Images of the exterior of Harkonnen Palace and Giedi Prime from space were digitally captured. “He was tied under his robe, and a group of people followed him who just rocked him.” “For a couple of these shots, we actually used a technique in which Stellan sat on one end of a swing-like cantilever,” says visual effects supervisor Paul Lambert. The same grounded approach to visual effects was applied to the Baron’s hovering pendant suit. “You come to the set that first day and you see this huge room that is your home, and you know that this room will do most of the work for you.” “The kits were huge and everything was physically built,” says Skarsgård. “We all had the same philosophy with the film: the more immersive we can make the space, the better,” says Vermette.Ī scene from the Harkonnen world from Dune. “You take our reality on Earth and then reimagine it in the world of Dune.”įor Harkonnen Palace, instead of relying on extensive computer graphics, an extensive physical set was built on the sound stage in Budapest. “This is a world that overexploits its natural resources, like a sponge that is squeezed and squeezed,” says Vermett, who drew inspiration from super-industrial regions such as China, America and Brazil. Production designer Patrice Vermette took Villeneuve’s vision of the Harkonnen world as a nightmare of unbridled industrialization and extended it to all aspects of the visual environment.
“I am in love with black and for decades have dreamed of creating a world made of one color, with great sensuality and high design.” “I came up with the idea that they would probably be the most evolved creatures in this world, the richest and most complex, and that their technology would be cut off from nature,” says Villeneuve. In contrast, Villeneuve envisioned the Giedi Prime of the Harkonnens as a highly developed but colorless world, devoid of any semblance of vegetation or natural light, to the point that its inhabitants evolved to become ghostly pale and hairless. The Lynch film, which was widely criticized and ultimately rejected by Lynch himself, endowed the Harkonnens with a slightly cartoonish aesthetic with steampunk elements. “I wanted to move away from a sense of decline and more to a sense of power.” “I tried to bring him closer to the spirit of a gorilla than to a fat child,” says Villeneuve. Villeneuve and storyboard artist Sam Hudecki spent weeks pondering approaches to the Baron’s physics, trying to convey a sense of muscularity and fullness. Read Also: 'Space Jam: A New Legacy' and Managing Director LeBron James in Malcolm D.
0 kommentar(er)
