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For me it was amazing but stressful, because, you’ve got a nine-year-old kid and I’m giving him four minutes of notes. It’s really hard to cut and paste inside of that, especially when the camera has to smoothly move from gameplay, through the cinematic, and back out. But with this, four actors must get a perfect performance all the way through, because we want that one take to be the take. Usually you have a little bit of flexibility on the set to try out different things. “I tried to keep much of the technical out of heads so that they could focus. Which is a little frustrating when you’re talking about four years of people not getting it and then suddenly everyone going, ‘Oh, I get it!’” It wasn’t even something people got until the very end when they said, 'Oh my gosh, I finally get it now'. “I really wanted it and believe strongly in the intimacy it would provide,” he explains, “but no one else had really done it in this way, and there wasn’t any way for me to point and say, 'It’s just like this'. God Of War takes a challenging cinematic concept – one, single unbroken shot – and elongates it to an almost illogical extreme, delivering the entire 40-plus hour game without cutting camera once. One of the biggest challenges of turning the actors’ raw talents into a visually spectacular video game was Barlog’s “bullish” attitude towards the game’s cinematography.
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And each time we were casting I wasn’t just looking for the performer, but for the person.” His casting broke the seal and I understood the type of people I wanted on the set. His performance was so good, so nuanced, and he was so tiny, but he really had a good insight as a performer. I only had a couple of days of meetings with kids, and found on maybe the first day. “But thankfully my pitch was just passive aggressive enough for people to leave in.