I’ve worked with Bob for more than a decade, since A CHRISTMAS CAROL, so I’m pretty familiar with the way he goes about designing environments and characters. How did you use your experience on his previous movie for this new one? He’s a great listener and aggregates all that feedback in making his decisions, creating better results as a team than any one person could ever achieve on their own. He leans on VFX to bring in our expertise and listens to our input, and he does that across every department. He is a consummate team player, and once he finds a team that he’s comfortable with, he trusts them implicitly. How was this new collaboration with director Robert Zemeckis?Įvery collaboration with Bob Zemeckis is fantastic. Every department worked together with the shared goal of making the best-looking film possible! Production Designer Stefan Dechant, for example, took our good set design ideas and made them better, and replaced our not-so-good ideas with great ones. The project was really interesting because VFX was spearheading initial concepts and everyone leapt off of that. We used that whole body of early work to get the film greenlit. Then we figured out the how translate the actors’ performances to the doll characters and created test footage to present to Universal. Emmanuel Shu and Marc Gabbana did the initial village layout and developed the look of interiors/exteriors, including the how the Ruined Stocking Bar would integrate into both the inside and outside of Mark Hogancamp’s trailer, and Vladimir Todorov designed the initial look of the dolls. As we started talking about how to execute the film, I pulled together a team of concept artists to determine how to realize the doll characters and the village itself. He sent it to me and I was blown away by the interplay between the fantasy world, which take place purely in Mark’s imagination, and his somewhat sad reality in which he’s overcoming the PTSD from a hate crime he’d suffered. I was BBQ’ing in my back yard in 2013 when Bob called me about a script he’d written based on the documentary MARWENCOL. I have a long-standing relationship with the director, Bob Zemeckis, and he involved me early in the process – before the project was even greenlit. The VFX work on Welcome to Marwen is credited to Atomic Fiction. NOTE: In July 2018, Deluxe Entertainment acquired Atomic Fiction, which is now Method Studios. Today he talks about his new collaboration with director Robert Zemeckis for WELCOME TO MARWEN. He then worked on STAR TREK BEYOND, ALLIED and the TV series, MANIFEST. In 2015, Kevin Baillie explained to us the work of Atomic Fiction (now Method Studios) on THE WALK.
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