Director, Spiderman, Anthony Lamar Lamola discussed on Maltin On Movies

Maltin On Movies


Without characteristed in an era before for was a known commodity and they did a terrific job of making the character look realistic their composite and the integration the lighting for the. Cgi character was stunning. And as like I to this day. That's still one of my favorite Environments or favorite movies in terms of the integration. The character He really fits in nicely. You know again. All the components have to work. Yeah and and you forget it. He's a little animated mount exactly because actually character you invest in that. Yeah exactly that's the proof is in the right there. It was great fun. And you know it's like the the that whole deal at the tank was. I can't remember how many days we spent her. But when the wind would blow we had a nanometer and we had to refocus the silk when the wind speed reached a certain point. So we'd be in the middle of a shot and the Guy Grips would call out. We got a refit. And they'd pull the Silk Back and the thing all the lighting with change and we couldn't shoot for it was like it was great it was a microcosm of a much bigger movie idea of everything being driven by these random events. Wow now you worked on both Spiderman and Spiderman two yeah and of Spiderman moved differently in those two films. Yeah looked like you. You actually progressed in your ability to to make him a hobbyist convincing obviously Anthony Lamar Lamola. Nora was the animator on the Spiderman Spiderman two and he he We had done a lot of motion capture to begin with and that was the early days of motion capture but one of the things that was true was that for Spiderman when you took him and motion captured a stuntman and then tried to interpret that into a CGI character The it didn't work it. He looked to moral. I mean the stunt guy would jump off of a platform. He'd go ten feet and land on a pad or put him on a decelerated and let having dropped him twenty feet and have him land on the pad his posture. His reaction didn't look real. It looked like what it was. Looked like a guy on wires. And if you imagine you know a guy jumps off the top of a twenty story building in hits the ground. He's going to turn into a little puddle of blood and bone but our character has to hit the ground and looked like he can absorb that energy and then recovering and you know go on to do whatever it is that he's he's arrived to do and so it was a lot of exploration of mass musculature human motion and A healthy portion of postures that came from the comic books in terms of that larger becoming what it is. You expect him to be kitschy. It's weird right. 'cause he's he's a his human being but he has these spider capabilities and so when his physiognomy does things that humans don't do it's gotta be something that a spider does or or it's got to be one thing or the other can't be he can't suddenly become some other kind of creature and I I think that Anthony. Due to all the animators did a terrific job of doing that integration. Both on the first showman subtle in the film. I feel you know there's more I was really good. Yeah But then you when you see the second one I felt anyway that It was it was better. Yeah but you know from that point of view. Yup We also got to improve. Every you know it's funny because there's a whatever it is it's the Moore's law of visuals right the Because of the integration of digital imaging the the learning curve is fairly steep. I mean you improve in a very short period of time and with processing just processing alone between the first spiderman and Spiderman to increased exponentially so all of a sudden the characters could be they could have more polygons which is the same as the more pixels. We talked about before which defines their shape so their shapes were more on. The surfaces could have a more variation reflectively because we had the ability to render a broader. Getting Gray scale. Improvements occurred in terms of what the the digital lighting instruments. Where you could make something other than just a point source. You could make diffuse light. You could Create a what's called ambient inclusion which is basically shadowing that occurs From the SKYLIGHT THAT STRIKES. You it so those things all brought the Spiderman two guy forward so even if his animation was the same he would have appeared to be more creditable simply because he was he was it was a better render it will end his integration the way his motion blur integrator the backgrounds and our ability to create an environment inaccurate environment. Got Better so that you know it's there's it's like the the paint job has something to do with it now. How much of this is driven by in this case? Sam Raimi's the director Is He is he pushing you guys? Is He Is he directing you? Of course of course. Yeah no I mean. The the process working with SAM is Great. The process in that environment included the actual animator. Who was going to do. The shot doing a provision ation which is essentially a very simple form of animation of the shot and that would be given to the editor and the editor and Sam would integrate it into the story as they wanted to tell it. And he picked the the previous that he liked and then the shot would be executed to make real and high-resolution of after he had chosen. And then it'd been reviewed in the cut. So that's so I if not just Sam Ramey but any director says I wanted to bounce a little more or can you. Can you give me a little more or less density in this in this stunt that we're