later” holds an element of intellectual property appeal, it was the electrifying duo of Boyle and Garland that made this project undeniably attractive. He views it as part of a trend within Sony, which they refer to internally as ‘auteur horror’ – a genre characterized by director-driven movies such as Robert Eggers’ “Nosferatu” or Ryan Coogler’s “Sinners”.

Rothman expresses immense admiration for Danny Boyle’s skill and honesty. During the competition to acquire the scripts, he found each one more impressive than the last, describing them as “cool” and “better than the previous.

When Garland penned “28 Days Later”, he was already recognized as the author of “The Beach”, which Boyle transformed into a 2000 film featuring Leonardo DiCaprio. In the climactic scene of “28 Days”, Cillian Murphy’s character Jim emerges from a coma to explore an empty London. Garland conceived this idea, but Boyle took it to heights that the author may not have initially envisioned.

Garland mentioned that approximately one-third of the script depicted Jim walking through an empty London. However, Boyle, in his role as a visionary director, expanded this brief scene into a lengthy sequence which became the iconic moment in the film. This is the essence of what it means to be a good director – they can spot potential in the initial plan and then develop it further.

In an extensive retrospective interview with The Hollywood Reporter, Boyle discusses his brief interest in the film Alien, shares how Ewan McGregor and Murphy convinced him they were perfect for their breakout roles, and hints at future plans for the 28 Days Later franchise.

In your initial film, “Shallow Graves”, Ewan McGregor was the leading actor. Additionally, he appeared in your subsequent two productions as well. Can you share your initial thoughts about him when you first worked with him?

Undeniably gifted, incredibly charming, and charismatic, this individual possesses an enviable mane of hair, even for someone who doesn’t share his good fortune in that department. It’s only unfair! His agents often cast him in historical romances where his appearance was fitting. Yet, before we had the chance to offer him the role of Renton in Trainspotting, he had already shorn off his magnificent locks. He shed his hair and lost weight, and continued to slim down relentlessly. His dedication to this transformation was unwavering, and in the end, it paid off – he deserved that part. At times, an actor can possess insights beyond our own, a bond that will become evident during film production.

It seems like it wasn’t evident that Ewan was the ideal choice for Trainspotting. Haven’t there been other individuals who knew more about this role, according to your statement?

In a different phrasing:
Cillian was quite the contrast. He’s a genuinely kind individual with a relaxed demeanor. However, we needed an intensely aggressive character for the end of “28 Days Later“. It wasn’t immediately apparent that Cillian fit this bill. He hails from Cork, Ireland, which is known for producing tough men. Recalling Roy Keane, a renowned footballer from Cork, he mentioned that Cork breeds fighters. He assured me, “I know what I’m talking about because I come from Cork.” Trusting his word, I believed he would demonstrate this side of him.

Was there a particular point before the release of “Trainspotting” that made you think, “This could be it – this project will not only succeed, but it’ll significantly boost my career”?

Indeed, there was a strong opposition brewing against it. A sneak peek or trailer of it had been presented on one of our television movie shows. One prominent critic even expressed concern, labeling it as “surprisingly irresponsible about drugs.” Similar sentiments were echoed by other critics, with phrases like “you do not know what you are talking about” becoming common. The tipping point was reached when a journalist named Muriel Gray wrote an authoritative piece on Irvine Welsh’s book and the upcoming film, further fueling the criticism.

Following the success of Trainspotting, you found yourself being sought after as a director. Various film projects were offered to you, among which was a proposal for the fourth installment of the Alien series. To what extent did you take this opportunity under consideration?

I had the opportunity to meet Sigourney Weaver and Winona Ryder, who were part of a project. Given its prominence, it was quite significant. They were exceptional, but it was an era when computer-generated imagery (CGI) was becoming more prevalent. Unfortunately, my tolerance for CGI at the time was low. I was deeply invested in the idea of Alien, and in a rare moment of self-awareness, I realized that I wasn’t the right fit for this project. Instead, I opted to work on A Life Less Ordinary with 20th Century Fox. In retrospect, I made a flop for them instead of doing Alien. However, time heals all wounds, and that decision is now behind me.

Afterward, there’s “The Beach,” which wasn’t a hit in terms of sales or reviews. You may have mixed emotions about it, but I personally enjoy it as a snapshot of that period in history.

