Prior to working on “1917,” special effects artist Tristan Versluis had designed no more than five or six corpses. But Sam Mendes, director of the WWI drama, which has garnered 10 Oscar nominations, needed Versluis, who picked up one of those noms in the hair and makeup category, to create 30 corpses and dead horses, all at different stages of decomposition.
It was important that entire corpses rather than just body parts were created to allow Mendes to make changes when it came to shooting. “We had to be able to turn the bodies and move them in case any tweaks needed to be done,” Versluis explains.
And because the director decided to assemble the film as one continuous shot, Versluis and his team had to change their approach to their work. Instead of prosthetic pieces for front or back camera angles, he opted to use full dummies. “We had 360-degree shots. The camera could turn anywhere,...
It was important that entire corpses rather than just body parts were created to allow Mendes to make changes when it came to shooting. “We had to be able to turn the bodies and move them in case any tweaks needed to be done,” Versluis explains.
And because the director decided to assemble the film as one continuous shot, Versluis and his team had to change their approach to their work. Instead of prosthetic pieces for front or back camera angles, he opted to use full dummies. “We had 360-degree shots. The camera could turn anywhere,...
- 1/22/2020
- by Jazz Tangcay
- Variety Film + TV
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