Visual effects film
And to top it all off, Spielberg approached Kaminski telling him that he wants “the ugliest, dirtiest movie” either of them had ever made.ĭVFx are added to the already existing characteristics only to “transfer” us to the future. He adds, “Steven Spielberg makes us imagine facts from the past, the present and the future and decided to depict a science fiction noir film where there is a lot of story, mystery, and clues, and requires attention in order to put everything together”. “Because it is a science fiction film and a science fiction film is based on future facts mostly,” Januz Kaminski, the Director of Photography says. In Minority Report, we have an exceedingly strong plot without the futuristic elements: powerful, relatable characters, edge-of-your-seat action sequences, intricate riddles, nail-biting suspense, and tension already built into the setup. McClean, as Bazin mentioned earlier, references the reasons that a script can be lacklustre with or without DVFx: poor structure, massive changes to fundamental plot details in the adaptation from an original source, poor premises and reliance upon spectacle as a substitute for action, character development and thematic resonance. People often accuse Visual Effects of ruining the storytelling, that they are more important than the actual film or that they are impressive and the story is lost. He sees the opening scene as “…A total cinema that is to provide that complete illusion of life which is still a long way away.” The Confrontation So, are the DVFx in the first act necessary? Andre Bazin is in favor of the Visual Effects and states that a script can be weak by itself, it doesn’t need the DVFx to ruin it. The contradiction between current and futuristic elements is emphasized by Producer Bonnie Curtis who says, “The opening scene is somewhere in Georgetown and while everything looks ordinary, we enter ‘The Temple’ which looks like a whole different world.”
Last but not least, there are the dark and wet alleys which denote that some things will never change even if they are polished with holographic advertisements.ĭana Friedman and Mat Beck, ILM Visual Effects Producers, once commented that the tools are not the main point, just “pipelines to our imaginations,” and that the best images are “lyrically and emotionally real.” On the other hand, futuristic monuments and edifices that surround the aforementioned buildings add scope-providing innovative, imaginable technological ideas. Classical Greek motifs, on one hand, signify the beauty and status of the city. McClean argues that “In narrative filmmaking the development of DVFx arises out of narrative demands.” How does one design the world as we know it, almost half a century into the future? Writer and researcher Shilo T. How do Visual Effects help the theme and message of this film? Do they help at all? In other words, does using Digital Visual Effects undermine the storytelling or help it move forward? I certainly think it is the latter. These questions form the theme of Minority Report. “What about the 0.02 percent who change their mind and do not do something after all?”
“Who is guilty without having done anything yet?” And with such a debatable issue like foreseeing the future, no society can embody it.
But what if they don’t? In Minority Report, one of them casts a dissenting vote. Three Precogs can tell a crime before it happens.