Temp music

committed to the idea that you would see this totally from her point of view, that we would never cut to the gratuitous, big, giant, flocking visual effects shot outside of the house where you see this massive bird swarm. And there we go. That's the bird. I did this as a temp visual effect, this digital bird flying and hitting the glass. This is now a puppet.

26:14 · jump to transcript →

And we just, it always made audiences jump, even just in the cutting room. And we liked it so much that even Fuse, which did, our visual effects vendor, did great work in the movie. But for some reason, that was one that we just really liked it. So we ended up keeping the temp in the movie. And your temp is actually a 2D bird. It's not three-dimensional. No, it's not. It's a 2D bird. That's great.

26:42 · jump to transcript →

Tina was our gray. Yeah, my girlfriend, you know, I came home one night and I was, you know, I wanted to temp all these shots in the movie. It's sort of how I sort of communicate to my various members of my team what I'm looking for. And so I photographed her using my Canon 5D as a silhouette and then distorted her silhouette and stretched it and made it a little more skinny and alien-like.

32:55 · jump to transcript →

Len Wiseman

on an iPhone first to put it into a cut. iPhones are getting so good that there are 18 lines of ADR that are just additional audio recording of the actors that's done on an iPhone. And I did it on this pilot for Hawaii Five-0 and it was such a condensed post that as a temp I just had a lot of the actors do their ADR on an iPhone. I'd send them the scene and they'd just record it on the iPhone and email it to me.

1:29:01 · jump to transcript →

Len Wiseman

and it's such a good quality that I used it. And I thought, oh, okay, I can only get away for it because it's broadcast and television, it's never gonna hold up in a feature. And I did it for a temp, had everybody, Colin, Jessica, Kate, Bryan Cranston, Ethan Hawke, John Cho, everybody has iPhone lines that I would just write, they'd email them to me, I'd listen to them, say, can you change this, can you do that, or whatever. And there are about 18 iPhone lines that remained in this final film. Sounds like I should do an iPhone ad.

1:29:31 · jump to transcript →

he has turned into something that ultimately, if he sees his girlfriend again, he's going to eat her. So it's not good. And then here's where the music comes in. This is kind of controversial because, you know, very, very controversial, very controversial. During the edit, I put this temp track in and I think, you know, the scene needed it. And then we, you know, everybody was cool with it. And they said, yeah, of course you can do a little music.

39:03 · jump to transcript →

And one of the interesting things that Joe and I have discovered is because I cut without temp music, the movie has its own... Yeah, Chris doesn't cut... He cuts... He finds his own internal rhythm, so he cuts with no music. So when we're watching the film, there's no score. For months, we're watching it without score. And what happens then is that Joe will write a piece for one scene, and you can literally take it and lay it over another scene, and it'll hit all the same cuts. It'll have certain... The movies have sort of a dramatic...

1:25:34 · jump to transcript →