00:00E mi piace proprio quando Loak si prende il fin, e io voglio fare questo!
00:06Me too!
00:20Io so per certo!
00:22C'è un famoso episodio di South Park, in cui dicono che non ci serviamo James Cameron perché è costantemente
00:28riuscita la barra.
00:30C'è quanto hai riuscita la barra questa volta con questo film?
00:34Penso che abbiamo riuscita la barra un po' un po'
00:37ma vorrei dire che altre persone ci dicano che abbiamo riuscita la barra.
00:42Per me è sull'esperienza che un pubblico ha quando vedono questo film.
00:46Io ho detto a qualcuno che una delle mie le cose che faccio quando sono in una sala di scena
00:52come oggi o il film,
00:54non si senti in un'altra, si senti a un'altra, e guardo l'audienza, guardo l'audienza, guardo l
00:59'audienza.
01:00E questo, per me, è la reale gioia.
01:03E, per me, la sensazione di feedback che ho ho da oggi e altre persone che ho parlato,
01:09è che l'audienza oggi ha detto che abbiamo riuscita la barra, e questo è quello che è importante.
01:15I really love the creature design.
01:19The toolcune è il mio favorevole so far.
01:22How much did you work on the creature design?
01:25You know, the creature design is something we started very early on,
01:29and we have an incredible team of designers, Dylan Cole, Ben Proctor,
01:35we use Weta Workshop, and we're challenging people to create creatures that,
01:44at first appearance, will feel like fantasy creatures,
01:47but we ground them in a design of reality in the world of Pandora.
01:52So the toolcune is this majestic ocean creature that swims,
01:59and the way its tail moves, it works.
02:04And Jim demands that, that these can't be things that move,
02:09and we go, it doesn't move in a real way.
02:12And I just love it when Loak grabs onto the fin.
02:15I want to do that.
02:18Me too.
02:21Yeah, it's part whale, I think, part turtle, it's amazing, yeah.
02:24I think that's what it is, it's using it,
02:26and everybody should see something different in it.
02:28It's no one thing, just like we as people are no one thing.
02:33I was amazed by the skin texture.
02:37How much did you work on the skin texture?
02:40You know, one of the things that technology has allowed us to do
02:45in the evolution since the first Avatar, is have more detail in everything.
02:51And skin texture on both the characters and on the creatures,
02:56just adds a more authentic feel to it.
03:00So we continue to push Weta FX to give us more detail in that.
03:06We give them more real world reference of what we want to do,
03:10and it's a very important element of everything.
03:13And how much did you work on the sign language of Navi?
03:17Because in the first movie there was their language,
03:19now we have sign language.
03:21So how much effort did you put on it?
03:23We put quite a bit of effort into creating a Navi sign language.
03:28We hired a gentleman by the name of CJ Jones,
03:31who is a deaf actor, to create the language.
03:36And we challenged him to do it not with a five-digit hand,
03:41but with a four-digit hand, because that's what the Navi had.
03:44We also said to him, we want to use the sign language
03:48when they're writing these creatures.
03:50And when they're writing a creature, one hand oftentimes has to hold onto it.
03:55So we wanted to create a sign language where you can do it with just one hand,
03:59and not just two all of the time.
04:01And the cast had to learn it, and CJ did a phenomenal job creating it.
04:07Okay. Thank you so much.
04:08I am really looking forward to seeing all the movies.
04:11Thank you. Bye.
04:12I look forward to sharing it with you. Thank you.
04:14Bye.
04:15Bye.
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