“The Phones Turned into Weapons”: Anthony Dod Mantle Discusses Bringing 28 Years Later to Life with Danny Boyle

      Anthony Dod Mantle has significantly contributed to the progress of digital photography, arguably more than any artist in any other artistic field. This became clear during a conversation I was fortunate to have with him in 2023, where his humility somewhat understated his accomplishments. He did, however, casually refer to 28 Days Later as “a historic film” without anyone expressing surprise. The raw intensity of Danny Boyle’s zombie film contrasts starkly with over two decades of digital imagery that typically aim for a polished, film-like appearance. The recollection of television commercials showcasing harsh, murky textures that once aired in the U.S. remains astounding.

      During our discussion, Mantle revealed his intentions for a trilogy called 28 Years Later, in which he would serve as the cinematographer for the first and, ideally, the third installment. (The second film, directed by Nia DaCosta and shot by Sean Bobbitt, is set to be released on January 16.) My anticipation for this sequel exceeds what I would generally expect from a zombie franchise, especially with rumors of footage being shot on iPhones sparking curiosity. By the second or third shot, it was clear that Mantle and Boyle were leaning into the peculiar effects of consumer technology displayed on a large scale: these visuals felt light yet substantial, tactile yet distant, and the closeness to Aaron Taylor-Johnson or Jodie Comer made me wonder if discarded takes led to the DP and crew encountering their faces up close. I enjoyed 28 Years Later thoroughly and have set appropriate expectations for the upcoming sequel, but I am primarily eager to see how Mantle and Boyle innovate if given the opportunity.

      Mantle and I discussed this distinctive process via Zoom, during which the celebrated DP operated some iPhone footage himself.

      The Film Stage: During our chat at Camerimage in 2023, I was thrilled when you mentioned the plans for a sequel trilogy, and it was apparent that you were equally excited. Since 28 Days Later marked a pivotal moment in digital cinematography, was there an understanding between you and Danny Boyle that something similar would need to be achieved for this film? Does there have to be “a thing”?

      Anthony Dod Mantle: I don't think anything was predetermined. What was evident between us—especially articulated by Danny in our initial conversations around three or four months before we began preparations at the end of 2023—was his immediate enthusiasm when he offered me the project. He quickly pointed out that, looking back over his body of work, he considers 28 Days Later an exemplary film where the alignment of narrative intent, content, and execution—such as cinematography, color, technique, lighting, and the language we employed to tell that story—was one of his most satisfying moments. This took me by surprise. He has had success with various films, some more conventional than others, yet I didn’t anticipate that he would emphasize this.

      When he mentioned that film’s significance, I regarded it seriously, which led to the next part of our introduction: “Somehow we need to revisit that.” We didn’t want to replicate it entirely because the initial camera I used is now an antique and served us well then. We've changed as artists; technology has evolved as well. The landscape of zombie filmmaking has expanded dramatically since we made 28 Days Later, and while we weren’t the first in the genre, we introduced ideas that were fresh at the time. His comment struck a chord with me, as he immediately followed with a request to find a way to create something radically relevant, appropriate, and different, yet honest for 28 Years Later. What about an iPhone?

      When he mentioned “smartphone,” I must admit I was caught off guard in a way reminiscent of Beavis and Butthead—my jaw dropped slightly. I’ve utilized iPhones in my work previously, as many around the world have, and while I'm open to various approaches, I need to contemplate and align myself with it artistically and emotionally to undertake such a significant project as this film became.

      That was his idea, and he understood my position. I know Danny for his intellect, opinion, and character. Though he didn’t have a clear vision for exactly how everything should look, he was resolute about using that format. In discussions with a group—Alex Garland, Danny, Andrew Macdonald—I focused on debating this directly with Danny, although he wasn’t inclined to change direction. I proposed other, smaller options since I have a penchant for size, agility, and economics in my work. Not that I can't set up a larger camera to create still images, but many of the projects I gravitate towards require a degree of mobility and intensity.

      So, that introduction to 28 Years informed my approach. I had to familiarize myself with what these devices could and couldn’t do, integrating that technical knowledge into my toolkit. Even though I could have suggested putting iPhones in the actors' pockets and letting them shoot,