Below is the scene where Prof. Peierls writes up the memorandum which lays out the details necessary to construct a super bomb. This information would lead to the building of Fat Man, the atom bomb which destroyed Nagasaki.
The clip is pre-sound mixed
Our Indiegogo campaign is going great, thanks to everyone who has so generously contributed! Check it out by clicking the link below!
Posted by Major Oak Entertainment on May 9, 2013
http://allthatremainsthemovie.wordpress.com/2013/05/09/fat-man-is-conceived-video-clip/
As a thank you to all those who have been so generous in their donations to the production costs of All That Remains so far, we’d thought we’d share this very special memory from our trip to Japan with you.
When visiting Fr. Paul Glynn, author of “A Song For Nagasaki” in Nara, to interview him for our movie, we did not expect to get such a fantastic welcome, a welcome which included a wonderful meal (washed down with sake) and the above performance by Opera singer Yumiko Okada of the song “Nagasaki No Kane” (The Bells of Nagasaki) which was the theme song for the 1949 movie on Dr. Nagai. We think you’ll agree, it’s a very beautiful and powerful song and a stunning performance by Mrs Okada.
Remember every penny really does go a long way to helping us reach the finishing post! If you have a few dollars to spare and fancy being a part of this amazing project click the link below!
Posted by Major Oak Entertainment on April 30, 2013
http://allthatremainsthemovie.wordpress.com/2013/04/30/nagasaki-no-kane-a-song-for-nagasaki-and-a-thank-you/
On Christmas eve night 1945, from the atom bombed ruins of Urakami Cathedral, the Angelus bell rang out its message across the wasteland for the first time since that fateful day.
“These are the bells that did not ring for weeks or months after the disaster. May there never be a time when they do not ring! May they ring out this message of peace until the morning of the day on which the world ends.” – Takashi Nagai – The Bells of Nagasaki
This is one of the most important scenes in the film as it represents the ‘story of Nagasaki’ in a few powerful images.
It takes faith…
… to raise the bell
Actors, Tanroh Ishida and Mark Roy Tsai get to grips with one of the key scenes in the film, with no props, just an actors best tool, their imagination…
Looking down on Urakami…
Christmas Eve
“People say that Nagasaki is famous for persecution and devastation, for it has known much in it’s history. But Nagasaki is not the only place that has experienced both persecution and destruction… The reason Nagasaki is famous, is because it is rebuilt, because it has always survived.” - Takashi Nagai
Once again we would like to give special thanks to Fr. Paul Glynn, Mr and Mrs Yoshida and the people of Nara for their recent generous donations and for their on going support.
We will be uploading a few rough cuts of some of the scenes we’ve been working on very soon to the ‘Production Hub’.
Posted by Major Oak Entertainment on November 8, 2012
http://allthatremainsthemovie.wordpress.com/2012/11/08/the-bells-of-nagasaki/
Nagasaki, August 9, 1945
Today is the 67th anniversary of the atomic bombing of Nagasaki. So it’s fitting that in just two days’ time, our cameras will roll on filming the harrowing events of that morning in 1945.
Logistically these sequences will be the most complicated as they will involve working with lots of extras and a team of special make-up effect artists in an area the size of a small football field, covered in rubble and timber, and of course, all at the mercy of the English weather.
Using archive photos and storyboards created by the directors Ian and Dominic Higgins, authenticity is the number one concern.
Pre-visual artwork for the A-bomb aftermath sequence
Previsual reference art for the aftermath sequence
Previsual reference art for the aftermath sequence
The newest member of the production team, Nigel Davey has been responsible for finding the extras and the location – and he’s done an amazing job!
“When Nigel called us to tell us that he’d found a location that might be ideal, we had no idea just how ideal it would be!” explains Dominic.
“By the time you see these shots in the film, you’ll never believe it was filmed right in the heart of England,” adds Ian.
A big thank you to both the land owner and his very accommodating site manager Alistair for their incredible generosity in allowing our crew such open access and the freedom to do what we need to, in order to best re-create “that day”.
Dominic, Joel, Ian and Nigel on location – August 9, 2012
The Japanese community in Birmingham have also been amazing in their response to our call for extras, far exceeding our expectations.
We’ll be posting some stills here on this blog, so keep watching this space!
Meanwhile, with the latest draft of the script now completed and the cast selected, we’ve decided to upload a few clips from a selection of the auditions we’ve held over the last few weeks to the “Production Hub” section. For those of you who have access to this area, you can check those out right now!
“We’ve had such a high calibre of performance during these auditions, we’re really looking forward to working with this cast!” says Ian.
