Cyrano Cyrano Berge, Roger Deakins, John Powell discussed on The Empire Film Podcast

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Knowing that this was the third part of the trilogy that sequence was designed to be, you know, a book end to what we call forbidden friendship, the sequence that you're referring to the first film in that we have two characters that are getting to know each other on an isolated beach. And in this case with the additional third wheel element of hiccup in the in the bushes. Like, you know, like it Cyrano Cyrano Berge back. We we wanted to to be polluted by his time spent with humans, not only the last night fury. So therefore, he hasn't had siblings and parents to teach him the ways of fury's, but he's been living in a domesticated way with hiccup for for a while now. So when called upon he's a bumbling idiot in terms of courtship and light fury. By contrast is is pure. She comes from the hidden world. She's not the last of her kind. She's been surrounded by dragons and her only interactions with humans have been negative as me. Early on in the film. So it felt like a nice setup to a comedic scene that would rely entirely on pantomime and John Powell's music. I I remember when I was watching the first film for the first time being so so struck by the the flight sequences, the exhilaration that the speed the gravity of them. And the danger is well, you have that moment where where hiccup he becomes untethered from from toothless, and he's and he's folding, and you don't know if they're gonna go in time. What was it? Like developing those sequences, and you mentioned before Roger deacons cinematographer who has been putting involved a believable three fins has. And y was he did he help you out with those sequences how did he contribute to to these films? Well, I part of your question. It was just such a thrill for Chris Anderson. I on that first film to play in the world of CG animation. We come from hand-drawn animation background where there were many, limitations. In terms of what we could do with the camera. How dynamic we could be and suddenly we had this new tool in the box that we were just having a great giddy time playing with so designing action sequences and kind of visceral Connectik thrill rides on the backs of dragon was just it was it not only was delivering on the premise of a movie with dragons. But it was a new tool in our hands. And we're having a great time with it trying. To make it as I guess immersive and visceral as possible, and then Roger deacons who brought into the mix because we wanted. We wanted more conversation between the team that was creating the camera moves and compositions with the team that was actually lighting those shots down the road. They're separated by months in the pipeline. And we wanted a little more communication. So we brought in Roger Deakins to to help bridge that bond, but he actually ended up joining the production as a full-time consultant which was great because he was influencing decisions right up at the front in terms of the palate an atmosphere and kind of inspirational reference for the the sequences the movie all the way through to the final lit shots. And that that meant that he waited on a lot of the camera decisions as well..

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