…I saw the trailer for C and I found it inspirational to say the least. Not only because it was an independent film, but because it had integrity and vision, and because its being made right now. I admire this.
Soon after seeing it, I wondered why I couldn’t do something similar for Iapetus, my own science fiction film concept. I set about writing a short screenplay and thinking about ship designs. I also decided to use miniature photography instead of CGI.
Some of the (film related) things that I remember most about my childhood were space sequences in science fiction. Sure I loved the whizzing adrenalin of a Star Wars dogfight, what kid wouldn’t? – but what I remember most was the Enterprise leaving dry-dock in Star Trek II, or similar sequences in Star Trek III. The scale and volume of the ship as the camera very slowly moved past it were awe inspiring, it’s reality seemed beyond question.
This has been lost in recent years with the proliferation of CGI. The hard limitations of physical miniature photography: physics, time, optics and budget, made sure that every shot was extremely well planned and executed. Here, the story was king. If a shot wasn’t helping, it was dropped because it was so expensive, and because it was relatively inflexible all the thinking went in at the start.
With CGI the focus seems to have shifted from story telling to shiny effects reels, perhaps because of the enormous flexibility. I still think Jurassic Park is the finest execution of cinematic CGI to date. It’s no surprise that they spent a long time studying animal movements. Walt Disney did the same thing for Bambi, bringing in all kinds of artists and experts to try to capture the natural movement of wild deer. What strikes me in both films, is that the medium was exactly that, a vehicle for the story, not the other way round.
Unlike the creators of C, I’m not adverse to using green screen or digital compositing for these effects, and in fact the approach I’m using demands it (more on this later). Next time I want to post some more detail about the film in it’s current format, as well as some test shots for the space sequences.