00:00It's a complicated world to imagine, and you know, you're so used to the idea of a sci-fi movie being a certain way, but then as soon as they turned out, first day of shooting, the sets were just so incredible.
00:23That's been the best part of this, seeing what has been constructed.
00:30Every time I walk on the set, I'm just blown away by hair, makeup, costume, this entire world created by Bong Joon-ho.
00:41Overall, I think this is like director Bong, all about attention to detail and a feeling of immersion.
00:53Waves upon waves of people desperate to leave Earth. It's clear!
00:56We didn't want it to be this unrecognizable future.
01:03It looks expensive.
01:05It could be five years from now, it could be ten years from now.
01:07It's clear!
01:08We didn't want it to be this unrecognizable future.
01:09It looks expensive.
01:10It could be five years from now, it could be ten years from now.
01:12It could be five years from now.
01:14One of the first things I had to do with director Bong was to design the ship.
01:20It wasn't like we wanted it to look like something out of Star Wars. We wanted it to feel more like a dilapidated cargo ship.
01:33What was really inspiring was the idea of looking at functional vessels. Like a submarine. A submarine has two engines, so if one fails, there's another one that can kick in.
01:44Which means the actual footprint of a submarine looks much bigger than the living spaces.
01:49I absolutely love the fact that we've colour stacked this movie.
01:54Everyone looks the same, dresses the same, grey, without personality.
02:00Each time I showed director Bong any sort of saturated colour, he wanted more grey in the overall crew and work work.
02:10So we went with this colour stacking theme of grey on grey.
02:14It's really unusual to deliberately do that.
02:17That can be like a moment of complete horror on a set when everybody arrives wearing the colour of the, you know, sofa.
02:23But in our film, that was very deliberate.
02:26In terms of the makeup, there is a grey palette.
02:30There is no pinks or reds in the skin tones, except for Marshall and Ilfa.
02:37It really is this monochromatic world and then Marshall and Ilfa just flashes of colour left and right.
02:44They just look completely out of place on the ship.
02:47Reds, Marshall's signature colour.
02:50And Ilfa, she wears a lot of pink.
02:53It's all so extreme, especially when you compare it to what the rest of these people have to wear.
03:00We just kind of think that we're above everyone else and we do look that way.
03:04It's really talking about class.
03:07On the ship, we're very aware that there's this class division.
03:13This expanding divide between the haves and have-nots.
03:18When you see these two, they just pop.
03:21And then when you see their living space, it's just gilded and grotesque.
03:26It's just outrageous.
03:29Our suite is like being inside Jeannie's bottle.
03:32It's just this kind of pink, velvety, well-lit kind of gorgeous space because, you know, Ilfa demands this, this and this.
03:38I had a dream that Marshall had all these Jeff Koons sculptures made of him.
03:44And I told Fiona and they went and made one.
03:47And there it is in our apartment.
03:49People who attain that level of the pecking order are kind of caught in their own bubble.
03:56You could tell from the clothes, from the teeth.
03:59Just the perfect chiclet bonded teeth.
04:04And then the tan and the contouring.
04:07And then we have the night show tonight with Marshall.
04:11He's very quaffered.
04:12He's a vain man.
04:13So when he goes to the TV show, we needed room to elevate it just that bit.
04:18So he was more tanned, more contoured.
04:22Eyeliner.
04:23Gentleman's lip colour.
04:25His hair was perfect.
04:27But one of the things that we deliberately did was, with all the makeup that he had, it was all tanned in his face and neck.
04:33But his hands remained white.
04:39In different situations, he uses different microphones.
04:42And it seems like an extension of his character that he needs this to project himself, to make himself a bigger man or something.
04:54There's just so much that the VFX has to help with the storytelling of it all.
05:00Whether it's creating the planet or the spaceship, but it's also the creepers.
05:05We had a very trusting and fulfilling relationship working together.
05:24He's very clear about what he wants, but he's also very trusting in what you bring to the process.
