Robert Redford and the Making of 'All Is Lost'

Robert Redford, left, and J.C. Chandor
Robert Redford, left, and J.C. Chandor

Director J.C. Chandor traveled an unusual route with his new movie, a $9 million gamble for his legendary star, working alone and without dialogue.

By design, Chandor decided that the audience should learn very little about the backstory of Redford's character. He is identified in the movie's credits only as Our Man, and the film offers no explanation about why he is sailing alone in the Indian Ocean. Chandor says he didn't even discuss the character's origins with Redford, though the actor at first found that approach disarming. "I kind of doubled down on that. The character of the man you never question. You know who the guy is in the meaningful sense," says Chandor. "But how many children he has, is he divorced? Is he married? Those things I kept vague. The key piece of information that Mr. Redford did have is that he does have a family. He's not a homeless wanderer who's been sailing the world for 20 years."

But when it came to the 39-foot boat he sails -- the Virginia Jean -- production designer John Goldsmith created a bit more of a history. Three boats actually were used. And Chandor suggested to Goldsmith that Redford's character bought the boat when he was 51, six years after it was built, and some years later, after its upkeep had slipped, invested $20,000 re-outfitting it. "The boat had to have an openness to interpretation," says Goldsmith. "The boat is almost an abstract idea -- a womb or a cocoon, a place of safety and security while the world rages outside." It does contain some clues, though -- Our Man is adept at knot-tying, so there is a display of knots on the back wall of the boat's interior, which is stocked with exotic canned foods collected from ports-of-call around the world.

VIDEO: 'All Is Lost' Director J.C. Chandor on Robert Redford's Waterlogged Time at Sea

Instead of working from the bare-bones script, Chandor broke the film down into 500 storyboard images that were pushpinned on the wall in the conference room that James Cameron once used when he was filming Titanic. The goal was to bring the viewer as close to what Redford's character is experiencing as possible. Says cinematographer Frank DeMarco, who shot with an Alexa camera: "J.C. really wanted to be in the moment. One of the main rules for the film is that we should be very close to Bob's character, like a first mate. I used a 32mm lens, so I could be right there within an arm's reach of Bob, in his breath and in his sweat." Editor Pete Beaudreau took inspiration from the films of the Dardenne brothers. "It's all very naturalistic," he says. "The camera is often behind the actor's head. And that gives you a real sense of being in the person's shoes. The rhythm of the editing really came out of the shooting style. The very immediate hand-held feeling lent itself nicely to getting some jump cuts going where you can really modulate the pace."

In effect, the film was shot as if it were a silent movie -- with Chandor giving Redford directions aloud as they moved through each shot. "Very little sound was recorded while they were actually shooting," says Steve Boeddeker, the production's supervising sound editor, sound designer and rerecording mixer. Instead, at the end of each day's shoot, local sounds -- the water and wind -- were recorded for reference. And the sound team later captured more by going out into the San Francisco Bay during the middle of a storm.

When it came time to lay in a score, composer Alex Ebert decided that "silence actually needs to play a gigantic part in the movie." For one passage, he wrote a piece that had the ¾ time signature of a waltz, but watching the film, he decided to slow it down so that "it's very haunting and timeless. You almost can't detect the melody there unless you really sit with it. It became very organic."

Redford, who never looked at the monitor during filming, remembers the shoot as "so intense and exhausting, there was very little time to talk. People were so tired at night; the evenings were about just having a few shots of tequila before you headed to bed." And so Chandor approached the movie's debut at Cannes with some anxiety. It would be the first time Redford would see the completed film. The two were seated side by side at the Palais. About halfway through the film, reacting to a particularly vivid moment they had shared on set, Chandor spontaneously squeezed Redford's knee. "He looked at me and smiled a little bit, and I could see he was proud," he says. "We looked around, and we could see people leaning forward in their seats. At the moment, I knew, whether the movie goes on to success or not, people were getting what we were trying to do."

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