Gisteren kon je hier op Eigenwereld.nl al lezen dat Marvels Doctor Strange wereldwijd meer dan $103 miljoen had opgebracht. De PR rond om deze film lijkt ook geen einde te kennen, want de website Collider dropte gisteren dit interview met visual effects supervisor, Stephane Ceretti. Van dit interview kan je hier onder een klein stukje lezen.

Collider: This movie is visually stunning and mind-blowing, on every level. Usually with visual effects, you want them to blend in and be seamless and have people forget they weren't actually there, but with this, there's no getting around them. Is it cool to get to hear that appreciation that people have for the visuals?

CERETTI: Well, I'm not going to complain. It's nice. We've been working on the film for two years, so it's been a long, long process and a very difficult one. It's visually very heavy, in terms of visual effects, but we also tried to balance the film and the effects and the story together, in a way where we don't take people out of it. Even though we're going crazy, you still have to relate it to what's happening to the characters. It's been very hard, in that sense, to find the right balance between things, and find the right effects. It's very exciting to see that the audience is responding very well to it. We started from the streets of real New York that they know, and then go all the way to the crazy kaleidoscope Rubik's cube version of New York, and pace it through the sequence to make it feel like they can fly with us and understand what we were trying to do. So, it's good to see that they're reacting well to it. It's very exciting.

Any one of these sequences would be crazy, on their own, but you have countless crazy shots in this film.

CERETTI: The good thing on this film was that we had a lot of time, before we started to shoot, to try to figure it out. We pushed five months because Benedict [Cumberbatch] wasn't available, so I started in September 2014, which is more than two years ago. Because of that, we had lots of time to figure things out and do some concepts and do a lot of pre-vis. We were lucky that Marvel said to keep going on pre-vis and concepts. It's a difficult film and they knew that from the start, so they really gave us the tools to figure it out, from a script point of view and a visual point of view. We also worked together. (Director) Scott [Derrickson] was writing the script, as well, and we were all together, all the time. It was a creative campus of people, just trying to figure things out. The script was informing us in pre-vis, effects and editing, even before we started to shoot. Also, Scott had a lot of visuals that he came with on the project and he wanted to use. Charlie Wood, the production designer, and I worked on it together for a few weeks, initially, to try to sort things out, get some new ideas, and put even more visuals into the big stew we were doing, at the time. It was a feedback loop between the script and the visuals, all the time, which I think worked very well because they are integrated. I think it was successful that we had that time. We didn't have much time in post, though. We had six months in post to do everything, so that was tough.