INTERVIEW WITH: Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer
Q. Congratulations to all of you, of course. But I would love to
ask you a question.
(Speaking in German.)
A. (GERD NEFZER) (Speaking in German).
Q. I am from the German Press Agency. Congratulations to the whole
team and, of course, for Gerd. This is amazing. The second
Oscar after Blade Runner. What were you going to say on the
stage when the music came up? (Speaking German) That was after
A. (GERD NEFZER) I understood, I understood.
Do I have all the time in the world to say it? No, I just
wanted to thank you to my -- of course, to my lovely country,
like Germany. I want to say a few words in German like
And I want to definitely say thank you to Denis, to our
director. It was just amazing to work with him. He is such a
great guy. I love him, I love him. I deeply love him. And I
want to say thank you to my family, to my wife, Regina, to my
daughter, Ilana, to my son, Luca, to my mother, to my
father-in-law, Karl Metzer [phonetic], who brought me into the
business 35 years ago, and to my really, really amazing German
FX team, (Speaking German).
So this is really a great group of filmmakers. Thank you.
Q. There's a strong German journalist.
Of course -- and this may be the last question for
Gerd, but, I mean, c'mon. Give it up for him. He had no time
on the stage. Of course, I wanted to know, because you did have
COVID, it was a very close race to get here. You just tested
negative, I think, yesterday. We talked.
So, of course, I wanted to know how you feel to be
finally here, and maybe you can answer in German and a bit in
English for the rest of the audience.
A. (GERD NEFZER) Okay, I will start in English. So we were tested
positive last week, Friday, and it was my wife, and myself. And
it was just a tough week, you know, if you're just at home with
your wife, one week, in one room. It is really tough, I tell
you. No. It was great.
And then she was -- she was negative on Thursday, and I was
still positive. And my test was so bad, you know, that the
chief of the testing company, we are friends now, you know.
He said, "Oh, God, there's no chance that you make it on the
And I booked another test on Friday, and he said, "I think you
don't have to come."
I said, "Yes, I will come."
And then by surprise, Friday night, 9:00 p.m., he called me and
said, "I do not understand, but you're negative. Your PCR test
So I start to pack my suitcases. Then we went to the airport on
Saturday. And then we did another test on Saturday here, and I
was really going mad, because I thought if I am now positive
again, it will be a nightmare, and my wife tried to calm me
down. And it was negative, and so I am here, and I am so
thanks for them, and so, so happy.
And now I have to say it in German again?
Q. Thank you.
Q. Hello. Massive congratulations. I am a huge fan of visual
effects. And my question is, is there a process that you used
that was unique to the film, something that hasn't been used
A. (Paul Lambert) There wasn't a specific technique, but it was
more the approach. It was more, you know, like, trying to find
the best way to make the visual effects successful, you know.
Like, for example, we tried to avoid green screen and blue
screen, and we came up with using, like, a sand-colored screen.
We shot our interior ornithopters on the highest hill in
Budapest to try and get, like, strong daylight to replicate
flying over the desert.
We -- you know, it was all about trying to get the proper light
so that when we did our visual effects, it looked correct. So,
you know, for us, it was the most collaborative film, which,
like -- we've -- we've ever been on.
And usually, you get to collaborate with STUNS and that kind of
thing. But because we collaborated with Greg, the
cinematographer, with Patrice, the production designer, like,
everything was -- everything was figured out six months prior
to the actual shoot. So -- and I truly believe that that
collaboration is what gave us the success in visual effects.
Q. Hey, it is Jazz Tangcay from Variety. Tristan, this is a
question for you. Were you a fan of Frank Herbert's, novel, as
a kid, and what was it like to be able to do the world building
for this and working with Denis?
A. (TRISTAN MYLES) I was a fan, a reluctant fan to begin with. My
dad made me read the book as a kid. I think I was about 12
when I read it the first time ‘round. The biggest book I've ever
read and the only book I think I ever read with a glossary at
the back. But yes. I did read the book then, and I read it
again I think in my 20s and again in my 30s. I'm showing my
age here. But yes. I was a big fan of the book and the second
book as well.
And being invited to work again with Paul Lambert and Denis
Villeneuve was amazing. I was really excited to get into the
world and build it in the unique style which Denis had in his
mind. Yeah. That was truly an honor.
And getting a chance to go out on set as well and see these
huge sets that they built and now into the deserts of Jordan as
well to re-create the sand dunes of Arrakis was a fantastic
It was amazing.
Q. I would like to ask the team the combination of special effects
-- visual effects and special effects are very different.
So [indiscernible] --
A. (PAUL LAMBERT) I think it is pivotal. The approach is always,
like, you never want to put somebody into a blue box and then
try to figure it all out. Having something practical --
having something physical from Gerd is always the first
Even if we end up changing it, having that -- that practical
reference for us is key to making a believable visual effect.
Otherwise, you spend way too much time trying to create
something real, when, like -- when, like, you can use something
real and then just expand on it. So yeah. It is absolutely
A. (PAUL LAMBERT) Thank you so much.