Gremlins and Goonies and Young Sherlock Holmes, the trilogy of Amblin films. Was there any reluctance on your part to do another film that had so many effects?Ĭhris: I realised that I had to get back and do something, more so than Potter, that was connected to the types of films that I was writing in the 80s. ![]() You still want to go back and tinker again and again on specific shots, but for me, I really felt we accomplished from a visual effects standpoint what we wanted to do. ![]() I vowed when we shot this film that I would shoot the more intense visual effects sequences as early on as possible in the process, so they could really be as seamless as possible. So I’m not happy with a lot of the effects in the first film. But in the first film, because we couldn’t get the sets built in time, we didn’t have enough time to shoot some of the major visual effects sequences three or four months earlier than we should have. When you finished did you feel you needed to use that again, or were you reluctant to go back into a big CGI film?Ĭhris: No, by the time we got to Prisoner Of Azkaban we had it figured out in a big way in terms of visual effects, and how to get the visual effects as good as possible. ![]() ![]() Subscribe You mentioned the Potter movies were a CGI learning curve for you.
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