“It’s taken a long time, but we now have a cast who will give us exactly what we were looking for, characters you will believe in, characters you will care about.” concludes Dominic.
Filming for the main drama scenes will take place in the first two weeks of September.
Posted by Major Oak Entertainment on August 9, 2012
http://allthatremainsthemovie.wordpress.com/2012/08/09/recreating-that-day-67-years-on/
One of the things we hope to achieve with All That Remains, is to bring the story of the atomic bombings more into popular culture, so more people are made aware of these events.
With that in mind, we thought we’d post a blog about how the atomic bombings of Nagasaki and Hiroshima have been remembered in popular music through the decades…
THE BELLS OF NAGASAKI (Nagasaki No Kane) was written by poet, Hachiro Sato for the 1950 movie of the same name. It became one of the most enduring hits of the decade in Japan and was even played daily on the speakers at the train station in Nagasaki.
Wishful Thinking’s HIROSHIMA album was first released in the UK on the B&C label in 1971.
Initially the album made little impact however, in 1978, the album was re-released by Global Records and sold well in excess of 1,000,000 copies in Germany, where it remained in the charts for 41 weeks. It has since gone on to become the 17th bestselling single in Germany since charts began.
In 1990 it provided German singer Sandra with one of her biggest hits, when she released the song on her fourth studio album Paintings in Yellow.
ENOLA GAY is a song by British synthpop band Orchestral Manoeuvres in the Dark (OMD). It was written by front man Andy McCluskey and was released as a 7″ single on 26 September 1980. ENOLA GAY reached number 8 in the UK charts and topped the charts in Portugal and other European countries. An early version with a slightly different arrangement appears on the group’s Peel Sessions 1979–1983 album.
English punk rock band, Crass released the single NAGASAKI NIGHTMARE on their own label, back in 1981.
In 2002 Bryan Ferry released his album Frantic which included the track, HIROSHIMA, written by Bryan Ferry and Eurthmics Dave Stewart and inspired by the 1959 movie, Hiroshima mon amour. It features Jonny Greenwood of Radiohead on guitar.
HIROSHIMA-NAGASAKI RUSSIAN ROULETTE was original written and performed by American folk singer, Jim Page. It was later covered by Irish folk singer Christy Moore who in 2007 was named as Ireland’s greatest living musician in RTÉ’s People of the Year Awards.
More recently…
A THOUSAND PAPER CRANES is a track from the album, Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined by Japanese experimental rock band Mono, released in 2004. The album comes with origami paper and instructions on how to fold a paper crane.
The song is inspired by the true story of 12 year old Sadako Sasaki, who after being diagnosed with “atomic bomb disease” (leukemia), turns to her native Japanese beliefs and makes one thousand paper cranes so the gods will grant her wish to be well.
A Thousand Suns by American rock band Linkin Park was released on September 10, 2010, under Warner Bros. Records. The album’s title comes from the Hindu Sanskrit scripture, the Bhagavad Gita:
“If the radiance of a thousand suns were to burst at once into the sky, that would be like the splendor of the mighty one,”
A quote made famous by J. Robert Oppenheimer in reference to the atomic bomb, which references the numerous apocalyptic themes of the album.
THE REQUIEM/THE RADIANCE/BURNING IN THE SKIES
THE RADIANCE (ZWIER.Z. REMIX) OFFICIAL HD MUSIC VIDEO
LOST IN AUGUST is a song that deals with the atomic bombing of Hiroshima, from Japanese Electro / Hip Hop / Rock band, 5th Blood.
Contains language that some people may find offensive.
If you know of any other songs about the atomic bombings then let us know…
Posted by Major Oak Entertainment on July 1, 2012
http://allthatremainsthemovie.wordpress.com/2012/07/01/a-song-for-nagasaki-and-hiroshima/
The painterly look of All That Remains.
As All That Remains will contain lots of archive material spanning from Pre-World War Two Japan to Post atomic bombing of Nagasaki, a lot of effort is going in to cleaning up and restoring these archive shots, and this work has had an impact on the intended visual style of the movie.
Directors Ian and Dominic Higgins are keen to explore ways of seamlessly blending the archive material that we have with any dramatic reconstruction scenes. Ian Explains, “this way, when we cut to the archive shots, during the dramatic reconstructions, the audience isn’t taken out of the drama, and consequently that vital emotional connection isn’t broken”.
“We have lots of amazing archive footage and we want to use as much as possible, but we like the idea that you can’t always tell what is real footage and what are shots that we’ve re-created on computers,” adds Dominic. “Of course, there will still be times when it’s obviously archive material as some of the footage is so badly damaged, but that’s OK, as it’s also part documentary there will still be moments taken from a retrospective point of view anyway– we just don’t want the drama sequences to be punctuated with the sense of distance from an event, that you get when watching old footage.”
