Q&A with Fallon/London creative/partner Juan Cabral
How did you come up with this particular idea?
The original concept came about the same time as "Balls," to suddenly cover a boring building block with paint. With time, the script naturally evolved. Producing "Balls" had a great effect on the narrative and the way of shooting it–and of course the involvement of Jonathan Glazer.
What were the biggest challenges?
Doing it for real. It took three months of testing. We tested paint being detonated in many different ways to achieve what the film needed. And meanwhile trying to find the perfect location and the right choreography.
What did the client (David Patton) contribute to the creative process?
He bought into the illusion and let us push the idea to the point it was almost impossible to produce it. It takes a lot of confidence for clients to get to that stage.
Any interesting anecdotes?
What defines this film in my mind was the waiting—literally for days—to get just a minute of clear sky to capture the biggest shot. We had in front of us this colossal set up – a building completely rigged-up in explosives and bottle-bombs filled with paint. Completely surreal. All the cameras pointing at it, ready to go, a crew of 200 people and a neighborhood just sitting and waiting. It was mad. It felt a bit like Lost in La Mancha.