{"id":6198,"date":"2016-04-18T20:50:03","date_gmt":"2016-04-18T20:50:03","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=6198"},"modified":"2020-10-02T12:44:19","modified_gmt":"2020-10-02T19:44:19","slug":"jon-favreau-the-jungle-book","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/","title":{"rendered":"Jon Favreau – The Jungle Book"},"content":{"rendered":"

Actor\/Director Jon Favreau<\/strong> loves movie magic, and he loves creating it. Whether it\u2019s flying Robert Downey, Jr. around in his high-tech suit of iron in 2008\u2019s Marvel blockbuster, Iron Man<\/em>, and its 2010 sequel, or pitting Old West cowboys against visitors from outer space in Cowboys & Aliens<\/em> (2011), or even using old-school \u201cforced perspective\u201d to make audiences think full-sized Will Farrell ought to be able to live comfortably amongst Santa\u2019s helpers in 2003\u2019s Elf<\/em>, Favreau has cleverly put VFX in the service of an entertaining story.<\/p>\n

But with the release this month of Disney\u2019s The Jungle Book<\/em>, a new spin on the studio\u2019s 1967 animated film and Rudyard Kipling\u2019s beloved wild-boy tale, Favreau has gone beyond any of his previous efforts. He employed motion-capture technology Visual Effects Supervisor Rob Legato had first developed for James Cameron\u2019s Avatar<\/em>, with some new adjustments. ICG freelancer Matt Hurwitz<\/strong> talked with Favreau about the effective use of VFX in storytelling, and how he found such valuable cinematographic partners to grab a nearby vine in the project\u2019s complex technological jungle.<\/p>\n

How did you decide on motion-capture technology for The Jungle Book<\/em>?<\/strong> Jon Favreau: I was already kicking the tires on virtual sets and thinking about Disney, because I was developing something called Magic Kingdom<\/em>, about the park coming to life. I like to shoot in Los Angeles, and I knew that we\u2019d have to shoot in Disneyland a lot. But I had to figure out how to keep costs down and become efficient.<\/p>\n

Any references or inspiration besides the obvious one with Avatar<\/em>?<\/strong> Gravity<\/em> was very inspiring to me, because they found a way, in this era of CGI backlash, to integrate computer-generated effects that were invisible. A lot of that had to do with the planning and the cinematography. The choices a director, and, more importantly, the cinematographer commit to in preproduction are going to inform whether the effects look troweled on or organic and invisible. Once we had the commitment of the studio on Jungle Book<\/em> to explore the Avatar<\/em> approach of actually creating a photo-real environment, where we can exaggerate and stylize things, subtly, while still maintaining the photo-real quality, we knew that was the direction we wanted to go, because it allows people to feel that they\u2019re in a real environment.<\/p>\n

What is it about visual effects that you find engaging?<\/strong> Part of me just loves movie magic, whether it\u2019s stop motion or miniatures or forced perspective. I\u2019ve always loved reading Starlog magazine. To me, there\u2019s a tradition of the magician, the stage performer that filmmakers use, which is just another opportunity to create illusions and to fool an audience and get a reaction out of them. When you watch a guy like [magician] Ricky Jay, he\u2019s doing something very technical. The real artistry isn\u2019t just the dexterity and the practice of the technical aspect, but it\u2019s weaving a story. So they engage you completely, in a very human way, as they\u2019re doing something very technically sophisticated.<\/p>\n

What did you learn in your research for The Jungle Book<\/em> about Walt Disney\u2019s approach to animated characters?<\/strong> Walt did that very thing \u2013 pairing emotional stories, and usually old stories and myths, with technical wizardry, which, to me, is a magical combo. I studied \u201cWalt\u2019s Story Meetings\u201d on the Bambi<\/em> DVD, and I saw how he was wrestling with the technical limitations of animation, and how to make the animals talk in a convincing way. He took a huge step up from Snow White<\/em>, which was just a few years earlier, to make [Bambi<\/em>] feel photo-real, not cartoony, bringing in animals as references for the animators to watch and draw, to understand their behavior. We did the same thing with Jungle Book<\/em>; although, of course, now there\u2019s the Internet, where we can pull clips from references of real animals\u2019 behavior. We wanted the animals to behave and emote in ways that were specific to their species, and not what a human would do.<\/p>\n

