I made the time to pop in and visit for a few hours. Since any kind of shooting means lots and lots and lots of waiting around, I snapped a few pictures.
As soon as a take was over, The Gorilla would run over to the monitor to see how it looked on camera.
(Sometimes a director will only watch the monitor during the scene. After all, how it looks on camera is most important, right? But for the kind of stunts The Gorilla is directing, he usually watches the live action, then reviews it on the monitor.)
There was an area where we could watch some of the takes from the day before. The movie is 3D, and for most of the shots we could watch the playback in 3D, too. That explains the glasses. There is no explanation for the ponchos.
It takes a TON of power for an operation like this.
Which makes sense, when you see all the lights and machines they're running.
Underneath that huge light is a camera that runs along on a dolly to follow the action. See the tracks on the ground? You could probably see it all better if the picture wasn't blurry. I'll be having a stern word with the photographer.
They use lots of props on this movie.
So many props that the Production Designer was using a bike to get around the big, open warehouse.
And he wasn't the only one.
(The Gorilla with his in-laws. Aren't they sweet?)
Oh, wait, here comes the Production Designer again. He must have had to grab something over by the Star Wagons.
Oh, yes. There were Star Wagons. We'll be covering them in detail later. I knew you'd want to see the inside of such posh-ness.
The Gorilla had explained the plan for these two critical parts of the movie, but I guess I didn't really understand what they were going to do. When I saw it in person, I couldn't believe it.
I know you're not going to believe me, but this movie is artistic. You'll see.