Denis Villeneuve’s Dune films are visually putting—cinematographer Grieg Fraser and manufacturing designer Patrice Vermette have already got Oscars from Dune: Part One. However Dune: Part Two is even bolder, and features a black-and-white sequence that leaves a lingering affect.
Speaking with Variety, Fraser defined how the interlude—the climax of which showcases the gladiatorial prowess of Feyd-Rautha (Austin Butler) as Baron Harkonnen (Stellan Skarsgård) and others on Giedi Prime look on—got here into being. Initially, the concept to shoot in black-and-white got here from Villeneuve, who thought the sandy environment of the combating ring could be too evocative of the movie’s most important setting of Arrakis in any other case. Fraser upped the ante through the use of a digital camera modified to shoot in infrared, a way he’d used beforehand in Zero Darkish Thirty and Rogue One: A Star Wars Story “All of the digital camera might see was infrared, and that grew to become their world,” he instructed the commerce. “My fascination with infrared began as a result of our eyes can’t see [certain things], however the digital camera can.”
The Giedi Prime sequence additionally required particular work from the wardrobe division (costume designer Jacqueline West, whose work on Half One was Oscar-nominated, needed to regulate her strategy to verify all of the Harkonnen outfits regarded correctly black within the uncommon lighting), and returning manufacturing designer Vermette needed to assume creatively—citing “septic tanks” as one shock inspiration—when bringing the Harkonnen planet to life.
Head to Variety for the complete piece, which additionally explores how Dune: Half Two’s editor, Joe Walker (one other Dune: Half One Oscar winner) labored with Villeneuve to make the combat scene as thrilling as doable, and but under no circumstances resemble “a contemporary sporting occasion,” significantly in the best way its spectators sound as they’re reacting to its spectacle.
Dune: Half Two is in theaters now.
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