So Walt Disney had a tangible influence on this new version?<\/strong> You could say that, because he was always pushing the boundaries of the art of his craft, whether it was the development of the multiplane camera, which was incredibly high tech, or having teams of animators who did specific things. You hear him make reference to, \u201cOh, they\u2019re doing a snow effect in the other movie,\u201d which was Fantasia<\/em>, which he was making at the same time. \u201cLet\u2019s see if we can use that here.\u201d It was an effects house, even though it was done by hand, and not by computers. They were trying to figure out how to make fire and water look real.<\/p>\n

What qualities are key for a director of photography working on this type of complex technological project?<\/strong> There aren\u2019t a lot of directors of photography who are comfortable with this kind of stuff. They\u2019re used to being the first ones taking the beach. And sometimes, the DP has to put his vision in service of the overall vision of the piece, as was the case here. Normally, you walk onto a set with a DP, or you look at a location, \u2013 something that\u2019s real in the world \u2013 and find visual opportunities. The DP establishes a look, lights that set or location, and comes up with a visual scheme of how lenses will work and the story unfolds. Here, we\u2019re literally creating all those things. So the DP is giving notes on drawings, on light studies that are done in a computer. We\u2019re scouting, but with video game controllers. So it takes somebody who\u2019s game to open him- or herself up to that kind of workflow.<\/p>\n

How about the DP\u2019s partnership with the visual-effects team on the set?<\/strong> Not everybody treats visual effects the same way. Some people see it as a distraction; some people see it as a vendor that comes in after the fact and shouldn\u2019t really have a say on the set. Some people see it as a threat. You look at how Chivo [Emmanuel Lubezki, ASC, AMC] worked on Gravity <\/em>and Birdman<\/em>. He was using visual effects in a way that makes them disappear, as opposed to being somebody who\u2019s at odds with visual effects, or is competing with them.<\/p>\n

And Bill Pope worked in that mode?<\/strong> Bill was great, because he really embraces new technology, which is one of the reasons that I hired him. Even things he hadn\u2019t done before or didn\u2019t fully understand in the beginning, he made sure he learned. And there\u2019s an energy when people are seeing new technologies as creative opportunities and wonder, \u201cHow do you do something that doesn\u2019t undermine the tradition of what came before, but build upon it instead?\u201d That was exciting.<\/p>\n

What were the advantages of using the Virtual Camera system?<\/strong> It allowed us to essentially pre-shoot the movie.\u00a0Bill was able to make his choices about every shot \u2013 those that were completely animated, as well as those that were shot in camera with our young actor \u2013 before we ever set foot on stage.\u00a0He already had his lighting scheme set and his camera moves decided.<\/p>\n

So the work done on-set was\u2026<\/strong> Essentially an element shoot \u2013 it was just the shots, sometimes just pieces of scenes, for which we needed to have close-ups or more intimate shots of Mowgli, often interacting with other characters who would be animated later.\u00a0 Because Bill had already essentially shot those scenes in the virtual world, we not only knew how to recreate what he\u2019d established in the virtual version of the film, we knew what the vision would be.\u00a0You\u2019re not shooting elements before you know what that vision is, which can sometimes force you to inherit choices that might not work well in the virtual world later.<\/p>\n

How would the process work?<\/strong> We would get multiple scenes done each day, and move through it very quickly, because we were working with a child actor.\u00a0And after everybody went home, Bill [Pope], me, [VFX Supervisor] Rob Legato and our technical staff would review a shot we had just gotten on set, and if we decided it didn\u2019t quite have the feel we wanted, we would then go into the smaller Camera Capture volume we had there at L.A. Center, which we called the \u201cshark cage,\u201d and try another approach.<\/p>\n

It got kind of complicated later on when we were getting into scheduling issues, so we\u2019d sometimes trade off.\u00a0If there were scenes that didn\u2019t require Bill, he\u2019d be off in the shark cage doing camera, and I\u2019d be on the stage with Rob doing capture. It was a very free-flowing creative space, where you could make choices and decisions on the spot, instead of having to come back and do pickups months later. One great aspect is that because we had a digital editing suite right behind the curtain on the set, we could cut takes in as we were filming \u2013 something we borrowed from Gravity<\/em>.\u00a0You have the film already in the Avid \u2013 what we\u2019d built so far \u2013 and as you shoot each angle of coverage, you cut it in the movie, right then and there, and know whether or not you\u2019re okay to move on.<\/p>\n

