The effects guys made us look good. Bates, Epper, Corey Eubanks, and Steve Kelso were the main drivers responsible for the spectacular stunt driving throughout the film. He would also bring friends and sneak onto the stages to show off the phenomenal sets or into the garage to ooh and ah over the astounding cars and trucks. So to be honest, my stunt double did some incredible things that I can only pretend to have done. Fox does, however, take umbrage with her character for not wearing a seatbelt.
How can you be minimal about that? I asked Turturro and Voight about it. Where do you pull from?
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How do you find the right place to go? It really helped when Michael had the guy [actor and voice-over artist Mark Ryan] on set doing the austere voice, but you would think that someone would invent a giant animated puppet for the actors to work with, but even that would pale by comparison to the robots that the audience will eventually see in the film. Michael enjoys showing people playback of scenes anyway, but he was great about having us watch the animatic or a piece of something the editors had cut so that we could get a grasp of what we were doing at any given point in the story.
The comedian also points out that he is equally experienced at working opposite inanimate objects and animals. LaBeouf also points out that his job was not simply memorizing dialogue, but memorizing movement and motivation as well. They needed to think like an actor rather than just a technician or artist, or worse, a button pusher, and they did.
I think the people at ILM did an incredible job. The experience gave him a brand new perspective. Bay hired production designer Jeff Mann whom he worked with on commercials. My department had the best teachers at Hasbro so we understood very quickly that people were devoted to these characters and the toy line right from the start.
The process was a lengthy one that came with its own idiosyncratic set of responsibilities. It took his team six months to develop the final concepts for the characters. I wanted the designs to be rich and textured so that audiences would feel like somebody cared enough to create a backstory to enhance the viewing experience. Wild though it may seem, Mann unearthed some rather lofty theories about the transforming robots during his research; one such notion even suggested that the transformations had a basis in molecular nano engineering.
Despite such fanciful theories, Mann says the filmmakers did attempt to adhere to some rules when it came to the transformation process. It was important to Michael that the robots transform into similar sized objects. We even had evolutionary charts for each character. In our version the robots have limitations and cannot change form willy-nilly.
They are simply technology beyond our understanding. Each one had an expertise — one guy was designing eyes, one guy did overall facial structure, another did the feet. It took months and months. Hasbro helped us, but they also let me do my thing. Weighing in at solid 8, pounds, he is almost 13 feet wide and more than eight-and-a-half feet deep. When production began, it took several men most of the day to assemble the robot which was transported from location to location via flatbed truck. He can now be assembled in only two to three hours. Timing was also improved on screen.
In the cartoon transformations lasted mere seconds, but the filmmakers knew that they had to do better than that for the film version and took great care in designing the intricate workings of each metamorphosis. In talking about the design of the robots, the discussion invariably turns to the vehicles. They make clay models of designs for use way in the future. I think it was for Rick Wagner, the president of GM. GM not only lent the production assets worth over a million dollars, they also helped with the physical labor of retrofitting many of their vehicles in order to make them look a bit different than what consumers see on the road.
And keep in mind that in the magic world of movie making, each vehicle must have a stunt double and a photo double. When Mann showed Bay a photo of the enormous tractor trailer, he was immediately taken by the lines and the size of the truck even though he knew he would face intense criticism yet again for his choice. The plane is so new it is still being tweaked and is currently in the process of final flight testing at Edwards Air Force Base.
When the production company shot with the prototype, security was at its absolute highest — not only were background checks required, everyone signed in and out of the area where the aircraft was parked, no one with cell phones as permitted within several hundred yards, and all recording equipment was pre-approved. Picture car coordinator, Steve Mann no relation to the production designer , worked closely with Jeff Mann to find all the vehicles used in the film, even the background cars and trucks, many of which were flood damaged insurance write-offs from Hurricane Katrina.
And with our theory about mass, the size made it the logical choice. All of the vehicles were selected with the audience in mind. The sets that Mann designed and created with set decorator Larry Dias took on a life of their own once the production finalized the deal to shoot in and around Hoover Dam. The imaginary interiors they fashioned needed to harmonize with the real-life location built in the early s.
In the story, the dam is built around a strange square-shaped object that seems to emit a signal through energy waves.
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In order to hide the peculiar device from possible enemies as well as from simple curiosity seekers, the government decides to hide it within a hydropower plant. Kaufmann and Allen True, along with the help of sculptor Oskar J. Hansen, who took the design aesthetic of the dam to another level altogether. Initially planned and designed by engineers working for the Department of Reclamation, the plant was about function, not form, until it moved into the hands of artists.
Anthony Anderson believes the detail and lavishness of the sets helped the actors to find the reality in each scene. Like everyone who walked into the Hughes Hangar, he was particularly enthralled with the continuation of what was shot at Hoover Dam. With stage space at a premium in Los Angeles, many filmmakers are opting to use now-defunct manufacturing plants and warehouses wherever they can find them. The site where the infamous Spruce Goose was first built, Hughes is now home to many motion pictures and television production companies. I guess he was born from a sort of sense of wanting to include the museum, wanting to think about these objects.
And also this antique ivory figurine which is like an anatomical Venus was used to teach anatomy, back in the 16th, 17th century. You could take the little body parts out, the little miniatures. We get the history of the Viking attacks on Britain in a modern thriller.
I had thought I was going to write an ongoing crime series with Jamie. The arc, her arc pretty much winds up, but Blake, I think, will go on to be his own separate thing.
