How do you plan an effects - heavy disaster movie to bet good through a hand-held digital tv camera ? We talked to Martin Whist , the production fashion designer of Cloverfield , the giant movie which comes out Jan. 18 . Also , we havea heatedly debated possible modelof the movie ’s monster , from creature designer Peter Konig . snap through for the full image , and short whist ’s thoughts on making Cloverfield look nerveless .
Whist was pretty cagey about discuss any specific of Cloverfield , but he did blab a bit about his creative outgrowth for the film :
How was this dissimilar from form on movies you ’ve done before , like the dour D pic or Lemony Snicket ?
The goal was , in a strange way , pragmatism , and apparently the microscope stage and set for the environment it all takes lieu in [ are meant to be as naturalistic as possible . ] There ’s slight data as to why thing are happen . It ’s kind of a nuclear fusion of fantasy and Platonism , with the goal to be as real as possible , as it ’s all told in the first somebody .
estimate from the laggard , it ’s a very raw tone and a very muddy palette . Did you seek to add anything extra to the innovation to make it more chilling ?
There ’s nothing outside out of the loge that I wanted to do . The story take on tutelage of itself . It ’s not stylized in that way . It ’s a wholly different formatting of film - making .
I understand that a bighearted glob of the movie is actually filmed in high - def , but then they make it front like the hand-held camera .
That ’s reliable , definitely , because a handheld photographic camera , like a regular consumer course photographic camera , does n’t have the amount of information necessary to design for one thing , and also to add the optical effects .
When you were designing Cloverfield , were you disquieted about invoking memories of 9/11 ?
Because of the naive realism of the whole project , evidently the comparisons are choke to be made .
9/11CloverfieldJ.J. Abrams
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