Steve Lawes You see the street light effect on the net curtains. You see the toplight on Benedict. You know this is where we get into the realms of being restricted in terms of where you can put lights, and also you’re putting lights in places so that it shows up the dust, so that the dust is backlit. Realistically, the light on the curtains is a little bit much. It’s a bit bright, but I’m working on the basis that when the window goes you need the light to pick up all the dust that they’re going to blow through.
This is obviously done as a plate so the explosion is done without Benedict in the shot. It’s got several elements, the main element being the background plate. So we shot Benedict first, and we got him to do his action, and then we do the explosion (but Benedict’s not there when we do the explosion), and then they comp the two together.
That explosion is put in, in post, because actually what Danny [Hargreaves] is doing effects-wise is just blowing debris through. There’s sugar glass in the windows. All the cameras have got protection on them because you can still get cut by sugar glass, it’s just not as bad as real glass. You know what The Mill have done is- if you see the fireball explosion outside…
Mary Jo Watts Mmm-hmm.
Steve Lawes They have created that, in that frame. And the debris coming through is mainly what was actually there on the day.
Benedict with TGG director Paul McGuigan (below). Note the camera is behind a Perspex shield.
Woooo! Thank you guys so much! I really, really never expected that making ponymotes bob around and talk would grow to this degree when I started. I’m totally touched that so many people are entertained enough to want to keep following what I do. What’s next? 10,000’s probably a little optimistic, but, hey, maybe one day!
Celebrate this milestone with me by watching until 5,000 Pinkies have popped out! Those two and a half hours will just fly by.