Annoying horror comedy can be tricky, especially considering their tendency to enter the unconscious farce territory and stay there. But when they work, they allow the audience to blend seamlessly with laughter to create a unique fear. Peter Jackson Implemented this with his movie Alive and dead (also known as braindead1992) and Not good (1987), both cheering movies, discovering humor in the form of exaggerated violence (in Alive and dead A priest uses his karate skills to fight decaying zombies with limbs that are easy to separate). Sam Raimi Did it Evil Death II (1987) and Dark Army (1992), becoming one of the most interesting badass in the genre. Osgood Perkins Has his own horror comedy monkeyin which death only piles up in spectacular bloody ways.
One of the main reasons why monkey The work is because each of the many deaths that occur on the screen has been carefully crafted and photographed to make the more interesting debris shine as explicitly as possible. The VFX supervisor of this movie is largely due to Edward Douglas and his team. They all managed to create a series of deaths that were borrowed from Rooney’s music, rather than Lucio Fulci (Although he will be proud of everything he sees), combine two styles of violence.
The cartoon elements here are injected with a lot of blood, which can ensure a continuous impact on the entire senses. If Elmer Fudd Shot Bugs Bunny’s Face monkeyIn the world, his characteristics will be completely re-arranged so that the skin flaps, brain and fractured bones can penetrate through a mouthful. In the opinion that there is no wasted order of death monkeywhich means Douglas and the team have a lot of canvases to try to make it as creepy as possible.
Beat Sit down with Edward Douglas (whose works include video games Mass Effect 2 and Requires speed: the most wanted) Talk about the mechanisms that make death interesting and the difference in the ways in which violence is shot in more serious projects.
Ricardo Serrano: There are some key tone and violent differences in the original Stephen King short story based on the movie. That is, how does the original material affect the appearance of the large screen version?
Edward Douglas: My jump is a script by Osgood Perkins. This is an Osgood movie. This is his adaptation, which shows his love for the King’s story and, in the record, talks about how he wanted to develop and put his own stamp on it. It’s a dark movie, an interesting movie, and the last part is different from the source. But everything we do is based on Oz’s vision. It really puts us in the way we support him and helps him make the movies he wants to put there.
Serrano: You have worked with Perkins before, Long legs. How are the differences between these two experiences? Do you have a common language there?
Douglas: We definitely have a common language monkey. But this is also the development of our work together. It’s not only for me. most Long legs The crew keep moving forward monkeyFrom producers to our assistant directors to our production design teams and props teams. Even though this movie is a completely different movie in tone, it is still a very many movie. We are able to continue to maintain intimacy while fostering the language we share in advance. He wanted to come back and do another movie with the same guy, which was an amazing show of trust for us.
He did determine what the difference was. Long legs It is a dark, ominous, contemplative film that originates from Satanic horror and similar silence Lamb. This is a program, monkey. Regarding the reference to the tone, he was very clear that one of the guiding ideas here was the Rooney tune. It also has a little Gremlins There, when it comes to over and unpaid, I remember he’s already talking about how he hoped it feels like the 1980s Robert Zemeckis Film on acid. The number of times we talk about blood and gut cannons is ridiculous. At some point, we discuss how much blood a person actually has for one person. In this movie, it’s at least three times the number.
Serrano: How does this number participate in conversations with CGI about actual effects? Is a style more suitable for the story, or is it necessary to make the combinations needed from it?
Douglas: There has never been a conversation about practicality with CGI. This is always a conversation about the most effective tool to create this moment. Often, for me, it’s about the vision of knowing the shot or sequence while working with the director and the script at the same time. It finds the most efficient and effective way to create specific scenarios that achieve your goals. Sometimes this means we will create some distance in the collection. We then add or combine the visuals later to achieve our visualization goals.
For me, the visual effect monkey It’s about seeing what can happen, making them ridiculous, and then figuring out how to make them with blood and blood. We’re here to tell the director this story for the director when it comes to things that are impossible, unrealistic, too expensive, or too unsafe to shoot. If we want people to run around or their bodies collapse, we need to weigh our choices and be creative.
Serrano: It sounds like the VFX director is a band conductor. You might “blood on this wall, body parts fall from there.” Is that how do you think of it?
Douglas: I always feel like I’m helping someone tell a story. I do like the idea of choreography. You are really working on multiple moving parts while trying to figure out how to achieve real shots is impossible. This means working with each department, photography director, production designer, special effects team, stunt team, editor and producer. Sometimes there are things we would love to shoot real things, but they don’t actually make sense, or we know that if we can achieve it and make it look good with enough visual effects, then we’ll do more obvious (or don’t know). Sometimes it’s about how to better show the utilization of our resources, rather than building a huge suit that we can only see once throughout the movie and can only be very brief.
Each movie brings its own challenges and tells you how to work with the team. A lot of my work is to help everyone visualize the final product of the final product. This could be through storyboards, concept art, etc. Then, we make sure all the debris are in place. My background is actually in photography. Then I went into virtual photography and virtual storytelling in video games. All of these experiences have led me to see everything as a potential tool, a resource I can use somewhere to build a bigger narrative.
Monkeys are now available on VOD.
