Total Film sat down to talk
Prince Caspian with
Howard Berger recently, and, as it turns out, he had plenty to say.He was kind enough to throw a few exclusive pictures our way, and discuss each one in turn.
If we had to pick a favourite, it’d probably be the werewolf, especially as Berger’s kid had a hand in its design.
If you want to know what on Narnia, scroll down for the pictures and Berger’s explanations.
“The fauns have to do all the battle stuff, so we’ve got these buff Czech stunt guys. One of them was a free-runner in Casino Royale. So he was bouncing all over the place and Andrew went with that concept. It’s really cool They’re like mountain goats, just leaping off these crevices and bouncing off castle walls. They’re amazing.”
“We have African-Narnian centaurs this time out. They’re black in the movie and there’s a whole family of them. There’s this really great actor named Cornell S John – Andrew found him in [Gershwin opera] Porgy And Bess in London – and he has this great face, this really long face. His character has three sons and a wife, so we had to design make-ups for a family of centaurs that are genetically tied. We even have baby centaurs!”
“The digital werewolf was being handled by Weta Digital in New Zealand, but we also had a full suit with mechanical head, pretty messed up and all scarred and everything, which was great. Really cool. But I showed my young son and he went, ‘Well, the ears are too big. It looks silly.’ I said, ‘I think you’re right!’ So I told the sculptors to try a smaller pair of ears. Andrew [Adamson, director] came in and said, ‘I really like those ears!'”
Total Film sat down to talk Prince Caspian with Howard Berger recently, and, as it turns out, he had plenty to say.He was kind enough to throw a few exclusive pictures our way, and discuss each one in turn.
If we had to pick a favourite, it’d probably be the werewolf, especially as Berger’s kid had a hand in its design.
If you want to know what on Narnia, scroll down for the pictures and Berger’s explanations.
“The fauns have to do all the battle stuff, so we’ve got these buff Czech stunt guys. One of them was a free-runner in Casino Royale. So he was bouncing all over the place and Andrew went with that concept. It’s really cool They’re like mountain goats, just leaping off these crevices and bouncing off castle walls. They’re amazing.”
“We have African-Narnian centaurs this time out. They’re black in the movie and there’s a whole family of them. There’s this really great actor named Cornell S John – Andrew found him in [Gershwin opera] Porgy And Bess in London – and he has this great face, this really long face. His character has three sons and a wife, so we had to design make-ups for a family of centaurs that are genetically tied. We even have baby centaurs!”
“The digital werewolf was being handled by Weta Digital in New Zealand, but we also had a full suit with mechanical head, pretty messed up and all scarred and everything, which was great. Really cool. But I showed my young son and he went, ‘Well, the ears are too big. It looks silly.’ I said, ‘I think you’re right!’ So I told the sculptors to try a smaller pair of ears. Andrew [Adamson, director] came in and said, ‘I really like those ears!'”
