I had to figure out what and why he liked it. But I think for André, there was something in that photograph he liked, which you can't really capture in concept designs because there was an atmosphere he liked in that photo. Instead of doing a lot of concept design - we did some of that too - some concept designs. But it gave me an idea of what kind of creature he was after. It wasn't in a finished state, so you couldn't really take that, and just turn it into a full-size thing. There was a little sculpture, lit a certain way and looked cool, but it wasn't enough. André, the director, had already worked on this for a while before I came in. The filmmakers have their idea already, at least a vague idea of what they want. How do you envision this? When when you're conceiving of the look of this? How do you decide what you want Dracula to look like? And later, he's described as a dog-like creature. The descriptions of Dracula are pretty vague in it, mysterious. This film is based on a very brief chapter. But I mean, in the end, we're like, 20, I think we'd like 22 people here. I knew some of them, you know, of each other, at least. In the end, the producer Bradley Fischer helped me find a crew in L.A. I turned it down when they asked me at first because I couldn't find enough people. Everyone was busy we had real difficulties finding a crew. A lot of the projects that had been postponed were all coming back. So I got an email from Amblin about doing this. Göran Lundström: It didn't get on my radar they contacted me.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |