As a seasoned movie buff with a soft spot for visionary directors who push the boundaries of cinematic storytelling, I found myself captivated by Denis Villeneuve‘s words at the “Dune: Part Two” screening in London. His profound appreciation for the collaborative essence of filmmaking resonates deeply with me, and I wholeheartedly agree that the collective act of creativity is what truly makes cinema a unique human experience.
During a unique showing of “Dune: Part Two” in London on a Sunday, director Denis Villeneuve highlighted the cooperative essence of movie production, setting it apart from the possible future of films created by artificial intelligence.
Villeneuve shared his thoughts on cinema with fellow filmmaker Joe Wright, expressing that he works alongside remarkable artists. What he admires most about cinema is the collaborative process of creating art, transforming it into a poetic experience. He finds it deeply moving to be part of this creative journey, which is essentially storytelling in the realm of cinema. If technology ever advances to the point where movies can be made solely on computers, he acknowledges it could offer unique aspects, but he would undoubtedly miss the collaborative human aspect of filmmaking, a process that embodies the beauty of our shared creativity.
The director further explained that his background in biology significantly impacted the design of the movie’s creatures, specifically the sandworms. “We were deeply committed to making this creature appear as authentic as possible,” Villeneuve stated. He along with the production designer, Patrice Vermette, extensively researched various animal species to figure out how the worms’ skin could endure the harsh desert conditions.
In terms of striking a balance between intimacy and spectacle, Villeneuve stated that “Part Two” primarily revolves around a romantic tale, with the entire movie’s structure built upon this love story. During the production process, he emphasized the relationship between Paul (portrayed by Timothée Chalamet) and Chani (played by Zendaya), making deliberate efforts to intensify their on-screen bond in key scenes.
In addition, the development of the Fremen language known as Chakobsa was also showcased. Linguist David J. Peterson devised an entire language, drawing inspiration from Frank Herbert’s books for the movie, and actors were trained at the “Chakobsa school” to fluently speak this made-up dialect.
When questioned about managing challenging situations during film production in particular, Villeneuve admitted, “There’s always at least one day when I feel like a subpar director, as if I’m an out-of-tune instrument.” He emphasized the significance of re-filming when needed, even though it may initially cause feelings of embarrassment.
This past Saturday, director Denis Villeneuve was a guest at the BFI London Film Festival for a chat moderated by Brett Goldstein from the show “Ted Lasso.” During their discussion, they reminisced about significant moments in his career, such as filming the sandworm-riding scene for “Dune 2.” Villeneuve verified that the filming of this spectacular scene spanned over 44 days, with certain shots requiring a full week to perfect.
Villeneuve stated that he made a discovery: he didn’t want to sacrifice his preferred methodology in handling this task. For him, the key aspect of visual effects was figuring out how to film it naturally under daylight. He understood that this approach would require several months to complete, as each shot was intricate and could take anywhere from half a day to an entire week due to its complexity. If he had been the one executing it, he would still be in the process of shooting.
To ensure he captured the desired footage, Villeneuve established a special team on set known as the “worm unit,” headed by his spouse Tanya Lapointe. As she fully grasped his vision, Villeneuve noted, “She’s my wife, too.
On Sunday, Villeneuve reflected on a past encounter. During an especially difficult take, Villeneuve confessed to a brief outburst of irritation. “The most regrettable thing I’ve ever said, and I promise not to repeat it, was one time when the shot just wouldn’t work, and I told Tanya, ‘Alright, forget it. I’ll do it myself.’ It was the wrong thing to say, I’m sorry for it. I would never say that again, but the shot turned out perfectly in the end.
It’s been made official in April that a third “Dune” film is being created, this time adapting Frank Herbert’s “Dune Messiah,” which takes place 12 years after the storyline of his initial novel. However, Villeneuve has emphasized that the series won’t follow a traditional trilogy structure, as he clarified during an appearance on Vanity Fair’s “Little Gold Men” podcast last month.
As a passionate movie reviewer, I must share that Denis Villeneuve describes the “Dune” movies as more of a duology rather than a trilogy. He explains that the first two films represent an adaptation of the initial book, which is now complete. If he decides to create a third film, it won’t follow the traditional trilogy structure. Instead, he views it as an opportunity to explore new ground and give the potential third movie its own unique identity.
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2024-10-13 20:16