At first, Denis Villeneuve can’t hide his nerves, and sense of wonder, when he meets James Cameron (over international Zoom, with Villeneuve in Los Angeles and Cameron in New Zealand). “It’s …
It did strike me that you built as much as you could. You could feel that. I thought that the transition to CG was happening a little bit farther away from camera than it is on an “Avatar” film. I also feel that you tried very hard to put cinematic aesthetics into your CG shots. There’s a lot of lens flares, there’s a lot of almost glare-y lighting. They’re beautiful images, but they’re intentionally imperfect so that they feel photographic.Thank you. I’m going to get a little bit technical.
By the time we got to the sequels, we spent a lot of money to formalize that process and create what we call Simulcam. I’m able to look through my live action camera and see those set extensions automatically, in real time. So however I turn the wheels, because I like to operate, I can look around that world and compose within the world in live action. Now, it took us six years of development to get it to that level.
I’m going to geek out and be a fan here. Talk to me about how you saw Shai-Hulud [the sandworms]. You presented it as this vast, almost god-like, force. I read the book half a century ago, although it’s still quite vivid for me. I had forgotten that the Fremen worshiped it as a deity. It seemed to me that for you it was almost more representative of nature, as this raw elemental force.
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