Bond goes big, and it was worth the wait.
Daniel Craig's final outing as James Bond is as big, long, and explosive as any Bond movie ever made. At its core, however, it pulls off compelling human drama around its protagonist, who somehow, after 60 years, still has a few things to show us.
What does he show us, exactly?
Well, who better to explain than two of the key figures in the visual craft behind this film? Cinematographer Linus Sandgren and special effects supervisor Chris Corbould are both prolific and celebrated artists in their own right.
With Bond, they get to paint on the largest of canvasses. And you would think that means anything goes, right?
Not quite... Corbould reveals in our chat the effect he wanted to do so badly that got nixed. And it does sound pretty awesome. In general, you'll be surprised at how much Corbould and his SFX and stunt teams did practically.
On the other side of this mini-episode is Sandgren, who details his array of imagery from stunning set pieces, massive exteriors, and the simple but critical landscape of the human face, all captured on celluloid (praise the Cinema Gods).
Bottom line? No Time to Die is a visual feast, and these are the two people who served up all those glorious entrees.
In this episode, we talk about...
- How the process went shooting the movie on film and how they chose which sections to film differently for IMAX.
- Setting the mood for different scenes by carefully choosing the filming location.
- Behind-the-scenes thoughts about some of the really cool shots in the film.
- How the team approached shooting close-ups for so many different actors, from a technical standpoint.
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