As I was working on “Source Code”, I was commuting an hour and a half every day by train to Sainte-Thérèse, Quebec. It gave me lots of time to think about my sequences which involved swapping out single stage Montreal trains for Chicago double-deckers. Also, we made the old Expo ’67 site on Olympic Island look like a suburban train station with the addition of a virtual roof and a couple of clocks to what is probably a public washroom building. I suspect we also added the tracks. I got to work on the same film as Donnie Darko and hey, isn’t that Alex from The Expanse getting beaten up on the platform? It never fails to amuse me how genre actors keep getting the same kind of work in the same kind of genres. I guess it shouldn’t surprise me since I get the exact same thing.
It gave me lots of time to think about my sequences which involved swapping out single stage Montreal trains for Chicago double-deckers.
And, oh boy, I was working on a Duncan Jones film. Going into this project I was already a huge fan of Jones’ previous film, “Moon”, not to mention a lifelong freak about his father‘s music. I’ve always maintained that the smartest thing a VFX house can do is to align itself with an auteur director early in their career and then continue to produce work alongside them as they progress together into larger projects. Jones could do no wrong in my books, I just wish he’d never made “Warcraft” and instead kept making beautiful little sci-fi stories like this one.