doing those kind of notes are they? Are they commonplace? Sure and we also get. Can you make more French do? Are you allowed to ask for a definition of that as one of the beauties? It's too it's too. It's sort of traditional visual effects. Supervisor's Issues are. Somebody will look at it and go. Just make it more real and the other one is split the difference so you always show up short with three things so that they can pick to split the difference on you know listen. The process varies with every director. Some directors do not want to work with previous. They want The freedom to invent as they go I. I'm sure that's true of the temple moves that are in the current marketplace. The you know you as a visual effects supervisor. One of the things that we used to do is show up and go. You can't do that. I need more stop. Can't point to camera that way camera has to be locked off. Can't wear that suit. It's blue you know so you were. You were the Naysayer and it was terrible. And now you're going set and you can pretty much do anything. But and so the onus is on the director and the other filmmakers because just because you can do something doesn't necessarily mean you should But the IT'S CHANGED. The personality has changed and a in an odd way. It's really It's really great because I get to think much more about how the image integrates with with the telling of the story. Not that I didn't before but there was a huge component of. How the hell are we going to do this before? We strapped cameras on airplanes and motorcycles and boats and stuff like that and we had a great time. We got to Greenland and Lear jet with Cameron. The knows got to fly all over Greenland and at low altitude and do all kinds of crazy stuff and that W- that you can see me just highlight up because that was the stuff that I love doing. But the Contemporary Environment require a dozen require that I mean we didn't you don't have to go. Well you WanNa go to greenland was just pull up a greenland got the I got the digital. I got the The lighter of of You know the icebergs and we just put some Cgi water into knows. Icebergs in new in cameron fly through it and that I think it's too weird in a weird way. Visual effects is sort of become commodity. And I don't know whether that's good bad or just inevitable But it's processing power and if you've got an processing power you can make pretty much anything you want to. And if you've got enough time you can make that thing be however you want it to be so it's a challenge because it means obviously it's it's There's no limit to the bar has been set pretty high now. Oh Yeah of course. Oh yeah but it's but the bar could be much higher. We could be at eight K. Instead of four K or two K not that anybody would ever be able to tell but we could be at eight K. And the we can render on the fly which means that the the movie can be done more quickly but the all the things you talked about water and fire those were the things you took a long time to where the we got a creditable image out of the computer environment and now You know that's it's kind of. It's a mixture. Look it's it's funny for years. When digital was first introduced it was the challenge was to try and make the digital image either captured digitally or composite digitally. Looked like Phil wanted to look like Phil wanted to have that one have grain wanted to have. Hey listen one. How all of these things. That are. Basically anomalies to a certain extent in film and that that was the that was the gold standard well digital has now gone pastoral. Now not to say that the style of film isn't great and some people prefer it including myself to a certain extent But digital cameras now capture enough information. That if you want to make it look like film you have to degrade it right. So you're doing it's it's it's an odd thing it becomes a stylistic choice as opposed to being a goal. You're going I am going to degrade put grain in it. And then I'm GONNA I'M GONNA make I'm GonNa add shutter angle and we're GONNA WE'RE GONNA shoot with old lenses so not razor-sharp precisely and and but the thing is and I guess that's what's interesting to me to I don't know that this makes sense or not. But you there was serendipity I mean the whole thing of. Im when we started. It was serendipity and there there was always when you blew up and we love to blow things up. You'd set up six cameras and you never knew which one of those cameras was going to either break shot or have the little piece it flips right towards the lens out the left hand side. So yeah you never knew until the next day but now you you go in and you make peace and flips over non. I want to. I want to see that bolt is. I don't want to see the name on the bolt as by the Lens right and it's like I don't know what it is but there was something about that. Gamble that was cool. Sounds as you're describing it very easy to relate to what you're saying so I lament the loss of that and I applaud Clinton's willingness to do quote live TV. That's my metaphor for him. The way he shoots he doesn't have Videotapes he bob. Richardson looks at it. Says it's good. And they move on and Quinton watches from the side and he decides whether or not the performance was right without ever seeing an image. And he has he'll he'll have a video monitor cameras in some curious position or something but And I that's that live nece life stuff I think shows up and I think that showed up in that for star wars because the part of the flavor of the dish.

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