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 the 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.
01:01It could be five years from now, it could be ten years from now.
01:05It 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.
01:10What was really inspiring was the idea of looking at functional vessels. Like a submarine.
01:15A submarine has two engines, so if one fails, there's another one that can kick in.
01:20Which means the actual footprint of a submarine looks much bigger than the living spaces.
01:25The submarine has two engines, so if one fails, there's another one that can kick in.
01:29Which means the actual footprint of a submarine looks much bigger than the living spaces.
01:34I absolutely love the fact that we've color stacked this movie.
01:38Everyone looks the same, dresses the same, grey, without personality.
01:45Each time I showed director Bong any sort of saturated color, he wanted more grey in the overall crew and work work.
01:54So we went with this color stacking theme of grey on grey.
02:10It's really unusual to deliberately do that.
02:13It's unusual to deliberately do that.
02:18That can be a moment of complete horror on set, when everybody arrives wearing the color of the sofa.
02:23you know so far but in our film that was very deliberate in terms of the makeup there is a
02:30gray palette there is no pinks or reds in the skin tones except for marshall and ilfer
02:39it really is this monochromatic world and then marshall and ilfer just flashes of color left and
02:45right they just look completely out of place on the ship reds marshall's signature color
02:51and ilfer she wears a lot of pink it's all so extreme especially when you compare it to
02:58what the rest of these people have to wear we just kind of think that we're above everyone else and we
03:04do look that way it's really talking about class on the ship we're very aware that there's this class
03:12division this expanding divide between the haves and have nots when you see these
03:20two they just pop and then when you see the living space it's just gilded and grotesque
03:27it's just outrageous our suite is like being inside genie's bottle it's just this kind of pink
03:34velvety well-lit kind of gorgeous space because you know ilfer demands this this and this i had a dream
03:41that marshall had all these jeff coons sculptures made of him and i told fiona and they went and
03:47made one and there it is in our apartment people who attain that level of the pecking order are kind
03:55of caught in their own bubble you could tell from the clothes from the teeth
04:02just the perfect chiclet bonded teeth and then the tan and the contouring and then we have the night
04:10show tonight with marshall it's very quaffered he's a vain man so when he goes to the tv show we needed
04:17room to elevate it just that bit so he was more tanned more contoured eyeliner gentleman's lip color
04:26his hair was perfect but one of the things that we deliberately did was with all the makeup that
04:31he had it was all tanned in his face and neck but his hands remained white
04:40in different situations he uses different microphones and it seems like an extension of
04:45his character that he needs this to project himself to make himself a bigger man or something
04:55there's just so much that the vfx has to help with the storytelling of it all whether it's
05:01creating the planet or the spaceship but it's also the creepers
05:05so we had a very trusting and feeling relationship working together he's very clear about he wants but he's also very
05:27trusting in what you bring to the process one of the things with that with the creepers that i i
05:34am particularly proud of at the end is that the the vast horde when when you do those traditional
05:40visual effects it's like they always feel like some kind of repeat yeah i can see the the doubling up
05:45and the tripling up and whatever it's very hard to do that like we worked very very hard
05:51there's this really cool thing about the set where yes it's sci-fi but there are reminders of earth
06:02humanity gave up reinventing the pen because it works that's been our logic that a chair is a chair
06:08a bin is a bin but then a human printer the future's in the tech director pong was very clear with us that
06:16he wanted this piece of machinery to be the most futuristic thing in there and everything else be
06:21always rooted in reality my starting point when i was looking at the human printer was i did look
06:27at human printing because it exists there are organs that are being printed but also i looked at a lot of
06:33medical equipment you know we looked at mris and various things and 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
06:44basically the idea was that the technology none of it really felt that unfamiliar and in a lot of
06:49ways it feels retro and a lot of it's kind of clunky which i love even down to the human printer itself
06:54it feels like this upscaled xerox machine i mean it's called you know the human printer
07:02and it prints like it's printing out paper
07:07that tickled me for us it basically came down to skin texture after he gets printed out
07:14he's as pure and clean as a newborn so rob had to depilate all his body hairs everything had to come
07:23off and once you've got rid of the body hairs then you know the look started to come together once we
07:28kind of applied the product to give him that kind of wet look both robert and director bong wanted mickey
07:36to look vulnerable his expendable uniform is totally practical it has a lot of openings and
07:46access points we use magnets quite a lot they can get to him just pulling the sleeves apart and they
07:52can inject him or do an experiment on him he even has director bong requested this specifically
08:00gonna bleed through his eyes nose mouth ears and rectum a butt flap which makes him even more
08:07vulnerable mickey's memories are all stored through what's called the brick that's sort of how most of
08:15the characters are justifying their behavior to mickey is he's not a human being that brick over there
08:21that's him since his brick is okay mickey's okay that his body almost isn't mickey himself
08:31they lie to it stab it poison it mickey deep breath
08:38niflheim it's just a desolate snow covered planet we used over 300 tons of magnesium salt to give us the
08:45impression that we're in a snowy environment it's got a little bit of sparkle to it that helps sell that
08:52kind of fresh snow kind of look that you get falling snow will use the combination of shredded plastic and
08:59foam
09:05we always seek out like-minded weirdos to join the team with director bong he's such a confident artist
09:12like he doesn't question where things come from if he likes it it's in the movie it feels like this
09:19kind of holistic experience where he brings everybody in on the process
09:23the way he sees the world is so specific and unique
09:30all of our artists and we work together with all of our artists and we work together
09:35I was so happy to work.
