For Alfonso Cuaron, it wasn't the complicated array of dazzling single shots that won his superb thriller, "Children of Men," an Oscar nomination for cinematography that the director found most difficult.Read More
"I knew that somehow I would be able to solve the technical aspects — but the biggest problem was coming up with the world, with the social environment we were going to portray."
Based on the 1992 dystopian novel by P.D. James, "Children of Men" tells of a world 20 years in the future that is suffering from global infertility, but it pictures a world a lot like our own, only darker, more twisted and violent. It is a world bereft of hope and filled with terror. England has become fortress England, with armed patrols rounding up immigrants, who are sent off to camps, while insurgent groups bomb cafes and stores.
Meanwhile, the general populace — ghostly in their resignation — ensconces themselves in office cubicles, fretting over the death of a celebrity, the world's youngest person (not yet 19), killed by an angry fan.
"We were very clear we didn't want to convey information by exposition," says Cuaron ("Y Tu Mama Tambien," "Harry Potter and the Prisoner of Azkaban"), who wanted to tell the story
visually. "And that had to do with the detail in the frame. We were aware that some detail was going to be subliminal, and some it was clear was going to be obvious. It was always a question of where and how and what was the reference in contemporary society that we're referencing."
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