![]() We’ve heard that Blade was supposed to make an appearance. ‘Avatar’ Re-Release’s $58 Million Success Is a Good Sign for Upcoming Sequel ‘Way of Water’ It just felt right and it felt emotionally right as well. And it also had a unique look to it that I hadn’t seen before. So again, from the beginning, it was one of those things he just kept pushing for. Family is a big theme in the whole story. Which to me felt very powerful in a way, because it’s almost like that was a part of his power, his connection to his family. And I thought, Well if he’s going to turn into a werewolf, that makeup’s not going away. And for him, it’s the only thing that he can help tether himself to those people. We don’t even know how old he is, he could be hundreds of years old. We are doing that no matter what.” And it was one of those things I just kept pushing for, pushing for, “We have to do this, we have to do this, have to do this.” And because I felt like, the reason Gael wears that is to keep himself tethered to his family, which he doesn’t have a connection to his family. And the second I saw that, I was just like, “Oh my God, yes, that we’re doing that. And then he did one with the werewolf with that on it. Well, what happened was when we were designing the look early on, in the visual development portion and Ian Joiner, who was doing a lot of the artwork at the time, he had some crazy idea and he did one… Because we were dealing with a lot of Day of the Dead makeup on Gael, and then we were trying to design what that was going to look like and how that was going to feel. So we filmed all of that in-camera.Ĭan you talk about the design of the Werewolf by Night monster and his Dia de los Muertos makeup? That was projected on the wall as we were shooting. I love how kind of 2D that shadow is too on the wall when he’s transforming. And if you look at the storyboards, they’re almost shot for shot, exactly what we wanted to do. But those shots were ones that were designed from the very beginning. And imagine you’re in that costume doing this thing. It’s very difficult for them to do, it takes a lot of energy, and you don’t want to kill these guys. We only got two takes of that because it’s so hard. There’s no CG involved in those and it was very difficult to do that hallway thing. Those took months to design and create because we did them all in-camera.Īll that was done in the camera. Just almost not even paying attention to the action itself, just the door and all of that, everything else is happening in front of us. And then the other one was the hallway shot moving in on the hallway towards the door as all of this craziness is happening in front of, behind us, on the side of. And one was the push-in on Elsa as he’s transforming with the shadow behind her. There were two shots in the film that I knew that I wanted more than anything else. Was that how the shot was always engineered?Ībsolutely. There’s the great shot of Gael killing all these goons as the camera slowly pushes in as the doors to the room start to come down and the blood on the camera drips down. How ‘Andor’ Showrunner Tony Gilroy Got Away With the Radical ‘Star Wars’ Series: ‘We Had Very Little Adult Supervision’ And it was really a fun process and I learned a lot doing it too. We did everything we could to make it as legit as possible. We put it to real film, we scanned it back in, we did all of it. Let’s film it out to real film.” Which we did. And once we decided that they have been amazing, they were just like, “All right, let’s put it on real film. So to get that proof-of-concept and say here’s what it could be. And it was when we showed it to Kevin finally in black-and-white, when he said, “Oh,” he looked at me, he was like, “I guess we have to show this in black-and-white.”Īnd I was like, “Yep.” But I get it because it’s a big left turn from everything they have been doing. Okay, great.” We were hedging our bets, hoping. We had a separate monitor that was a black and white only monitor so that I could go and check the black-and-white monitor and go, “Oh that looks really cool. And we even had a monitor on set that we could see. Me and the DP, Zoë White, who is incredible, she and I both felt like, Could you imagine if this was in black-and-white? Wouldn’t that be amazing? She and I both took the approach of, Okay, she’s going to light it as if it’s going to be black and white and we’ll just cross our fingers and hope for the best. It was shocking to hear last night that you didn’t set out to shoot in black and white, at least initially. ![]()
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