But every successful, ambitious film starts with a dream, followed by compromise and adversity.
Deadline offers the occasional peek into the creative aspirations, and the sweat and blood that propels ambitious films.
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Denis Villeneuve at the ‘Dune: Part Two’ New York premiereJohn Nacion/Getty Images
The disruptive move was not handled gracefully.
There were testy talks between reps of stars to be made whole on losses from backend deals.
But it was a different matter for Legendary.
The lights went out, and Villeneuve showed how he had painted on that 100-foot canvas like a master.
It gave the confidence to take the plunge on a film believed to have cost around $190 million.
A lot of [the sequel decision] we based on Europe.
We opened the movie much earlier there than in the U.S. because Europe didnt have the day-and-date Max problem.
Every country was different.
In Korea, there was a big impact from Covid, Mexico was smaller.
We found there was some knock on our aspiring younger audience for the franchise because of Max.
If were 50% right, or 75% right … you know what?
Were going to trust in the filmmakers, the artistry.
Lets go make the second one.
So Legendary put up 80% of a budget, once again.
Warner Bros paid the rest, and handled the marketing that the Legendary duo said was superb.
Dune: Part Twohad its own logistical complexities that could have been simplified if shot on a backlot.
Its familiar, but unique.
But this is its own, unique film.
Obviously there are visual effects.
The worms are not real.
The ships are not real, but as much of the action as possible is, she said.
We were actually out there in the desert doing it.
To the actors credit and everyone else.
It was intense, just moving in the sand.
Its not as though that was shot on a stage with fan brought in and a green screen.
We built a big part of the harvester, when theyre moving and jumping between the different legs.
We all spent more than two months out there, Parent said.
We got pretty lucky and didnt have a massive sandstorm.
But the sheer physicality of it?
The nature of the story is very different, he said.
In the first movie, we follow a boy who discovers a world.
It was more contemplative, more meditative in some ways.
That boy is the victim of events, but he survives.
In the second movie, he takes action.
He becomes a leader, a leader of guerilla fighters.
He tries to avenge the murder of his father.
Its much more of an action movie.
I really tried to improve as a director in Le Mise-en-Scene.
I tried to be much more efficient and conscious of the way I was directing.
Its like that, its very intimate, the process of a director.
It was a moment I took in and havent forgotten.
We were between shots and everyone was just sort of in these little, just little clusters.
And I looked around and I was like, wow.
And that in between when we were doing the promotional tour ofPart One, they became real friends.
And that, of course, tremendously helped me because the whole movie is based on their love story.
The whole structure of the movie is embedded in their love story.
And through their relationship, we see all the drama that is being unfolded and all the tension.
So it was very easy for me to work with them.
Many times, like where I felt I knew that I had a movie.
Theres specific moments where I said, okay, okay, Im okay.
I felt the connection between both when they were like getting closer together or when they were growing apart.
I felt the tension and I was very deeply happy with both.
They include a climactic swordfight with Butlers sociopathic villain.
Said Chalamet: Training started from day one.
I started learning the fight choreography in Los Angeles, I think Austin was already in Budapest.
So, as soon as I got there, we were working on the fight.
He was a dedicated scene partner and fight partner.
And that whole sequence was just epic no other way to put it.
Also key for Chalamet was a pivotal moment where he rides a sandworm.
The sandworm sequence scene 62!
was shot over the course of three months, he said.
It was incredibly complex.
Paul learning how to ride the sandworm is akin to coming of age.
He rides the worm.
What Denis has done so beautifully is show the distinction between the older and younger generations, Zendaya said.
Many of them believe this.
Chani is part of the generation thats fighting back against what she perceives as archaic ideas.
She believes this is what has been oppressing her people.
So, her entire journey is one of sincerity, an honestness to learn and grow from Paul.
Their love story is really earned.
Im used to being very secretive.
Im used to protecting movies when they are at their early stage.
I love to protect that moment and were at the writing stage right now.
Its clearly not going to require the speed needed in preppingPart Two.
Sorry, those books are not easy to adapt.
I want to take the time to do it right.
I worked onPart Twountil recently, I was still approving the 70 millimeter prints a week ago.
And now Im doing the marketing campaign.
So I dont have the time to work.
Of course were going for a third one.
They started to talk to me about the third one after a week of shootingPart Two.
A rave byOppenheimers Christopher Nolan, himself the preeminent maker of worldbuilding movies, also helps.
That first film, we had the pandemic, and now the strikes, Parent said.
We werent going to sit on the movie for another year.
Im just pounding it into people, see it on the biggest screen possible.
