Empire UK

S INDEED ARE SOME

of the architects of the
scene who join us on the
balcony: second unit
director Alexander Witt
production designer Dennis Gassner
costume designer Jany Temime and
— quietly surveying the action like
a proud parent on sports day — producer
Michael G. Wilson. “This is the biggest
opening sequence we’ve ever done
maybe the biggest [of any] sequence we’ve
ever done” he tells Empire pondering
the complex logistics of it all. “The only
thing that’s come close to it was putting
on the carnival in Rio in Moonraker. That
was pretty big getting all the costumes
and people and dancers and we’ve done
that here but it’s a much bigger operation.”
Gassner is if anything even happier.
In his off-white linen suit and fedora the
laid-back Canadian talks in an easy drawl
(think Jeff Bridges playing Alan Grant)
but becomes remarkably animated as he
points out his team’s achievements. “Did

you see what we’re doing out here?” he

asks gesturing at the Spectre-cle below.

“I mean look at that! When Mexico City

and Day Of The Dead became part of the

mix we looked at it in a very excited way

and said this could be an amazing opening.

It’s always been a great event; I’ve seen

bits and pieces of it but not like this.

I don’t think I’ll ever see it like this again!”

Witt meanwhile acknowledges the

challenge of shutting down and taking

over a major traffic hub in one of the

world’s most populous cities. “It’s more

challenging for the city than for us to

close down a square where all the roads

come together especially with the

Mexican White House being part of the

square.” The demands of the script don’t

make life any easier Witt explains: “It’s

elaborate because you have 1500 extras

and you’ve got to fill up a square that you

probably need two or three hundred

thousand people to look like it’s full.”

Indeed as he speaks ADs in the Zócalo

herd the extras into different sections of

“This is the

biggest opening

sequence we’ve

ever done.”

Producer Michael G. Wilson

Suitably clad 007

squires Stephanie

Sigman’s Estrella.