![]() Then we would make a PDF from that.ĭearing: We'll have a sit-down and a powwow about how we're going to achieve something. For some of the more complex scenes, we would take a stand-in or two to the real locations where we're going to shoot the scene and photograph how we would shoot it. I encouraged myself and Leigh to either shotlist, storyboard, and photo board even. Everyone wants to know where the camera's going to be, what it's going to be doing, and how you'll achieve these sequences. You need to pre-visualize and conceptualize as much as possible, so you can engage and inform every department, whether it be Jonathan's visual effects department or art department. You can't improvise as much as you might in other films. On a project like The Invisible Man, every department is hungry for information. I'm really big on pre-visualization and storyboarding and shotlisting. We spend a lot of time, Leigh and myself and Jonathan, in pre-production talking about how we're going to shoot the sequences. NFS: In terms of where you guys cross over, how much of it is a team effort to figure this out?ĭuscio: It's very collaborative. We want to make movies based on story and tension, and with that comes the reality of shooting things as practically as you can. We're not 20, 25, 30-year-olds that want to show how we can animate the next Incredible Hulk. A lot of us from that age group want to do that. If they can see a practical way, definitely he's going to want to try and achieve that in-camera. ![]() I step in as the support for the stuff he doesn't know how to shoot practically. So, he always wants to approach things practically. ![]() Obviously, Leigh understands and appreciates the benefit of working with practical set pieces and real locations, and would definitely err toward that rather than sitting in a studio on a green screen set or stage. Is that the way you guys came at Invisible Man as a team again, too?ĭearing: Very much so. NFS: Upgrade has a sci-fi element that's incorporated into a world that's supposed to feel grounded. "We want to make movies based on story and tension, and with that comes the reality of shooting things as practically as you can." - Jonathan Dearing And Leigh and I hit it off on that and just stayed in touch. I was very excited that he wanted to collaborate with me again. It was one of the fastest scripts I've ever read. But we had a lot of similar feelings going through that course.Īfter The Mule, Leigh started telling me about Upgrade, which I was very excited about. We discovered we both studied the same course at university, which was media arts. I got to know Leigh better and discovered that we had a lot in common. And they subsequently both acted in the film. ![]() ![]() It was a film that he co-wrote with his old friend Angus Sampson. Stefan Duscio: I met Leigh on a little film that we did in Melbourne, Australia called The Mule. I had a quick meeting and we picked up where we left off two years earlier on the previous film. The Invisible Man, we instantly were on the shortlist. So when he walked back into town with the next script in his hand. We instantly bonded and shared the same philosophy about shooting as much practically as we could, using visual effects to support and add where it needed to. We did Upgrade together, which is a sci-fi thriller he did in 2017. Jonathan Dearing: I've got a history with Leigh. No Film School: How did each of you got involved in the project initially? ![]()
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