The good news is that the director of the first studio feature film I worked
on said of the shot at left "It is my new favorite shot in the movie!" The
bad news is that that director was Rennie Harlin, the monster of Hollywood!
He terrorized the crew. He had a childish meltdown that make a career
low for Jeff Okun, who later on became the head of the Visual FX Society
He blew up everything. He had a pyromanic delight in blowing
up solid concrete and metal walkways. Was the concrete mixed with TNT when
it was laid? Absurd. My boss shook his head at rough edits and said "The
critics will say 'Too many explosions!" He was right and so very many explosive
shots, expensive shots were cut out. The purchase of the pyro was a waste
of budget. Risking lives unnescessarily. Taking money away from the FX teams
animating the sharks and storms right when they needed it most. Late post.
This movie was the last of the "analog sets first" movies and the first
of the "digitally scanned sets" movies. WB built this massive set at the
same place they shot Titanic with sets that could sink. But the above the
water part was a set built on a bluff which tricked the eye into thinking
far away ocean was continuous (in theory). This is where the Titanic shot
the lifeboats getting away and the boat freaking out.
a 3D built set based on tear down photos and bad faxes. not how they do
it today! I had to come up with a model for long shots and semi-close ups
of an entire facility. Today the whole thing would have been designed on
a computer, built in physical models hero and wrecked versions. Then CGI
would have been used to mirror the other side of the compund.
I had a bad fax, rough sketches and precious, precious photos taken
by my boss at the set as they were TEARING IT APART. Fortunately the architecture
was easy to model but we had to texture the thing from a post mortem
state. Today it would be so the opposite.