With “Dune,” Denis Villeneuve confirms that he is a visionary director. Adapted from Frank Herbert’s 1965 novel, “Dune” is set in the year 10191 and Villeneuve salutes his artisans who helped him c…
confirms that he is a visionary director. Adapted from Frank Herbert’s 1965 novel, “Dune” is set in the year 10191 and Villeneuve salutes his artisans who helped him create the look and sound of the film, which covers multiple interplanetary cultures and locations.Patrice preps a lot. He is a workaholic and it’s all about details and massive visual research — whether you dig in the past or project into the future, it requires research.
Patrice put his imprint on every set, every detail, even the way the sand is seen. Some of these sets were so gigantic, there was no stage to hold them, so we had to build them outside. Patrice has an amazing cultural background and we both come from the world of documentaries. He’s a maniac and I love him for that.
I had to sell Patrice to the studio because he had never done a movie of this size, and I thank the movie gods that we got him.I was looking for a cinematographer who had the skill to play with natural light, to embrace nature and not to impose himself on nature, but more to dance with nature. I was very impressed with his work on “Zero Dark Thirty” and “Mary Magdalene.” When it came time to make “Dune,” he was first name who came to my mind.
At the beginning of preparation, I had intuitions about “Dune,” but wanted to make sure all possibilities were studied. I wanted a camera that was flexible and versatile. I wanted to embrace the power of the desert; I wanted nature to be a main character in the movie, with as much natural light as possible. Greig and I worked with real sunlight, for exteriors and even some outdoor sets. Before Greig came on board, I was envisioning the light of the movie, the contrast, the nature of the light.
Every piece of music was a challenge. I remember when he brought the music for the harvester rescue, when Paul is in contact for the first time with the deep desert and with the sandworm. We didn’t approach it like a monster sequence, but rather a spiritual encounter. When I listened for the first time, I cried because he nailed it. It’s one of the most difficult pieces of music I’ve heard in a long time.As a makeup artist, he is so precise but Spartan; with Donald, less is more.
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