The idea is that he wanted so much scope and so much scale, that he was really asking us, “Where can I cheat? What are the things that I could do to expand out the production value while keeping the budget down?” We looked at that with him, and we came to an arrangement that we would try to work in a way that was more efficient, and that he would delay some of the choices that… these are actually his ideas that he would do some of the design after he had a cut, so he wouldn’t have to spend money building things that didn’t show up in the cut. Not to say that it’s the tiny budget, because it’s not a small budget by visual FX standards, it’s pretty robust. Part of partnering with him, sort of the charge was I was how do we approach this project in a way where we can get amazing visuals and amazing production value with a smaller budget. That got the movie going, and then we partnered with Gareth, that was when I joined, shortly after he got the green light. That was about 50 shots we did based on a travel… I want to say it’s like a travel film that Gareth put together, and it was very, very documentarian, very much long takes of observations of different environments. We started with that about three-plus years ago. He has a long-standing relationship with John Knoll, who’s our creative director in San Francisco, and when Gareth was trying to get this off the ground, he approached John about doing a test, where he could help do some visual effects shots that would help loosen the purse strings and get the movie greenlit. I started when I was eight.īTL: How were you brought on? I assume Julian Levi, the main VFX supe, brought n you on? ILM did the majority of the VFX shots for this film, right?Ĭooper: ILM, as a company, has a long, or at least a great relationship with Gareth, having worked on Rogue One. I think I’m coming up to my 25th anniversary. I’ve been at ILM for about three years now.Ĭooper: I have been there slightly longer. It’s great feedback.Īndrew Roberts: Jay longer than me. Jay Cooper (ILM)īelow the Line: Fantastic film, and you’ve done some fantastic work on it, where it was difficult to tell where the real-world environments ended and visual effects began. Since the resulting conversation did delve very much into the film’s last act, it’s probably best to read the below with some heavy SPOILER WARNINGS in place. To conceive the necessary visual effects for robots, humanoid “Simulants,” futuristic location builds, and NOMAD, Edwards brought on Jay Cooper as ILM’s VFX Supervisor and Andrew Roberts as the film’s on-set VFX Supervisor, both of whom Below the Line spoke to before the movie’s release. comes in the form of a six-year-old girl ( Madeleine Yuna Voyles ), who Taylor is sent to kill but whom he finds himself having to protect from both sides of the war. that can defeat the Americans’ primary weapon, the NOMAD flying war machine. Five years after his operation goes South, Taylor is called back to Asia to seek out the enigmatic “Nirmata,” a being responsible for creating a new form of A.I. population that’s been held responsible for a nuclear explosion in Los Angeles. The Creator revolves around military man Joshua Taylor ( John David Washington ), who has been living undercover in New Asia with his wife Maya ( Gemma Chan ) amidst a war between the Americans and the growing A.I. In order to do so, he returned to Industrial Light and Magic (ILM), who had previously worked on his Star Wars movie, and commissioned them to work fully from the footage shot on location with the actors. When Director Gareth Edwards ( Rogue One: A Star Wars Story ) decided to tackle an original science fiction concept in The Creator, he approached it in quite a unique manner, filming on actual locations in Thailand, and then adding all the futuristic elements in post using visual effects.
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