How do you see emerging technologies being accepted by audiences and film crews?<\/strong> It\u2019s funny, you hear of the days when people would watch a train come at them in the theater in the silent days, and they\u2019d jump out of their seats. Or when people saw Willis O\u2019Brien\u2019s 1925 The Lost World<\/em>, the original stop-motion version, they thought they were real dinosaurs. Now they both look comically simplistic. I think whenever new technologies emerge, it\u2019s kind of magical, and there\u2019s a period of time where people are fooled by it. We get to experience a story in a much more visceral way, because we\u2019re completely transported by what the technology does. But technology without artistry or storytelling is worthless.<\/p>\n

So new technology can be a mixed blessing?<\/strong> I would argue that when they arrive, they set cinema back at each stage. Look at how much the image suffered when color first came in, compared to the state-of-the-art black and white. When sound came, the moving camera took a back seat to the big \u201crefrigerator\u201d enclosures that were required to baffle the sound. A few people do it right in the beginning, and a lot of people do it wrong. All the dust has to settle. I think you\u2019re finally seeing CG being used well.<\/p>\n

What do you think is the best approach for a director when using visual effects as a storytelling tool?<\/strong> I think the best thing you could say about a visual effect is that you don\u2019t see it. I think that when it\u2019s done right, you think you\u2019re looking at something real, which was my goal with this film. I remember when I saw Gravity<\/em>, my son asked me, when he saw a particular shot, \u201cHow\u2019d they do that, Dad?\u201d And I said, \u201cI don\u2019t know.\u201d That\u2019s the highest compliment you can give to a visual-effects artist or a magician. You really think you saw somebody levitate. And when you can do that, when you pass the touring test, when you think you\u2019re looking at something real \u2013 even though you\u2019re buying a ticket and you know it\u2019s fake \u2013 when you believe in your guts it\u2019s real, that opens up a world of opportunity.<\/p>\n

Photo by Glen Wilson<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Actor\/Director Jon Favreau loves movie magic, and he loves creating it. Whether it\u2019s flying Robert Downey, Jr. around in his high-tech suit of iron in 2008\u2019s Marvel blockbuster, Iron Man, and its 2010 sequel, or pitting Old West cowboys against visitors from outer space in Cowboys & Aliens (2011), or even using old-school \u201cforced perspective\u201d to make audiences think full-sized Will Farrell ought to be able to live comfortably amongst Santa\u2019s helpers in 2003\u2019s Elf, Favreau has cleverly put VFX […]<\/p>\n","protected":false},"author":1,"featured_media":6199,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6],"tags":[37,398,400,397],"class_list":["post-6198","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exposure","tag-icg-magazine","tag-jon-favreau","tag-nab-show","tag-the-jungle-book"],"acf":[],"yoast_head":"\nJon Favreau - The Jungle Book - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jon Favreau - The Jungle Book - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Actor\/Director Jon Favreau loves movie magic, and he loves creating it. Whether it\u2019s flying Robert Downey, Jr. around in his high-tech suit of iron in 2008\u2019s Marvel blockbuster, Iron Man, and its 2010 sequel, or pitting Old West cowboys against visitors from outer space in Cowboys & Aliens (2011), or even using old-school \u201cforced perspective\u201d to make audiences think full-sized Will Farrell ought to be able to live comfortably amongst Santa\u2019s helpers in 2003\u2019s Elf, Favreau has cleverly put VFX […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2016-04-18T20:50:03+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-10-02T19:44:19+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/04\/jonFAVREAU_JungleBook.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1400\" \/>\n\t<meta property=\"og:image:height\" content=\"934\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"EDITOR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"EDITOR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"Jon Favreau – The Jungle Book\",\"datePublished\":\"2016-04-18T20:50:03+00:00\",\"dateModified\":\"2020-10-02T19:44:19+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/\"},\"wordCount\":1968,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2016\/04\/jonFAVREAU_JungleBook.jpg\",\"keywords\":[\"ICG Magazine\",\"jon favreau\",\"NAB Show\",\"the jungle book\"],\"articleSection\":[\"Exposure Q&A's\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/jon-favreau-the-jungle-book\/\",\"name\":\"Jon Favreau - 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