I asked David Hayman, who supported "Harry Potter", about details of "Zero Gravity"

"Zero · Gravity" in Tokyo Press Conference,Interview with Alfonso · Cureon directorIn the end, I also interviewed producer David Hayman.

Mr. Hayman also served as a producer of the "Harry Potter" series, who talked to a small part while holding a gesture hand in response to the question


GIGAZINE (hereinafter, G):
Mr. Hayman is also a producer in "Harry Potter" series etc, but what is the work of the producer? What exactly did you do with "Zero Gravity"?

David Hayman (Hayman):
The role of the producer varies according to the work. In the case of "Harry Potter" mentioned as an example, I decided to read a book before I publish my work and buy that right. After that, I found a screenwriter, I looked for a director and worked on making a script together with the director. Next, he looked for designers, was involved in casting, involved in all designs related to movies, and also supported the director in the course of making it. Editing, Visual Effects, Marketing, Distribution ...... In addition, various images spilling out from the movie, such as DVDs and toys, including images such as those appearing in the movies will be consistent I was arranging.

"Harry Potter" became a long series, but since the director took over for each work, I was involved for the longest in my work. However, I thought that it was important not only my work but also the directors to give their respective powers, in fact, I think that the tastes of the directors were out. I am proud of that. In addition, being one of the important points is to keep the original dignity of J. K. Rowling's dignity.

On the other hand, "Zero Gravity" is the form I got invited by Cureon director's work. For example, "Harry Potter" is my child, but "Zero Gravity" is a child of Cureon. But the most important thing is to ensure that the director can demonstrate its full power, no matter who's a child. "Zero Gravity" did not know at all what it would be at first, how I could make it, even I did not even know what kind of technology I needed. However, investors are giving money to things that they do not know. Therefore, it was the producer 's job to protect the work so that it would be shaped safely.

G:
Even with Cureon director, "Harry Potter and the prisoners of Azkaban" are also organizing a combination, how was it after a while to work? Did you have anything new to the coach?

Hayman:
Well, I wish my gray hair increased (lol) Although it has not changed in the human part, I think he is happy now.

In terms of change, when Harry Potter was done, Curelon was not very familiar with visual effects, but he gained much experience with being involved in zero gravity. I said that it has not changed before, but the place that "I do not know the fear" is as it was. At the time of making Harry Potter, the director who did not know the visual effects, but now I know about the visual effects, I tried to do something that I had never done before. In order to do something never before, I have to start from the point of making technology from scratch ....


G:
"Zero Gravity" is a work of only 2 performers. At a press conference, there was a story saying "It was a definite work aimed at when you got the script," but what did you think when the performers got two scripts?

Hayman:
"Wow!" (Laugh) There is only one reason why I wanted to make this movie, "Director is Alfonso Cualon". There are people who like this in the director's work but I do not like it so much, but I love all his works. There is a big ambition there, even if it is a story of things that we could not do so, we are going to go on that where we can think.

"Zero Gravity" has two characters, so at the beginning I thought "This is easy", but it was a mistake (laugh). This is difficulty for making weightless space, not the number of people.


G:
When I saw it in 3D, I felt as if I were in a zero gravity space. This time it is said that we used a special device for shooting, but what kind of trial and error did we have by this method? Is it a work that I was able to take because I had this method?

Hayman:
First of all, it took about a year and a half to develop. I tried and tried variously, but there was a place I could not do anything when I hit the wall. The reason why I was able to overcome that problem is because "I learned that the actor should move and not move." It's easy to hang an actor upside down to express that you are in the universe, but as you grab it, gravity is there, your face meat and skin will hang and you will soon find out funny things is. Therefore, in space we decided to draw everything except the face digitally. The real thing is only the part of the face of the space suit, the others are all CG including the spaceship etc. On the other hand, everything except the body and face is made digitally when entering the space station etc.

G:
I see. Have you made science fiction movies set in the universe and have different points compared with works of other genres?

Hayman:
Introduction, this work is not science fiction but science fact. Since neither aliens nor monsters come out (lol), it is space debris that comes out instead, this is not a fictitious story. A few months ago, it also happened that the ISS had to be moved by debris flying. The most difficult thing is to make zero gravity.

G:
In this work "the overwhelming fear of outer space" is transmitted. Is there anything devised in the production?

Hayman:
One key is "long turning". One scene continues without being cut in the middle, for example, the beginning scene has been performed for 12 minutes and half a turn. Initially it begins with a viewpoint from an objective viewpoint of the earth and in time the camera approaches Dr. Ryan working fixedly on the arm of the spacecraft. As it is, the picture becomes the point of view of Dr. Ryan. The camera enters the inside of the space suit and reflects what Dr. Ryan is watching. Perhaps, I think that the person seeing it feels as if he was in the position of Dr. Ryan because the cut does not enter in this flow.

Also, how to use close-up is the key. Close-up is as if the person became it himself / herself, if it is wide it is a state where the surrounding situation can be seen. In this way, you can feel the size of the human being and the size of the universe, so you may feel a sense of fear. Also, it may be the cause that makes sense of direction disappears because there is neither an upper nor a lower in the universe.

Although it is not the beginning scene, we can confirm that long turns are used in the scene where space debris fly in the second trailer. Since there is no close-up of the face, if you are watching a movie, you will feel like you are being attacked by debris together with the characters.

Movie "Zero Gravity" Preliminary Notice 2 Collision Hit [HD] December 13, 2013 released - YouTube


At the same time as directing the tense atmosphere with the close-up of the face, as if the picture is captured wide, it seems as if extensiveness of the universe · helplessness of the coming human being is extruded strongly.


G:
That is the last question. What was good that I was in charge of the producer of this work, what was hard work.

Hayman:
What I got about this work was just where Harry Potter came to the end, so it was hard for me to start shooting this while editing it. Working with a person like Alfonso Cualon, a person who does not compromise at all, is not easy as it requires the limit of ability. Very tight, it is difficult for everyone. But it is also the theme of the movie, but I feel that my power will be gained by overcoming such adversity. I think that the work has become so proud and at the same time their arms also rose. Actually, as a producer, I feel that my arms are raised than before.


The movie "Zero Gravity" is released on December 13. In a scene where Dr. Stone becomes stuffy only by a powerful work, sometimes it feels stuffy also here, and people who are easy to get motion sickness, those who are not good at claustrophobia · stuffy may need attention However, the height of this immersive feeling is a work worth seeing in IMAX or Dolby Atmos. In a scene where there is no technique to do under weightlessness and it can not be balanced, the seat is not moving, but you can feel like feeling as if you are on something attraction. Because I am using 3D as one of the important directing, not for clattering or gaudiness, if you have the opportunity, please see it in the movie theaters you are screening in 3D.

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