I love the music there as well. Again, just wanna say that there's something there, the tone. I wanted something that feels a bit Byzantine. Not just like... There was an Oriental flavour to it. And the whole movie had a bit of that in the architecture. But also Paul Haslinger sort of brought some of that in the music as well. So you'll see, what we did here was that chamber is... It has a look that is very similar. We made sure that there was... You know, that the arches, the seal, the background, the fire pits... ... if you compare the two films, they... It's definitely getting as close as we could... ...with just doing it the way that honestly I'd always wanted to. And we had to make a decision of, okay, do we stick with something... ... that quite honestly I was not ever thrilled with... ...1n terms of reusing a set... ...and not having the image of Sonja that I really wanted... ... that would fit with the story. Or do we get a chance to just now do it properly? And so that's the decision that was made. And I hope it hasn't caused too much confusion. The only thing, Len, is If we had attempted that... ... It would have felt like a shock in the middle of the movie. Something that didn't blend at all. It would have actually hurt it as well. I'm glad we said, you know, let's go for it. Because texture-wise, it was such a different look. What's sad also is that we reused the set again. We still didn't get away from that. We built these big dishes, all this motif to kind of bring it back here. Yeah, right here. This is the chamber when the humans walk in. The great hall. - The great hall. That is that set. And then we brought in other pieces. I remember on the day we just kind of grabbed the different walls... ...and set pieces and made it. It's my favourite set. - A great-looking set. And it's really-- You get so excited when you're able to do that... ...because you go from, what are we gonna do with this small chamber. So you put it in a grand hall. You light it differently. You put the thing. And then you have this amazing set that you didn't have to pay for. We paid for it, but, you know, don't have to pay for it twice. This is one that Dan really pulled out of his butt too. He did this for almost nothing. And at the top part of the ceiling again... ...IS part of this feeling of change from the original movie... . Slightly different design, Forét Bleue did the... And again, It's just... - Did the CGI work. Because also, this has... There was a bit more detail in the design... ...of having a chance to create a lot more in this one. And the other, you know... What I did in the first one, again, you know... . it was an add-on, you know, a last-minute scene. And it's like a little miniature, like a disc. Somebody's just kind of pushing out of the way. A 3-foot model, yeah. I just wanted to mention the two piece of chain... ... that are pulling both ways at one point... ... you saw two minutes ago was actually stolen from Underworld 2. This was a-- William thing. - When William... You mean the two--? - You know who noticed that? That is a great shot. - At the premier? That is such a beautiful shot. Nick De Toth, our editor. - Did he? I really wanted this to happen really quickly. And we have some, you know... I thought it was great. lt was enormously tragic. Beautiful, beautiful effect. And I loved to go... Remember when we did the temp music on this? This was hard music to get. You just gotta hit it right with not being too overboard... ...and not being too dark, because It's still tragic. We did probably five, I don't know, different versions... ...I remember that we were looking at. The one, remember, we had in the temp music... ...Was actually getting... There was something in there we like, and we went to Paul. We said, you know, there's something interesting in there.
1:07:08 · jump to transcript →
