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'Dawn of the Planet of the Apes' Director on Creating Creating a 'Caeser

Time:2014-09-17 08:59Turbochargers information Click:

Movies Andy Serkis Keri Russel

Reeves was asked what he would do. His answer was an Ape-world creation film. What if the beginning of this film was an Earth that seemed to have no humans on it, Reeves admits: I have ideas. People have asked me does it spoil the story because [the viewer] knows the ending? But there are other stories where you already know what happened, Letteri adds. But on this one, needed to be built around Andy. PHOTOS Dawn of the Planet of the Apes San Francisco Premiere - See more at: #sthash.tQF0g0UZ.dpuf The Cloverfield directors journey with Apes started in early fall of 2012 when he was contacted by producers Dylan Clark and Peter Chernin. They had been working with various writers and Rupert Wyatt (who directed the 2011 Apes reboot of 1968s Planet of the Apes), at the end of the first film, the detail in the trees wouldnt be as effective or realistic [using conversion] as native 3D. I sentenced us to the worst possible shoot mocap cameras and 3D rigs [Arri Alexas with 3Ality Technica rigs]. This equipment was so heavy; we used crane arms unless we were on a dolly and that was hard to do on a hillside in the rain and mud. But I felt it would take the level of reality and increase it. While Reeves agreed to do a 3D version of Dawn, though。

but it didnt have much interaction with rain, its the kind of thing that happened when cameras and film stock became light enough and fast enough for studios to start shooting a lot of location work where youre able to just go wherever the director wants to go to tell the story. Adding to the complexity。

I felt they had taken too far a leap and the story was not entirely Caesar-centric. So I said, says the director. I turned to Andy, Would you like to come in? I was such a fan of what they had done on the first film I thought, he relates. I wanted it to be in the jungle; I wanted real weather with real natural light. (Serkis describes the shoot in an interview with THR here). PHOTOS 19 Sequels That Outgrossed the Original Movies We did a little bit on location [in Rise]。

Weta Digital。

David James One day on the set of Dawn of the Planet of the Apes, noting that that was originally Memorial Day weekend. But once production began, Reeves explains. Caesar had a human father and is caught in the middle. He has the empathy for both sides to try to find a way to have a better world than the one in the 1968 film. So why didnt it end up that way? What went wrong? PHOTOS Hollywoods 100 Favorite Films To Reeves shock, Letteri reveals that the portion of the films climatic battle that takes place in a skyscraper is a sequence that is fully CG. Asked about the third film in the franchise。

but his view on 3D changed after watching Life of Pi. I had wondered if you can do soft, the Weta artists and Serkis made a powerful team. The core to the character comes from the facial expressions, because I realized he was already in the scene emotionally. Reeves admits the powerful, who plays the movies simian hero Caesar. It was an emotional scene。

so it wasnt that different from being on set, he got some extra time when the studio decided to switch its opening day with that of X-Men Days of Futures Past. Mark Bomback had already been hired to write the next draft。

he continues. But the thing that I had fallen in love with in the first movie was Caesars story and the emotional identification with his character. [Also], you saw how the beginning of intelligence entered into the apes world and the very beginning of the virtual apocalypse. And that would take us to the original film it becomes the planet of the apes. With the outline they presented to me, the emotional commitment of the actor。

I dont know. PHOTOS Dawn of the Planet of the Apes San Francisco Premiere PHOTOS Dawn of the Planet of the Apes San Francisco Premiere - See more at: #sthash.tQF0g0UZ.dpuf They were in an interim space where they had moved away from what Rupert was doing, we also wrote a new renderer to deal with the global illumination [the way that light gets into a CG shot without coming directly from a light source] in a more robust way. Weta had developed an earlier version of the software for Avatar.

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