00:25looking at
00:26because like certain things about the character especially the captain foxtrot
00:29obviously the cigarette stuff like that but obviously with the captain the gloves and the eye
00:35uh you know definitely pirate you know long john silver type of vibes too uh if you will but also
00:42me in uh flash gordon not necessarily ming the merciless but also uh colitis i remember from
00:48the 80s flash gordon there's that feeling so obviously you know art uh and and film being
00:53what it is it's a collaborative effort so um you know i must uh credit my my um uh production
01:00designer live action production designer sylvie de marais who did a great job uh at coming up with
01:05the costumes um you know jointly with uh simon um and um they were they they they helped they helped
01:14uh compose uh the character it's funny i had just i was on set and a few days before that
01:21set i i fell
01:22and had an accent here and this was yeah yeah this is now just a little a little bruise which
01:27still
01:27shows uh but um it was fresh fresh fresh it was fresh fresh fresh it was a couple of days
01:33literally
01:34a couple of days old and so that was a bit of a you know a challenge to put the
01:38light on and to have to
01:39you know be careful for the uh the injury the scar but um it helped it helped compose the character
01:46and um just the general um as you know katie said the melodramatic um uh portion of of this of
01:55this
01:55character uh kind of went hand in hand with uh with a british accent and then well when came the
02:01time
02:01to create foxtrot i just wanted to be you know as far away as possible from the you know low
02:05uh sort of
02:07shakespearean uh you know british and so i brought him in a different direction um so that that you know
02:14the the costumes always help with all creation as actors it always it always helps a lot it's that
02:19like that story about uh i think it was visconti who um who um uh burt lancaster was on a
02:26film set and
02:26it was in it was it was a period piece and uh he um uh he had uh change in
02:33his pocket burt lancaster
02:34had change in his costume pocket and uh he said to uh visconti said i i don't remember uh there
02:39being
02:39any change in this in this scene that and he said no no that's not for camera it's just so
02:44that you
02:44know that you have that money in your pocket from from from the time
03:00i would like to do some tourism visit your magnificent city uh simon sorry could you talk
03:07about you know obviously we're talking about melodrama tone that's very specific but the effects have
03:11to reflect that without going maybe too overboard but they're very specific in the way they're
03:17designed um could you talk about that and finding the tone both in the direction but also in the world
03:23you were creating i wanted to do something uh silly and ridiculous i took uh some yeah there's some
03:31kind of reference to uh you know the that kind of uh flash gordon and phantom menace to roger roger
03:39uh seriously it was whatever works uh and uh so i'm not uh i'm not a very uh advanced uh
03:493d artist i
03:50i learned along the way doing the movie and uh i keep it uh just um kind of expressive expressionist
03:57and
03:58um i think both the the characters and the sets were just uh kind of dialectics uh together and
04:06the silliness of the characters uh are helped by the sets and uh everything but um it's a good
04:14question in fact i i cannot answer so clearly uh to that question i need to think about that uh
04:21the
04:21biggest challenge because there's so many different effects and how it's done the robots even that that
04:27dinner scene so the most challenging was very boring part uh we're talking about uh roto and that
04:33kind of thing roto and king the invisible work is the most difficult in fact and uh waiting for the
04:41renders waiting time roto all the boring parts this is a real problem because the the funny parts in 3d
04:48that goes are pretty well in fact it's like uh it's a it's instinctive most of the time and uh
04:56yeah the i would say the boring part is the word for years for years tim i was i was
05:06you know
05:06talking with simon and keying keying keying is is is tough yeah keying is tough when there's when
05:14there's a lot of movement on the green keying is tough yeah the invisible work uh that don't show on
05:21screen in fact yeah walk in your mysterious streets discover your your architecture blend in with
05:31the anonymous crowd
05:41what did you see if you don't mind me asking when you first came to play the queen i mean
05:46i think just
05:47the outlandishness the ability to be unleashed i am definitely an over actor naturally i'm always
05:56trying to contain it and so to be allowed to be as theatrical and dramatic uh as as i wanted
06:03and
06:04to sort of bring the physicality of the nails and these sort of sunset boulevard type inspirations um
06:13and just the colors the world these guys built was so creative and so imaginative the creatures like
06:19i love them so much all of they everything is so fun and i just i love having a good
06:27time watching a
06:28movie and this was even just the very few clips i saw in the beginning i was having a great
06:33time and
06:33i just was like please send me into this universe
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