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I have this whole set of new possible series with Blake, because I find his ability quite addictive myself. It would be something I would love to have, and some people have it. Alexandra: Yes, exactly. Nice to have that kind of feedback. And then you anticipated one of my questions.
I was going to ask if the books would carry on. Joanne: Yeah. But I think, for me… Have you ever read any Barbara Erskine? But she has this similar time track where she has one story in the present, and one story in the past. But as you say, I love having the modern day based on history in some way.
And to me, the research process is kind of what I love most or a part of the process is finding out all this cool information and doing that research in, like the three London psychic books. Getting to know London at a different level was part of what made it so interesting. For Blake going north into Norway and maybe Iceland, I will plan a trip there. London, I finished the trilogy, so I finish the cycle of those three London books, specifically. So these scandals the lie beneath London are so fascinating. In fact, the other day, I went to a church service. It will have some kind of mystery aspect, a thriller aspect, a supernatural one.
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This pagan England, which you think should be dead is not dead. And so when I was preparing for the interview, I went to the Torture Garden website. It is not actually a place where people are tortured. I just want to make it clear to people. Let me also say I never went. I did that one online. But yes, so I think the thing that sparked the whole series, this feeling of being disturbed when surrounded by specimens in a museum. That visceral feeling of being disturbed is kind of what I wanted people to feel and then question why. Joanna: The person is not left when the physical body is dead.
So why therefore are we disturbed about what people do with the dead body. So why then do we still feel disturbed by babies in jars, for example? It is crime thriller. I actually think that when we exorcise our thoughts onto the page, they disappear. And now I actively choose to visit specimen museums, that I really love all that. Anatomy stuff and anatomical history is just so fascinating. I sleep very well at night, and I am fascinated by the macabre, I guess. But what was it like for you as an author doing research about how the police departments work?
I did research that. You can just do your on Google, like how does the police work, and how do they say… warrant card and all this, the type of language. I also got a policewoman to beta read the books. There would be a lot more people. And that would be a spoiler, I see why, but then she is a private detective in the third book.
I started off thinking that I was going to write this standard crime police procedural. He starts to see demonic things in these other realms and… I really explore his aspect as well. The books are crime thrillers, because essentially, at the end of the day, a crime book is about justice.
And that to me is done over the periods of the books. Justice is done, therefore it is a crime book. Alexandra: Right, yeah. I really like Jack Reacher. I like that kind of figure. Alexandra: I bet it is. Well, this has been fantastic, Joanna. Thank you so much for being with me here today. Joanna: Sure. The Turin Shroud, Turin Believed to be the burial shroud of Jesus, this linen cloth bears the image of a man — apparently that of Christ himself. Some wonder how genuine the Holy Right Hand actually is … In my political thriller One Day in Budapest , the Holy Right is stolen and a right-wing faction move against the Jews of the city, as they did in the dark days of the Second World War.
The right is rising … 6. Mary's Holy Belt, Prato Most religious relics seem to take the form of body parts, but the Virgin Mary left her belt behind instead. Florence 8. St Antoninus' body, Florence St Antoninus was a popular priest in Florence, getting by with only the bare essentials of life. Cologne Cathedral facade It was damaged when it was hidden in to keep it from French revolutionary troops, but it was largely restored during the s.
The cloak of Muhammad, Kandahar This is more of a powerful religious relic than a weird one.
The Holy Foreskin, currently missing Yes, it really is as weird as it sounds. Some highlights from Israel, November The video starts in Tel Aviv, in the old port of Jaffa, famous for Simon the Tanner's house, and the fabled port where Jonah left for Nineveh and was eaten by the whale. Church of the Holy Sepulchre, Jerusalem After a quick visit to Capernaum on the Sea of Galilee, we went to the Church of Multiplication, which I loved for its translucent alabaster windows.
You were in the police for 12 years. How does that experience shape your crime writing? How did the landscape shape the story ideas? What aspects of you are in your characters? How has writing helped you? Stone of Anointing at the Church of the Holy Sepulchre You might see some Indian pilgrims rubbing money on the Stone of Anointing, some of the chapels within the church, and then we go upstairs onto the roof of the Holy Sepulchre.
How does the Middle East and your experiences there flow into your writing? Your books could be described as conspiracy thrillers, with Templar Knights, secret agencies and religious orders. What are your obsessions and the themes that keep coming up in your writing? French toast.
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How do novel writing and screenwriting compare and which do you enjoy the most? How do they both fit into your creative life? Tell us a bit about your latest book, The End Game and how it fits into your other books. Where he goes from here is a whole new ballgame… How much of you is in your characters? Do you travel for research? What are some of the settings that bring your books alive? What are your favorite thriller novels and what are you reading right now? Transcript of Interview with J.
Joanna: Hi, Alexandra. Thanks for having me on this show. Tell us a little bit about Jamie Brooke.
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What are the differences or similarities between Morgan and Jamie? Tell us a bit about him and what sparked that character. Alexandra: No. Or do you do most of it your research online now, do you find? Alexandra: Wow. Are you ever troubled by what you learn? Alexandra: Yeah. Alexandra: Okay. I just think it makes perfect sense that she would eventually leave the police force, really. Alexandra: Awesome. Well, thank you so much for being with me here today. Joanna: Thanks for having me, Alexandra. Joanna: Bye-bye. All rights reserved. Love Audiobooks? Looking for something specific? Thanks for visiting my site!
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