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VFX and Sounds
Although a Besson production had never incorporated quite so many visual and special effects before, the director admits he's been working with effects since The Fifth Element, 17 years ago. As he puts it, he wasn't "some rookie coming in and being lost because there were green screens everywhere." Now, as Lucy involved more than 1,000 special effects shots, the filmmakers decided to go for the world experts at Industrial Light & Magic (ILM) in the Presidio of San Francisco. Senior visual effects supervisor NICHOLAS BROOKS, who won an Academy Award for his work on What Dreams May Come and most recently served in the same capacity on Now You See Me, oversaw the process.

Says the director: "That's the mecca of visual effects. Mr. Lucas is the master. So we went to them, they read the script and were interested. It was a real treat working with them on this film because they're as kind as they're good. But also, on this type of project, I love to share ideas. There were so many young people working there who had ideas and were willing to try things. Filmmakers often say, 'We're doing things like this, and not like that.' But I said, 'Here's my idea, but if you come up with something better, I may change my mind.' It became a truly collaborative effort and made for some great teamwork."

Waked speaks for the cast about learning so much about special effects and visual effects on this production: "It's the first time I've done so much green screen on a film and so much shooting in a studio," he observes. "I'm learning a new technique that I've always wondered about. Coming from Egypt, we hardly shoot so many special effects in a single film, so it's been quite an education for me." Of course, he adds, "this requires a lot more focus and concentration than when you're actually on location, because you substitute all of that with your imagination. So instead of just focusing on the character and the moment you're playing, you're also focusing on the place you're supposed to be in."

Supplementing the stunning visual effects on Lucy with signature sound is Skywalker Sound's SHANNON J. MILLS, who served as the production's supervising sound editor and sound designer. The winner of four MPSE Golden Reel Awards for Best Sound Editing on Avatar, Cars, Atlantis: The Lost Empire and Titanic, Mills helped Besson create the signature sounds for Lucy that are complemented by supervising sound editor GUILLAUME BOUCHATEAU's intricate sound design and two-time Oscar winner DAVID PARKER's (The Bourne Ultimatum, The English Patient) incomparable sound mixing.

Finally, Cesar Award-winning composer Eric Serra created the film's mesmerizing, pulse-pounding score while British musician and composer DAMON ALBARN, of Blur and Gorillaz, has written a new song for Lucy entitled "Sister Rust." This beautiful, melodic ballad closes the film. About his work with Besson, Albarn says: "Luc has a very particular style and approach to filmmaking, which made me want to create something distinctive and cinematic."

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