Initially, I often expressed my dissatisfaction with the movie titled “The Beach“. However, many younger individuals seemed genuinely upset by this statement. They passionately declared their affection for the film, admiring its music and themes. During production, there were numerous festivities and exciting events that took place in Thailand, where everyone was enjoying themselves on allowances. For me, it felt like an uphill struggle throughout the project.

The Beach introduced you to Alex Garland, who wrote the novel. How did you come across his book?

My friend Christopher Fulford, who’s an actor, was the one who introduced me to Alex Garland. He suggested a book to me, which wasn’t widely available, and I found it remarkable. Inspired, I proposed making a film out of it. We met Alex, and although he didn’t adapt the book himself, he seemed to enjoy the collaborative aspect as opposed to the solitary writing process. Since then, he has directed films himself, including “28 Days Later,” after gaining an appreciation for the dynamic.

(Laughs) It’s interesting how a director’s perspective can change when they are surrounded by people rather than working alone in isolation, which can sometimes be far from enjoyable. But it seems he developed a liking for it and was inspired to write “28 Days Later” as a result.

Zombies were not a big genre in 2002 when 28 Days Later opened. What were some of your goals?

To ensure an authentic sense of danger for contemporary viewers, we aimed for the potential dangers depicted to be truly terrifying. This required high speed and intense visual effects. In other words, we wanted to create a movie that would genuinely scare people. We employed various types of cameras, which granted us numerous creative freedoms. However, these cameras also posed several technical challenges.

I naively assumed you’d say the digital cameras made it so much easier.

In simpler terms, the digital cameras allowed us to capture images of empty city streets at dawn, as we couldn’t afford to shut down the bridges of London or digitally enhance vast areas. However, due to poor resolution in some wide shots, Cillian appears as just two green squares on screen. To prevent viewers from realizing it’s only two squares and not a recognizable person moving across the deserted London landscape, we had to cut these shots prematurely.

For Americans, this was a key post-9/11 movie. What were you filming on the day?

As I perched high above Balfron Tower, I was part of a movie scene with Brendan Gleeson, Cillian, and Naomi Harris. This took place during our lunch break. Afterward, we returned to the tower block, only to find ourselves caught up in whispers about potential planes threatening London. Since everything was shrouded in uncertainty, the atmosphere grew tense. We had televisions set up in a small room adjacent to the main living room we were filming in, and cast and crew members kept popping in and out to check the news. Without a doubt, this real-life drama altered the very essence of our production.

Although sunshine is highly esteemed, its creation was demanding – approximately three years altogether spent on scriptwriting, filming, and post-production. Had sunshine proven successful, would you have chosen to direct any potential sequels that Alex Garland envisioned?

I dislike stories that emphasize the hardships faced by film directors or actors, given their high pay and enjoyable profession. However, it can still be challenging at times. As Bernardo Bertolucci stated, “It’s essential to leave a door open on set for unexpected events.” Yet, in space productions, you can’t rely on serendipity. Instead, you must construct everything, take it with you, and find creative solutions for weightlessness. This is no easy feat, which is why not many directors eagerly repeat the experience. I believe they sometimes do so for financial reasons, as a comedy might suggest. (Laughs.)

Following your Oscar win for Slumdog Millionaire, you went on to create a significantly reduced film titled 127 Hours, starring James Franco. At that stage, were you feeling assured that such a concept could be successful, given the movie primarily takes place in a canyon?

Following the Oscars, there’s no denying your self-assuredness could go either way. (Laughs.) I believe we’ve utilized it positively, as our film might not have seen the light of day otherwise. However, writer Simon Beaufoy and I had a precise vision on how to bring it to life – a focused approach that was narrow yet intense, one we wouldn’t easily deviate from. If we did, it would be only through Franco’s hallucinations. And let me tell you, Franco delivered an exceptional performance in it. There’s this particularly unsettling scene where he self-amputates his arm, a technical and visual masterpiece in terms of prosthetics. But if you observe the shots on him, it’s pure acting. We faced several instances where people fainted watching it. People often say, “yes, that’s due to the visible nerves being torn.” However, I think it’s more likely because they can see Franco’s eyes at that critical moment.

There was an infamous Pixar screening where people fainted.