“We always like to push the boat out both visually and from a story telling point of view and I don’t think there’s been a film shot quite like this before, with different elements blended together and given this pseudo painterly look – the idea of mixing in real people from the time and real recordings of actual events with the reconstructed sequences using actors and CGI this way feels more natural and the scenes will have much more potency,” concludes Ian.
Below are some more stills showcasing the “painterly look” and how it helps blend the different elements together.
You may have noticed there is another link on the menu called Production Hub, which is password protected, well, you may remember when we were running our Indiegogo fund raising campaigns, certain perks promised privileged “peeks behind the scenes” on some of the sequences in progress and other areas of production development/design – well this is where we’ll be posting them.
In fact, we’ve just uploaded a video sequence testing out the painterly/graphic style discussed in this blog – as it is also part of a key sequence in the movie (the atomic bombing) we’re keen to keep it under wraps at this stage, hence it not being posted in the public section of this blog, but for those who purchased the relevant perks, if you haven’t already, you can see it now!
Those who purchased the relevant perks on our indiegogo campaign should have received their passwords to unlock the page. If you haven’t, then email us here.
You can also check out the personal blog of Ian and Dominic Higgins for more on the techniques and ideas behind the movie.
Posted by Major Oak Entertainment on May 7, 2012
http://allthatremainsthemovie.wordpress.com/2012/05/07/the-seamless-art-2/
Further blurring the line between what is real and what is digital...
As we mentioned in our previous blog, we’re now working out how to best maximise the budget and resources that we have, in order to be able to convey the original vision of the movie without sacrificing on quality.
An example of one area where we’ve had to think outside the box is the special make-up effects required for some of the key scenes in the movie, namely the post atomic bomb sequences.
While traditional make-up and prosthetics will be used in these scenes, the extent to which they will be utilised will obviously been restricted by the limited budget we have to work with, but determined to do the sequences justice, directors Ian and Dominic Higgins have decided that several of the special make-up effects will also be created digitally – that is, added to the actors in post-production.
Using sophisticated “tracking” software, the “digital prosthetics”, which will be created using a combination of digital painting techniques and 3D modelling, will be mapped to the faces of the actors after they have been filmed.
An actress with "digital make-up" applied. The face is kept shadowy, but we see enough to grasp the horrors and devastation inflicted by "Fat Man".
Although we don’t, in any way, intend to be gratuitous with what we show, we are adamant about conveying the events we are depicting as authentically as possible, in order for audiences to greater appreciate what Dr. Nagai and all the other survivors of the atomic bombings went through. Only by doing so, can we really appreciate their pleas for “no more Hiroshima, no more Nagasaki”.
For more on this story and other glimpses of the artistic and technical development of the movie, visit the blog of Directors Ian and Dominic Higgins.
Warning: Due to the nature of the subject matter, some posts on this site will contain graphic depictions of wounds and other images of war and destruction that some people may find disturbing.
Posted by Major Oak Entertainment on April 5, 2012
http://allthatremainsthemovie.wordpress.com/2012/04/05/digital-make-over/
As the dust settles on our latest fund raising campaign, the next major step of the production process gets underway – namely the translation of all the Japanese interviews and research material, and within the next few days, the (potentially lengthy) casting process of finding our key actors will begin.
As always, script re-writes and work on effect shots continues simultaneous to the other production work.
Since our Indiegogo campaign ended, we’ve also received several emails from people asking if they can still make a donation to help towards the costs of production. Well, yes you can! Right under the video posted below, you’ll find a “donate” link, simply click on that and PayPal will take care of the rest. It’s safe, secure and easy. Feel free to donate however much or little you want, it’ll all make a difference. Donate $15 dollars or more and you’ll get to see your name in the end credits of the movie, $500 or more and you get a producers credit!
Below is an exclusive video in which Directors Ian and Dominic Higgins and Producer Joel Fletcher discuss their vision for All That Remains and why they believe it’s a great project to be a part of.
Posted by Major Oak Entertainment on March 22, 2012
http://allthatremainsthemovie.wordpress.com/2012/03/22/now-the-indiegogo-campaign-is-over-the-next-stage-of-production-begins/
As we work hard on raising the much needed budget for the drama sequences, there’s an awful lot of other work to be done. The main focus right now is on the script, which is currently being re-worked. As anticipated before our trip to Japan, the interviews and personal experiences we encountered has greatly influenced the drama aspects, but this is just one of many jobs that needs to be done…
The other big job that has to be tackled before we can shoot is the production design and pre-visualisation of certain scenes – that is storyboarding, “pre-visual” artwork and test shots of the special effects. All films require an enormous amount of planning, but a film that deals with epic scenes of war and destruction demands so much more.
