- I play Special Operative Leo.
- From the initial meetings,
it was quite clear that the director
and the production wanted to make a film
that felt very grounded and real.
(intense electronic music)
- [Anthony] He's been developed
and designed by the military.
He is very skilled with weapons and technology.
(machinery whirring)
- Leo was a real process of exploration.
Humanoid robots have been done so many times before
that it's very difficult to come up with something
that feels original.
- In the scene, Harp first arrives to the base.
I go to my locker, I take my shirt off,
and I let him know that I'm not the average soldier.
Don't worry.
I'm special enough for both of us.
(machinery whirring)
- We really needed that scene to stick with the audience
all the way through the whole film.
Otherwise, the whole basis of the entire movie falls apart.
We ended up with the idea that he had a body
that supported itself with this exoskeleton
and creating the illusion of him
having a human body under his t-shirt.
Technically, there would be these electrical currents
that go into this structure that contract and expand it
so that he can faux muscle contraction and so on,
so that he really feels believable.
But then underneath is where his power comes from.
And what we really wanted to work with
was the feeling of negative space.
His arms were very thin.
And so if you think about how strong a crowbar,
you know, a crowbar is a very thin piece of metal,
but you could lift a ton weight with it without a problem.
Something that we had to do
is really kind of amplify the reflections
in certain parts of his body.
Sometimes, we'd actually bring some of the shading
of his skin back on top as well to try and help ground it.
It was really tricky,
but at the same time,
we knew that that ultimately would create something
that was very interesting.
- [Anthony] The advancement of the military in this movie
shows that the military has gone to a more robotic warfare,
so they've developed these robots called Gumps.
And the Gumps are the first line of defense.
(people clamoring) (machinery clattering)
- [Sebastian] The real challenge with this
was creating a world that felt a little more advanced
than what we're experiencing today,
but at the same time,
it couldn't feel like a full on sci-fi.
- There's a certain vocabulary
that we had to create to go along with that.
How do you use these big guns?
How do these Gumps move?
How do these Gumps attack?
- [Sebastian] These robots were part
of the three main fractions.
The U.S. Gumps obviously were very advanced,
cutting edge technology.
The insurgent Gump's also cutting edge,
but from a Russian design line.
When we first started designing these Gumps,
it became quite apparent
that because we were taking the same inspiration
for both of U.S. Gump and the insurgent Gump,
an issue could be that they feel very similar on screen
and in the context of the bank heist scene.
(Gump thumping) (intense music)
- Okay.
- Where you've got really quick cuts between the Gumps,
you really need to understand
what the geography of that moment is.
Otherwise, you're not going to understand it
And if we didn't get it right,
you might think that they were part of the same team
and they were shooting each other.
So, animation language became something
that was very important.
To research,
we would build these very blocky versions of them.
We would build rudimentary rigs with them
so that we can do animation tests
and really understand how they move
before we locked the design.
So with the U.S. Gumps,
we looked at how special forces moved
and then really incorporated that into our choreography.
- We had a great stunt team.
Because I've done so many of those big CGI movies,
there comes a point where you're standing there
and it's like a green ball,
and you have to take the ball
and act like it's something else.
- They come out of the bank with the guards
and then they really hunker their position.
And that's where they stay throughout the scene.
We thought, okay,
what's a cool thing that you could do?
Maybe they have a big 50 cal machine gun on their back
that they can only use when they hunker down.
(gunfire blasting) (intense music)
- There's something I need you to do for me.
(knife clanging)
- Are you sure about this?
- In the scene where Leo and Harp turn up to the bank,
he makes an incision in the back of Leo
after he asks to pull out
this tracking device from his spine.
Obviously, Harp would not be able
to put his fingers into Anthony Mackie's actual back.
So we knew very quickly
that we'd need some sort of prosthetic
to create a wedge of silicone
that Harp could then put his fingers into.
When Harp's fingers go in, they disappear,
so we had to effectively rebuild his hands in CG
in order to see his fingers still through his body.
So a lot of what you see in the final picture
is completely rebuilt from scratch.
75% of the film's shots are VFX shots.
It's a big VFX movie.
We were really lucky to have such a strong team
that really pushed the whole thing forward
and make it what it was.
- It's a really great time to where you can sit
and enjoy the movie because it's such a unique story.
- [Sebastian] Check out "Outside The Wire" only on Netflix.