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He brought all of his skills to bear on Denis Villeneuves adaptation ofDuneand its second chapter.
And there are subtle changes in the filming that diverge from the first movie.
We wanted to see to it this was not being made for a small screen, Fraser says.
This was made for the biggest screens that exist on the planet.
Fraser sums it up as two perspectives.
One is Pauls in that melee of craziness, almost being sucked under the sand, like hes drowning.
Another is the Fremens the kin are watching and treating it like a carnival event.
Anything theyre touching is real.
Anything that theyre close enough to that it will impact their existence is real.
So we would build as much as we physically could.
Obviously when it comes to a sandworm, theres a limitation to how much you could actually build.
The sandpit had three tubes in it for support.
They effectively created a collapsing sand engine, Fraser says.
But thats not what it is.
Theres something uncanny about it.
Its the same camera that we shot the film on, Fraser says, but we modified it.
We need to know that were not in a gladiator environment in Arrakis.
So the sun had to be different.
Fraser and Villeneuve did tests and loved the way the infrared effect looked.
The end goal, however, remained the same.
As long as you feel a connection with the characters, were good.
The underside of the harvester (i.e., the legs and belly) is a set.
In hindsight, you kind of say, Okay, yeah how did they do that?
Did they have a camera operator in the air with a crane?
The real elements of the image let the filmmakers sell the parts that are conjured from ones and zeros.
Thats why its a magic trick.
I was showing you my left hand while I was doing the magic trick with my right.
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