![]() ![]() The guys would get really tired it was very hot in those suits. But most of the time we were using two hero demons, and we’d rotate them out. There was one scene where we saw three, but we ended up cutting that. You never wanna use all four at the same time, just in case there’s kind of an emergency. ![]() The former humans are all makeup effects, and then we had four suits. So we knew we were doing digital work once we got to Hell, with the two types of demons that are down there. I wanted to do as much in camera as I possibly could, because when we get to Hell, I wanted that to look nothing like the rest of the film I didn’t wanna just be in another location. Giglio: There were four suits that’s what we were able to afford. Obviously, you have the sort of main Imp on Phobos that you spend a lot of time with. So it was pretty challenging for that aspect. We built that little rock section, and then everything from that point on was just a very lengthy process to finalize. The only shots that are real in the Hell sequence is when she first pops out of the water. The Hell sequence-that was literally just Amy Manson on a green screen with nothing. The movie looked very rough for a very long time, because it just took a long time for our post process. Every time you see a “ former human” or a demon, there’s wire removals there. But there’s close to 1,000 visual-effects shots, and they were all vital. Most of the time, you kind of know what the finished film’s gonna be. It was weird, because this is my seventh film and, I would say, the most reliant on postproduction. Abrams wants more time and money, so I’m content with what we got. So we ended up cutting some the earlier stuff, making it a little bit tighter. ![]() I knew, once the shit hit the fan at the middle of the movie, that it was just gonna be nonstop action. Maybe I would’ve liked it a little scarier in spots, but this is just how the film kind of unfolded. But I’m very pleased with the finished result. You write a script and then you shoot it and then you put it together, and it’s never exactly-none of us are Kubrick, and none of us can go back and do things over and over and over again. You try to always aim a little higher, and it’s always easier to come down than go up, so I would probably say that we were very ambitious for the stuff that we wanted to do. Giglio: Going in-since I’ve got a lot of experience with 1440 and I knew they weren’t gonna throw tens of millions of dollars at us-I can’t pitch a script that can’t be done. Did you feel like this was the story that you wanted to tell? Kane: Stuff like the first season of Stranger Things has proved that you can shoot on a budget and still find success. ![]()
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