“Hello. I am Denis Villeneuve. I am the director of 'Dune, part two'. [TENSE MUSIC] “So this scene happens exactly after the introduction of Feyd-Rautha, where we saw him as a psychopath. And here we bring this character into his political environment, where it would be a strange celebration of his birthday, where the prince has to fight slaves in the Harkorn culture in order to prove himself in front of the audience. And the whole scene was designed as a dance between Feyd-Rautha, played by The Great Austin Butler and the crowd. Austin created a cross mix, as I will say, an Olympic swordsman, a serial killer and Mick Jagger. He brought an enormous sex appeal to the part. And Feyd-Rautha is one of the best-known characters of 'Dune', Austin had to fill big shoes. And I am very proud of what he brought on the screen. One aspect that I love at Frank Herbert's 'Dune' is all books that also study the effects of the environment on humans. How nature shapes human psyche, behaviors, culture, technology, politics, etc. Would you like to know something about Fremen? You look at the desert. But it is a little more difficult for the Harkennen because they have completely destroyed their natural world. And I was looking for ecological information, ideas, indications that give me some indications of who they are. And I thought about what if your sunlight subtracts instead of revealing it? What if you came from a black and white world? That would give us an idea from which this binary, fascist and cruel behavior comes. When my cameraman Greig Fraser and I brainstormed how to bring a strange sunlight that will be black and white on the screen, Greig had the idea of testing infrared. And infrared is the light wavelength that is usually blocked in cameras because it is viewed as noise. And we modified the cameras in order to get this wavelength through and block the other colors. And it created this scary, strange, stranger, nightmare atmosphere that I dreamed of for Giedi Prime. “” Happy birthday, dear nephew. ” [CHEERING] “We almost see through skin. The eyes are penetrated like insects. And the issue with this method is that there isn’t any option to return. We shot it that way. It is just not an effect that was done within the post office. And so these scenes never appear in colours. “” Why don't you stop the fight? ” “Plans inside plans.” [DRAMATIC MUSIC] [NON-ENGLISH SINGING]: “Show me who you’re.” “Well, now everything is this scene a game between the baron that put his nephew Feyd under enormous pressure, so he is pushed in front of the crowd to prove his bravery. And I kept the scene very intimate near Feyd and kept the crowd in the background like the landscape that it wants, a bit like the desert for Paul. A pressure that pushes it and feels the effects of this pressure intimate. I had the design of these picadors, characters that are very scary in the book. And I came with this type of devilish form that seemed to come from one of our nightmares. Give us another idea of what delights Harkonen, what is sport for you, how cruel or desperate you are cruel. And here is a moment that I absolutely love when we feel that Feyd is not afraid of pain. He loves pain. He loves to bleed to be on the edge between life and death. It is someone who only has – they only respect one, is courage and good fighter. And the slave who demonstrated that Feyd's abilities gained respect, and that's why he did not immediately kill him. He played with him like a cat and a mouse. It is a scene that is very close to what was described in the book. And it is a scene that every time I see it, especially with the insane Hans Zimmer score and the great work of sound design to bring this amount to life. I am very proud. “” He is indeed impressive. ” [CROWD CHANTING]
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