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Method Studios builds a giant world for JUPITER ASCENDING

COW Library : TV & Movie Appreciation : Tim Wilson : Method Studios builds a giant world for JUPITER ASCENDING
CreativeCOW presents Method Studios builds a giant world for JUPITER ASCENDING -- TV & Movie Appreciation Editorial


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Jupiter Ascending - HD Trailer - Official Warner Bros.


Wachowskis = world building. At least that's what we're looking for when filmmaking siblings Lana and Andy Wachowski take to the screen. In a sci-fi landscape littered with endless reboots, sequels and adaptations, we look to the Wachowskis for almost stupefyingly ambitious feats of original storytelling, complex narratives based on big ideas, and outrageous visuals, set in gigantic worlds that span space and time.

Jupiter Ascending certainly has all of these in spades. After some mixed results with Cloud Atlas, Speed Racer, and the Matrix sequels, even the bum notes in the tale of Jupiter's ascent feel oddly fresh. We might perhaps agree to disagree on this point, but most important for our purposes here today, the whole enterprise looks stunning.


The matriarch of the most powerful of the houses among this ancient race dies, but her genes are identically reconstructed in the person of Jupiter Jones (Mila Kunis), who cleans the homes of rich people
The team was enthusiastic about building the VFX world.


Method was one of the smaller VFX studios working on the film – "only" 80 people on "only" 350 shots or so. spread across 11 months. From Method's perspective though, it was their biggest job to date, following shows like the Hunger Games pictures, Thor 2, Guardians of the Galaxy, Wolf of Wall Street, and many more.

Method's original VFX lead in London (where most of Method's work took place, plus some in LA) was Stephane Naze, who had worked with the Wachowskis on Cloud Atlas. A few months in, he rotated onto Method's next project (sorry, can't tell you what), and Simon Carr rotated in for the Jupiter's last six months.

"I actually came into the project halfway through," says Simon, and was caught up in the team's enthusiasm. "Everybody was very excited about the prospect of world building: some of our artists had been working on concept designs for 2 or3 years by then, so we had some idea of the scale of the thing."

Now then, about the story. I put it only midway along the Wachowski



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