Sean Hayes

of sort of the human condition to counterbalance this crazy odd sort of space world, a nether world that's, that's, that's not really that, um, tangible, but, but the human emotion is. And so that needs to be real while this other stuff is not that real. And, and are you thinking I'm fully reliant on the actor to really ground this with, with no acting and just being raw or, um,

Do you predetermine a certain visual language, a certain piece of music from Hans, a certain bit of sound design from your mixers? There's so many different elements that you can do to build a moment just perfectly like that.

Do you predetermine a certain visual language, a certain piece of music from Hans, a certain bit of sound design from your mixers? There's so many different elements that you can do to build a moment just perfectly like that.

Do you predetermine a certain visual language, a certain piece of music from Hans, a certain bit of sound design from your mixers? There's so many different elements that you can do to build a moment just perfectly like that.

Let me just finish this one point, sorry. But so while the music can come and does come much later in the process, the assets you may need on the set to create the visual of it, i.e.,

Let me just finish this one point, sorry. But so while the music can come and does come much later in the process, the assets you may need on the set to create the visual of it, i.e.,

Let me just finish this one point, sorry. But so while the music can come and does come much later in the process, the assets you may need on the set to create the visual of it, i.e.,

a techno crane or whatever it is that you wanna shoot that scene in a certain way, you need to have a lot of that stuff predetermined so that you've got your crane there that day and your rigors have set up the lighting in such a way, et cetera, et cetera.

a techno crane or whatever it is that you wanna shoot that scene in a certain way, you need to have a lot of that stuff predetermined so that you've got your crane there that day and your rigors have set up the lighting in such a way, et cetera, et cetera.

a techno crane or whatever it is that you wanna shoot that scene in a certain way, you need to have a lot of that stuff predetermined so that you've got your crane there that day and your rigors have set up the lighting in such a way, et cetera, et cetera.

So how do you manage the balance between having an actor have the freedom that you wanna give them, but also fit inside sometimes a very technical and pre-thought and heavily prepped visual sequence that you need them to fit inside of hit this mark, react this way, turn this direction, you know, to fit something that may have other departments all predetermined.

So how do you manage the balance between having an actor have the freedom that you wanna give them, but also fit inside sometimes a very technical and pre-thought and heavily prepped visual sequence that you need them to fit inside of hit this mark, react this way, turn this direction, you know, to fit something that may have other departments all predetermined.

So how do you manage the balance between having an actor have the freedom that you wanna give them, but also fit inside sometimes a very technical and pre-thought and heavily prepped visual sequence that you need them to fit inside of hit this mark, react this way, turn this direction, you know, to fit something that may have other departments all predetermined.

But complicated sometimes when you have stuff that's predetermined and then you've got an actor that's got different ideas and it's like, well, no, no, no. This isn't one of those scenes where you can freestyle.

But complicated sometimes when you have stuff that's predetermined and then you've got an actor that's got different ideas and it's like, well, no, no, no. This isn't one of those scenes where you can freestyle.

But complicated sometimes when you have stuff that's predetermined and then you've got an actor that's got different ideas and it's like, well, no, no, no. This isn't one of those scenes where you can freestyle.

Was there a lot of green screen versus volume stage on Dune 1 and 2? Did you use any of the volume stages? Was it all green? Was there a split?

Was there a lot of green screen versus volume stage on Dune 1 and 2? Did you use any of the volume stages? Was it all green? Was there a split?

Was there a lot of green screen versus volume stage on Dune 1 and 2? Did you use any of the volume stages? Was it all green? Was there a split?

Yeah, I watched the whole behind the scenes, all of it, all of the Dune, both Dune. We know. I couldn't consume enough of it. I was just blown away with how it's made. And one dumb, dumb question I have is when people are walking in the sand and it's the first footprints in the sand, That's one take. How do you do that?