Directors Ian and Dominic Higgins always like to envisage a scene before they shoot it and often, at the back of their sets, you’ll find a wall covered in storyboard art.
Storyboards on wall
“Storyboards are vital for working out potential problems before you even pick up a camera”, explains Ian. “But, most importantly, they allow us to convey our vision for a particular scene to all the crew and cast, so everyone knows what to do”.
“The other reason they are so important is they act as check list of shots, when you have to have a certain amount of shots in the bag before the end of day, it’s so easy to miss one or two because things can become a mad blur of activity”, adds Dominic.
Designing a sequence - A storyboard illustrating the directors vision for a scene
Of course a film such as this is going to require big effect shots, and not just the obvious ones of mass destruction and warfare. “We’re going to recreate a Nagasaki that no longer exists, so there has to be no modern looking buildings in sight”, explains Dominic. “We’re bringing the past back to life so our audience can experience the life of Dr. Nagai and feel that all important connection”.
Nagasaki before the bombing - FX shot.
Nagasaki after the bombing – FX shot.
To create the necessary special effects, “All That Remains” will draw on both cutting edge technology such as computer generated imagery and 3D animation and more old fashioned (and time honoured) techniques such as model miniatures and prosthetic make-up.
Computer generated model of Urakami Cathedral.
Another view of the computer generated Urakami Cathedral.
“We’re big fans of mixing mediums, besides it makes it a lot harder to tell how a certain effect was created when you draw on a variety of techniques. Special Effects are the magic tricks of film, if it’s too obvious how an effect is achieved, the illusion is blown and the spell is broken”, enthuses Ian. “The more real the re-constructed sequences feel, the easier an audience will become involved,” points out Dominic.
Dr. Nagai vs the Fat Man - Pre-visual artwork illustrating a dream scene in "All That Remains".
Amongst the ever expanding pile of production art-work, test FX shots and concept sketches, one thing is clear; we have the makings of a very special and unique tribute to an equally unique and special life of a modern day saint, who endured the unthinkable and left behind a legacy of hope.
Please show your support by heading over to Indiegogo and making a pledge. Every dollar/pound goes a very long way!
Pledge your support today!
Don’t forget, we’re also offering the chance for a few people to own a piece of the movie (and a percentage of any profits the film will make.) Email us here for more info on this special and limited offer.
Posted by Major Oak Entertainment on February 22, 2012
http://allthatremainsthemovie.wordpress.com/2012/02/22/the-grand-design-of-all-that-remains/
From day one, we intended this film to be shaped by the people that we would interview, that it would be, as much as possible, Nagasaki itself telling us the story of its heritage and the life story of surely its greatest adopted son. We wanted it to be as personal and real as we could possibly make it.
This is why, the scripting of the drama aspects was kept open for change right up until we returned from Japan and had watched through the hours of interviews that we had captured, and why we’re still in the process of shaping the final draft of the script.
“It’s a fascinating and exciting way to work, “ explained Director Dominic Higgins, “because, even when you’re sitting in the edit room, you don’t quite know where things are going to go.”
“It’s a very organic way of working and the story is telling itself, we’re just fusing the elements together, and then adding modern technology to bring it back to life – and that’s the way it should be for this kind of story”, added Director Ian Higgins.
We were very privileged to have been granted an interview with the Archbishop of Nagasaki, the Most Reverend Joseph Mitsuaki Takami. As the head of the Catholic community in Nagasaki, his voice is crucial to the telling of this story.
Archbishop Joseph Mitsuaki Takami interviewed for "All That Remains".
The Archbishop also introduced us to the “Maria Hibakusha” – the burned head of a statue of Mary from the Cathedral at Urakami. Hibakusha is a Japanese word that literally translates to “explosion effected person” and its scars eerily mirror those of the human victims with its once piercing blue eyes burned out of their sockets. The statue head was one of the most haunting sites that we saw while filming in Japan.
"Maria Hibakusha" - a silent witness.
In the exclusive video “extra” below, Archbishop Takami explains what the message of Nagasaki is for the world and talks about the Maria Hibakusha.
Posted by Major Oak Entertainment on February 12, 2012
http://allthatremainsthemovie.wordpress.com/2012/02/12/a-message-from-the-heart-and-the-maria-hibakusha/
------------------- Everyone who donates $15 or more will see their name in the end credits!
