‘Dune 2’ Cinematographer Greig Fraser Modeled the Sandworm Ride After Surfing and Avalanche Videos

As a cinephile with a penchant for cinematic masterpieces, I must say that Denis Villeneuve’s “Dune: Part Two” has me utterly enthralled. The anticipation is palpable, especially after witnessing the breathtaking cliffhanger of Paul Atriedes (Timothée Chalamet) riding a sandworm at the end of the first installment.

Towards the close of “Dune” in 2021, Timothée Chalamet’s character, Paul Atriedes, gazes across the desert with astonishment, spotting a Fremen from Arrakis atop a colossal sandworm.

In “Dune: Part Two,” directed by Denis Villeneuve, we’ll get a tantalizing glimpse of what’s to come this year. The story sees Paul Atreides (Paul) and his mother Lady Jessica (played by Rebecca Ferguson) deeply immersed in the culture of the Fremen. An important part of their journey involves a significant rite of passage – riding a colossal sandworm. This experience, for Paul, symbolizes his rise to power. A particularly thrilling scene where Paul climbs onto and rides the beast across the desert was meticulously crafted by cinematographer Greig Fraser.

In an interview for the Inside the Frame series, Fraser shares about EbMaster’s journey towards acceptance by the Fremen. This journey has evolved significantly over time, with some within the community anticipating his demise while others are convinced he will prevail. As for Paul, it seems he remains uncertain about the outcome himself.

The camera, lighting, and movements are all determined by the emotions and actions of Paul and Chani (played by Zendaya), in that specific moment.

Approaching the ride with the worm, Fraser aimed to portray Chani’s apprehension. “This is quite evident in the camera work,” he notes. “The camera has a more fluid motion, it’s handheld, giving it a more personal and emotional feel. There’s a swift pan from where the worm will emerge, moving over to Paul, then Chani’s face, before returning to Paul.

As Fraser’s camera shifts back to Paul, there’s a sense of tranquility. He remarks, “He seems to be meditating, attempting to connect with the worm, ensuring he rides it correctly.

Fraser and Villeneuve placed great emphasis on authentic natural light during their filmmaking process. Specifically, the sequence featuring the worm ride took 44 days to capture, and while it was crucial for the scene to convey an atmosphere of risk and intensity, the lighting had to appear genuine and uncontrived. “In the world of cinema,” Fraser explained, “we often manipulate the source of daylight on actors. You’ll notice this in many films, as actors are seldom front-lit; instead, they are backlit, which gives a somewhat magical effect. However, for this project, it was essential that the sun originated from a specific direction, and its position was clearly visible because one side of the sand dune was illuminated while the other was in shadow. This meant we couldn’t cheat with the placement.

While debating the visual aesthetic for the scene on camera, Fraser mentions that he and Villeneuve studied avalanche videos, surf videos featuring wipeouts, and individuals struggling in waves, to understand “what it would appear like when one is suffocating underwater.” In this context, they aimed to simulate the experience of Paul being submerged underwater, but instead, in a sandy environment.

Fraser clarifies that every scene involving worm transportation was filmed under real sunlight. He explains, “This eliminates one aspect of fabrication. Filmmaking is inherently unrealistic. So by removing one or two elements like this, it allows us to fully immerse ourselves and suspend disbelief for a short while or even for several hours.

EbMaster’s Inside the Frame is presented by LG.

2024-10-28 22:48

‘Dune 2’ Cinematographer Greig Fraser Modeled the Sandworm Ride After Surfing and Avalanche Videos

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