- Hey, my name is Remi Weekes.
- Hi, I'm Wunmi Mosaku.
- Hi, I'm Sope Dirisu.
And today we're going to take you
through a scene from my film, His House, shot by shot.
- [Actor] You have no daughter.
- So in this scene, we see where they've come from,
and why they had to flee.
We see the horrors of the war.
- Rial?
- This shot is really funny for me because,
either side of the door, maybe like five meters away,
there's crew, there's like someone with a fan blowing
the paper across.
- To get the time of the debris to blow as he walks past
that took a...good few takes.
- It's just the funny things you do to make movies.
- I think we shot about seven or eight takes of this.
And each take was completely different.
Rial exiting her hiding place,
stands up and looks around.
We can hear the sound of the civil war,
that's been raging through South Sudan.
- I think I probably have to climb
out of that cupboard, maybe eight or nine times.
I don't think it was too long.
- I didn't want the scenes to feel exploitative.
And so I was very keen to treat these scenes
with respect and also with humility.
- Rial, hey, come.
- I shot this in one take.
I often like to shoot things in one take.
So the choreography of the camera helps tell
the story rather than the editing.
I wanted to make sure that we always saw these scenes
in the perspective of the two characters.
- We have to leave now.
- This scene is really about displaying the horror,
that they're going through.
- After seeing what Rial has seen,
all of her students, all of those women,
massacred, that was heartbreaking.
They needed to get out.
There was no other option, but to survive.
- We shot a lot of these scenes in one take.
So in each camera angle, we went through the whole scene.
Unlike some moments in the film where the crew
only see shot-by-shot fragments,
the crew saw the entire sequence,
and it was a really hard sequence for anyone to watch.
- It really, it really just shocked, shocked me
and I was so gutted, I sympathized with them because,
it was desperate.
- [Remi] This is like the biggest stunt in the film,
the man on fire.
- It was his first time doing a fire stunt
and he was so nervous and, he got it in one take.
- This is one of my favorite moments.
This shot here, I think is the last shot we did
in the schedule of the whole film.
The fatigue that you see on our faces, is real,
there's no acting.
At this point we're literally just putting one foot
in front of the other in order to get the shot.
- I like the figures walking in the darkness.
I think it's kind of poetic.
It was important to me to suggest what was happening more
than show it.
And so a lot of the things we did in this scene,
is suggestions like the flashing lights,
like the people walking through the darkness.
- So we shot this whole sequence in Morocco.
I'd imagine there was probably somewhere between like 60
to 100 extras that day.
It was really hot.
- This scene was also one of the hardest scenes to shoot
for the crew, having to direct a scene
with hundreds of extras, which is nuts.
- And I mean, I get clocked in the face by the door
a couple of times in that sequence that you see,
imagine all the times it happens in the sequences
that are on the cutting room floor.
- I always like to be in the room when we're shooting.
And so in various parts of the scene, I was either,
a passenger on the bus,
or a person in the crowd, I am there somewhere.
- Excuse me, excuse me, thank you.
- [Woman] Nyagak.
- [Child] Mama.
- [Woman] Nyagak.
- [Child] Mama.
- When Nyagak sees her mom, this actress, I mean,
she broke my heart.
She sent shivers down me,
and she chased that bus like I have seen no one do
in that kind of heat.
- That is one of the most heartbreaking,
shots for me in the whole film.
We can only imagine how her life's been affected
by that moment.
- I reckon now with the scene.
You can see in the film, she's heartbroken.
Yeah, war is damaging in ways that you can't even imagine.
It was actually the last take of the day.
We got it and I was like, we are done,
emotionally we're spent, let's wrap it, let's call it a day.
A lot of the time the world is moving faster than
the characters and the characters are just trying
to catch up.
And I think that exit represents the two characters trying
to catch up with a world that's constantly outrunning them.
- All the women in that room who are supporting artists
that is a really harrowing image that they created.
- I hope you enjoyed going through the scene with us.
- Check out His House on Netflix.
- [Actor] You have no daughter.