05:30One of the things with that, with the creepers, that I am particularly proud of at the end is that the vast horde.
05:38When you do those traditional visual effects, it's like they always feel like some kind of repeat.
05:42Yeah, I can see the doubling up and the tripling up and whatever.
05:46And it's very hard to do that. Like we worked very, very hard.
05:50There's this really cool thing about the set where, yes, it's sci-fi, but there are reminders of Earth.
06:01Humanity gave up reinventing the pen because it works.
06:05That's been our logic, that a chair is a chair, a bin is a bin.
06:09But then, a human printer.
06:12The future's in the tech.
06:14Director Wong was very clear with us that he wanted this piece of machinery to be the most futuristic thing in that.
06:19And everything else be always rooted in reality.
06:23My starting point when I was looking at the human printer was I did look at human printing because it exists.
06:29There are organs that are being printed.
06:30But also, I looked at a lot of medical equipment.
06:33You know, we looked at MRIs and various things.
06:36And then we got into the details.
06:38It was nice to link up with the art department and Fiona and our brief was to make it come to life, basically.
06:44The idea was that the technology, none of it really felt that unfamiliar.
06:48And in a lot of ways, it feels retro and a lot of it's kind of clunky, which I love.
06:53Even down to the human printer itself, it feels like this upscaled Xerox machine.
06:56I mean, it's called, you know, the human printer.
07:01And it prints like it's printing out paper.
07:04That tickled me.
07:07For us, it basically came down to skin texture.
07:12After he gets printed out, he's as pure and clean as a newborn.
07:16So Rob had to depilate all his body hairs.
07:21Everything had to come off.
07:23And once you've got rid of the body hairs, then, you know, the look started to come together once we kind of applied the product to give him that kind of wet look.
07:32Both Robert and director Bong wanted Mickey to look vulnerable.
07:37His expendable uniform is totally practical.
07:42It has a lot of openings and access points.
07:46We use magnets quite a lot.
07:48They can get to him just pulling the sleeves apart and they can inject him or do an experiment on him.
07:55He even has director Bong requested this specifically.
07:59He's going to bleed through his eyes, nose, mouth, ears and rectum.
08:02A butt flap.
08:04Which makes him even more vulnerable.
08:08Mickey's memories are all stored through what's called the brick.
08:12That's sort of how most of the characters are justifying their behavior to Mickey.
08:18He's not a human being.
08:19That brick over there, that's him.
08:22Since his brick is okay, Mickey's okay.
08:25That his body almost isn't Mickey himself.
08:30They lie to it, stab it, poison it.
08:33Mickey, deep breaths.
08:37Niflheim.
08:38It's just a desolate, snow-covered planet.
08:41We used over 300 tons of magnesium salt to give us the impression that we're in a snowy environment.
08:48It's got a little bit of sparkle to it.
08:49That helps sell that kind of fresh snow kind of look that you get.
08:55Falling snow will use the combination of shredded plastic and foam.
09:04We always seek out like-minded weirdos to join the team.
09:09With director Bong, he's such a confident artist.
09:12Like, he doesn't question where things come from.
09:14If he likes it, it's in the movie.
09:16It feels like this kind of holistic experience where he brings everybody in on the process.
09:25The way he sees the world is so specific and unique.
09:30I'm happy to work with all of our artists.
09:35In the movie recently, I was really excited.
09:36I'm very glad to see it.
09:37Hi, I'm now.
09:38Thank you for the love of your team and the world.
09:40I'm happy to see it again.
09:42We're happy to see it again.
09:44At the moment, we've been in the movie out.
09:45We have a great day.
09:46We have a great day.
09:47I can't wait.
09:48Thank you for the time.
09:49We're going in the next time.
09:51I'm happy to see it again.
09:52I'm happy about this.
09:53I hope you're gonna keep a new feeling,
09:55We're gonna not let myself know.
09:58I want to come back today.
10:00I'm happy to meet a new team in here.
10:02Let me know that you're gonna keep up,
