Issue link: https://digital.copcomm.com/i/237968
OUTLOOK directors Andrew Niccol says VFX for The Host were completed in just six months. Andrew Niccol The Host, The Truman Show, Gattica Born in New Zealand, the writer/director moved to London at age 21 and began directing TV commercials before moving into movies in 1997 by writing and directing the Oscar-nominated sci-fi thriller Gattica. STRENGTHS: "The ability to change things and be flexible. I'm not interested in any part of a film where I can't change something. For instance, once I've finished one of my films, I never look at it again — ever. I've never watched any of my movies after that last time I check a print, because I can't make any more changes. There's a great story about Picasso, who was banned from some museum displaying some of his paintings, as he'd sneak in and alter them (laughs). So when there's a premiere for one of my films, I never watch it, as I can't alter anything. That's why I love post — the infinite ability to keep improving and changing stuff, till they take it away from me." WEAKNESSES: "In a weird way, it's the same thing — the ability to keep making changes, and it's never-ending. It's that old chestnut: A film is never completed, merely abandoned." OPPORTUNITIES: "Post is just so infinite now, it's mind-blowing. You used to be limited to a frame. You're not any more — you can cut one frame into infinite pieces if you want. It's just amazing. And I'll change the pitch of an actor's voice if I want to alter the mood and man-up the actor. Or if he's put on a few pounds for a re-shoot, I'll just stretch it. I've even swapped eyeballs out (laughs)! Whatever it takes. In fact, my editor on The Host said he gets into trouble because he'll improve a performance so much that the actor involved will get 20 Post • December 2013 www.postmagazine.com another role based on that film, only it's not really based on his performance but on the manipulation of that performance." THREATS: "It's always about managing time and money and there's never enough of either. It's amazing how much faster everything is now — from the technology to the actual post process — and that can be a threat. We had a total of about six months doing post on my last film, The Host — not a lot for a film with so many effects. I love post and even though it's such a cliché now, it's the last rewrite. So I love it all, as the writer in me can change things and move elements around and repurpose things and manipulate things. It can be frustrating if you realize you don't have the shots you need, but you can work with the material you have and you just have to be more resourceful. And sometimes you can't just rush post to meet a deadline." OUTLOOK FOR 2014: "I really hope drama isn't such a dirty word anymore, after some of the great movies of the past year or so. For me, it's always story, story, story. And a film like Life of Pi really pushed things to a whole new level for visual effects." Glenn Francis, www.PacificProDigital.com John Moore A Good Day To Die Hard, Behind Enemy Lines, Flight of the Phoenix, The Omen and Max Payne The Irish director started off as an assistant cameraman for Neil Jordan and Jim Sheridan, and moved into directing commercials before making his feature film debut with Behind Enemy Lines. STRENGTHS: "The big strength that post gives you is that second