Oh, that’s too bad! I had planned for an exciting day at Pixar, but when I arrived, there were ambulances parked outside the theater instead.

In a more casual and simplified manner: “Was it a significant responsibility for you to create ‘Yesterday,’ a movie with a heartwarming vibe, which includes a scene depicting John Lennon as an elderly man, if he had lived longer?

I truly believed the movie couldn’t proceed without that particular aspect. Indeed, this film, penned by Richard Curtis, is a gem, and he’s not just a top-notch comedic writer but also an excellent one. His work on Blackadder demonstrates how comedy can delve into profound themes. There’s a significant connection between these discussions and that scene that you should follow. Many actors aspire to portray John Lennon because he holds great significance for a specific generation, and Bobby Carlyle was among them. It was truly an enjoyable experience working on it for those couple of days.

Twenty-eight years after its release, there was intense competition over the rights to this project, and Sony emerged victorious. Could you elaborate on what specific qualities or factors you sought in a potential studio collaborator?

Initially, when we produced our initial movie, it felt like appearing unexpectedly on the scene. Conversely, a follow-up would now be eagerly awaited. As a result, it can’t be made on a shoestring budget. We aimed to create it in a secluded region of England known as Northumbria, which would be costly. We sought a collaborator who grasped this, who was also willing to fund the second film that had already been scripted. For practical and financial reasons, it didn’t make sense not to shoot them back-to-back.

Due to my need to prepare the first one for release, I couldn’t manage the second one directly. That’s why we brought in Nia DaCosta to handle the second one instead. She’s done an excellent job with it. As for the third one, we’re still working on securing the funds for it. By the way, a message from Tom Rothman just appeared on the screen, but I doubt it’ll be a substantial offer. (Chuckles.)

I hope it’s good news. So if the money comes together, you would direct the third one?

Of course, I understand your point. That’s the concept we’re discussing. That’s the approach we have in mind. However, as you rightly pointed out, plans can be quite unpredictable. After all, they say the best-laid schemes o’ mice an’ men gang aft agley (Scottish proverb: The best laid schemes of mice and men often go awry). But to answer your question directly, yes, that’s the plan we currently have in mind.

It seems like there was an attraction between you and James Bond previously. However, given that Amazon MGM Studios is eager to produce a film quickly, I’m guessing that role won’t be for you this time around, correct?

(Laughs.) They haven’t been banging at my door.

Nia worked on a Marvel franchise film titled The Marvels. She acknowledged from the start that it wouldn’t primarily be her movie, but rather a project led by Kevin Feige and Marvel Studios. So, as producers, Alex and I were wondering, how did you permit her to have creative control over the project?

She made it clear that she wouldn’t direct a Danny Boyle film, and true to her word, she didn’t. Instead, she created her own movie which turned out to be quite powerful. Given her past experiences, she seems to know exactly what she wants and how to execute it. There’s no need for persuasion or deception in her approach; she simply tells you her plans. This honesty has earned her the actors’ admiration to the point that I found myself a little envious, as they seemed to prefer her over me. (Laughs.)

She unequivocally stated she wouldn’t direct a Danny Boyle film, and indeed, she didn’t. Instead, she produced a strong movie of her own making. With her past experiences guiding her, she knows precisely what she wants to accomplish and how to go about it. There’s no need for convincing or deceit in her methods; she simply shares her intentions. This openness has earned her the actors’ respect to the extent that I felt a pang of envy, as they appeared to favor her over me. (Laughs.)

What did you learn from test screenings of 28 Years Later?

This will likely be a mess unless you manage to convey it masterfully. I discovered my assumptions were correct. (Laughs.) It seems like a dreadful misunderstanding of basic filmmaking principles, especially since the movie hasn’t even been released yet. It could turn out to be another “Life Less Ordinary” situation! (Laughs) The process of working with people who only know that this is a sequel to a movie they might have watched – they’re uncharted territory for me. I would tell aspiring directors, you often want to resist it because you’re afraid. Because you are engrossed in the editing, and you’ve got the film just how you want it. You don’t want anyone tampering with it. Sometimes it’s tough, as you learn harsh truths about your own work that you must address. You learn valuable insights that help refine it even further. But on this project, I learned “Yes, we’re heading in the right direction.

2025-06-19 00:56

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