All we did then, is we augmented their eyes and their ears to give them a little more expression. And they were animatronic too, they actually talk. Wait, you’re saying that those talking wolf guards were actually there on set? Charlize Theron in “The School for Good and Evil” (Netflix) But no, it was very important to me that we do as much in camera as we could. And you know, the only real green screen we did was some of that stuff outside in the beginning, or with Rafal, and all that just to kind of change skies and all that kind of thing. We did a little bit of set extension to fill in holes in the top of the ceilings where we had to hang lights. Because, at the beginning, it was like, ‘Oh, we should do the wolf guards digitally.’ I’m like, no, I want guys in suits, with animatronic heads, walking around, because the actors have to have something to act against.Īnd I also want to be in the environment. It was really important to me to not have people up against green screens, to not have people acting against tennis balls, and people, you know, the balls suit, the tracking suits that they wear. But with movie magic, you guys can do a lot of things that people don’t necessarily expect.Ī lot, a lot. I’m curious, with the story being such a spectacle, how much of this movie was done practically? Because there are a lot of effects in there. But then, see the movie and then read the book. And so with this one, I think yeah, I personally say go buy the book, by all means. I mean, obviously we try to make the movie so there’s gonna be fun, regardless. But a movie, if you know where it’s going, to me, it takes the fun out of it. I love that! Honestly - because now I’ve been involved in a couple, like when we did ‘A Simple Favor’ - you know, people go on the internet, like, ‘I have to read the book before I go see the movie.’ And I’m just like screaming, ‘Please no, wait!’ Because it’s going - like the book you enjoy, it’s okay to kind of know where a book’s going sometimes. I’m always I’m the weird one that’s like, I would rather see the movie first, just because that way, if it’s different, if it’s wrong, I can still appreciate the movie as its own thing. ‘The School For Good and Evil’ Ending Explained by Director Paul Feig But I’m really happy with where we ended up. So, long answer was, it was it was a challenge. It’s easy to go off the rails in a weird way. Because then it becomes like, ‘You can’t do this, that,’ and then it’s hard. And I would always consult with him and go like, ‘OK, what things do the fans respond to the most? What would they miss? What lines do they like?’ And then when I had to do whatever changes and additions and, you know, kind of connective tissue, always kind of going to him like ‘You like this? Does this work?’ And such kudos to him for not being the precious author who’s like, ‘You can’t.’ Because I can’t work with somebody like that. I kept him very close during when I was doing my work on the script. So really tried to walk that line.Īnd you know, and Soman was invaluable. They’re like, ‘Oh, you need to know the comic, you need to know this.’ It’s like, well, it’s a movie, I shouldn’t need to know anything coming in. And so it was really about how do you pare this down, tell that story effectively, tell the most important parts of the story in a way that the fans of the books will really respond to, but how do you also then bring in a whole new audience that doesn’t need to know anything about the books? Because I have a real issue with going to a movie and I’m like, I don’t know what’s going on.
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