I heard very early on that
Vittorio was supposedly be involved, and I actually thought it was just like some kind of ploy
to get people involved in, Vittorio Storaro going to photograph it.
Yeah, what, you mean stills, he's not actually going to work the camera is he?
They're going to pay him to come and do stills as hobby type thing.
But lo and behold, you know, I arrived here and there he was
The combination of him and John works so fantastically because
you know, Vittorio,
he doesn't just stick a light in and roll the camera
no cinematographer ever does of course, but he came up with this
huge theory about Dune, and he'd worked to get to that in conjunction with John,
in a way.
So that he has his whole light plan for the whole thing and
his idea is that Dune is,
as well as anything else,
the journey of Paul Atreides,
from the boy that he begins the story as, to enlightenment,
the fulfillment of human soul or something, it sounded great.
But he will chip in with ideas for actors as well too.
If he sees that people are stuck, or the ideas are quite getting through
he will just, bingo, he'll just come up with something and everyone goes oh, great,
and there's been a few times that happened where he's really opened up the scene and released
people from kinda thinking, oh god, we're not going to get this.
Which is a bonus.
I talked with John, and we tried to come up with,
you know, of the idea of what the weirding way might be
and then we realized that a lot of the influences in the book anyway are sort of Eastern,
and that's reflected in some of Theodor Pistek costumes, and reflected in some of these
environments that we're doing these scenes in.
So we thought well why not pull that in
as an influence for the movement code and work on what this weirding way might be
and how does Paul fight, you know.
So we talked about Tai chi
and the idea that the movements should be circular and flowing
so he's not just this barbaric killer, he'll kill if he has to kill, and that's of course a big issue
in the film myself
but basically it's a flowing continuous movement that, you know, one moves leads to the next
and we've tried to do that as much as we can, sometimes it's very difficult, you know,
but that seemed to sit quite well so,
you know, you have
a system of movement that Paul, you see Paul learning at beginning of the film
and every now and then you see this
this code of movement repeated so it's obviously his combat style.
But I enjoy all that stuff anyway, and there are
three obvious sequences when you read the script, but we've managed to
create about five or six.
Petr Drozda is a ...
it's very very difficult to find the words, he's is quite a character, he's the stunt coordinator.
I wouldn't mess with him, put it that way, 'cause I think
along with six other guys, with one hand,
he could throw us all over a wall and not even think about it, but he used to be
an Olympic wrestler
for, as it was then, Czechoslovakia, I think.
So he's obviously used the skills that he has from his wrestling career etc,
and, I don't know if he's ever had any street fights
he seems to be quite big on the old punching motion.
But he's been really really clever, and as I say, its very
difficult some of these sequences because they are effectively unarmed.
So there's only so many knife moves you come up with, you know,
but in actual fact he's
come up with about three times as many as I could ever makeup, you know,
so it's been fun, it's been real fun.