Snow White and the Huntsman

h3SnowWhiteandtheHuntsmanh3pstrongCaststrongKristenStewartCharlizeTheronChrisHemsworthSamClaflinbrstrongDirectorstrongRupertSandersbrstrongGenrestrongActionAdventurebrstrongRatedstrongPGbrstrongRunningTimestrongActionDramaAdventurebrbrstrongSynopsisstrongIntheepicactionadventureSnowWhiteandtheHuntsmanKristenStewartTwilightplaystheonlypersoninthelandfairerthantheevilqueenOscarregwinnerCharlizeTheronwhoisouttodestroyher.brbrButwhatthewickedrulerneverimaginedisthattheyoungwomanthreateningherreignhasbeentrainingintheartofwarwithahuntsmanChrisHemsworthThorwhowasdispatchedtokillher.brbrSamClaflinPiratesoftheCaribbeanOnStrangerTidesjoinsthecastastheprincelongenchantedbySnowWhitesbeautyandpower.brbrThebreathtakingnewvisionofthelegendarytaleisfromJoeRoththeproducerofAliceinWonderlandproducerSamMercerTheSixthSenseandacclaimedcommercialdirectorandstateoftheartvisualistRupertSanders.brbrstrongReleaseDatestrongJune21st2011brstrongWebsitestrongarelnofollowhrefhttpwww.snowwhiteandthehuntsmanmovie.comtargetblankwww.snowwhiteandthehuntsmanmovie.comabrbrbrbrbrbrstrongShrinkingtheTalentVFXandSFXoftheDwarvesstrongbrRupertSandersconsidershimselftobeapracticaldirectorwhoisntinterestedinvisualeffectsforthesakeofthem.HedratheruseVFXtoenhancewhathasalreadybeencapturedmanuallyoncamera.Duringtheshootanastonishing90offootagewastakenonphysicalsetsoronlocationwithlimitedgreenscreen.HoweveroneofthebiggestchallengesforSandersanddirectorofphotographyGreigFraserwasshootingthedwarvesoncamerabuthavingthemappearsmalleralongsidetheothercastmembers.brbrSeveraldifferenttechniqueswereusedtoproducethespecificlooksforthesecharactersonscreen.OnepotentialsolutioncamefromoneoftheproductionsVFXsupervisorsandadditional2ndunitdirectorCedricNicolasTroyanalongtimecollaboratorofRupertSanders.AneffectssupervisortriestofindthetechnicalsolutiontoacreativeproblemexplainsCedricNicolasTroyan.Ihadtocomeupwithideasofhowtoshowwellknownactorsascharactershalfoftheirnormalsize.brbrimgsrchttpwww.girl.com.augraphicssnowwhitehuntsman2.jpgalthspace15vspace5alignrightCedricNicolasTroyanwowedthedirectortheproducersandthestudiowithatestreelofaconcepthehaddesignedtoshortenthelegsofthecast.Thoughthiswouldmaketheactorsappearsmalleronscreenusingitforalltheshotsneededwouldblowthebudgetandtimeframeandmakeitimprobabletohitthefilmsreleasedate.WecouldntusevisualeffectseverytimeweseeadwarforwedbedeadinthewaterandnevermakeourdayssaysCedricNicolasTroyan.brbrTheVFXsupervisorhadlongagolearnedthattheresmorethanonewaytogetthejobdone.HereflectsWeusedsomeveryoldschooltechniqueslikerostrumsplatformswhichhelpfillthegapsintheviewersmind.Insomesceneswewouldshoottheactorandshrinkhislegsandinothersweusedafacereplacement.brbrVisualeffectsproducerLyndaThompsonaddsItsalsoabouttheframingoftheshotIfyoudontseetheactorsfeettheyappeartobewalkingongroundlevel.Principalactorsfordwarvesarewalkingabouttwofeetbelowthemsotheframingoftheshotmakesthemappearshorter.Thisreallyhelpedtosolvebeingabletocrackonwiththeshootincamera.brbrOnwidershotsshorterdoublesfortheactorsweredressedandmadeuptolookliketheprincipalcharacterswhichisanothergreatwayofsavingtimeandallowingthedirectorandcinematographertoshootphysically.LyndaThompsonsaysHowevertherearesomesceneswherewehavethedoublesorstuntdoublescloseupandyoucantellitsnotaprincipalactorsothosewereourtrueprintfacereplacements.brbrstrongDwarfProstheticsandDesignsstrongbrForboththeprincipalactorsandtheirdoublesthedailyroutineofgettingcamerareadysometimesbeganasothercastandcrewwerecominghomefromanightout.DuetotheamountofprostheticshairandmakeupunderthesupervisionofhairdepartmentheadLucaVannellaandmakeupdepartmentheadSharonMartinandcostumesthatneededtobeappliedanddonnedsomeoftheactorsandkeycrewwereupextremelyearlyinthemorning.brbrProstheticsdesignerDavidWhitedrewhisinitialdesignsbytakingRupertSandersleadwithwhathisdirectordidormoretothepointdidnotwantfromhisdwarves.RupertSandersdidntwantpointyearsorbigchinsandthatoverthetopfantasticalelementremembersDavidWhite.Hisanglewasverydifferentbuthisvisionwasquiteextraordinary.DavidWhitegaveRupertSandersmockupsofeachofthecharactersforhisinputandtheywoulddiscusslooksandalterations.CommendsWhiteRupertSanderstakesyouonaroadthatissoclearthatyoujusthavetofollow.Ittotallyworks.brbrWhitewasresponsibleforthevisualenhancementofthedwarvesaccentuatingcertainfeaturesoftheactorsthroughdetailedprostheses.Thesewerenotalwaystotheextremebutenoughtomakeeachoneofthemunique.HeexplainsItwasaquestionofgettingalloftheactorsonboardbeforeitwasestablishedhowweweregoingtohandlecertainaspects.Ihaventseendwarvesquitelikethisbeforebuttheyworksowellinthemovie.brbrByusingsiliconebasesDavidWhiteandhisteamensuredthattheactorswereabletoactthroughtheirprosthetics.Theseprostheticsaresothinthatactorscanmoveunderneaththeyareveryflexiblesaysthedesigner.Howeverthedwarfdoublesareadifferentstoryandacompletelydifferentbuildintermsofprostheticmakeup.brbrTheprincipalactorsdoublesneededtohaveprostheticsappliedtomakethemlookjustliketheactors.Howeversizeandheadshapedifferencesrequiredacompletelydifferentsetofprosthetics.SomeofthedoublesprostheticsaremoremasklikebutstillverythinandflexibleandpracticalcommentsDavidWhite.Weaccommodatedallofthedifferentelementsandcopiedtheprincipalactorslookswithalloftheirprostheticsontoanotherpersonwhowasatotallydifferentdesign.Itsagoodthingallofourcharactersaresuchstrongdesignstheyreadfromadistanceandlookfantastic.Imamazedhowclosethecameracanactuallygettothem.brbrAllofthedwarveshaddifferentprostheticdesignsmakeuphairstylesandfacialhair.Thereforetheactorswerenormallyintheprostheticstrailerasearlyas230or300a.m.TherewerealotofdifferentprocessestogetthemcamerareadyandtherewasanenormousamountofjumpingaroundwitheightdwarvesinonetrailerlaughsDavidWhite.NotenoughworkWitheightdwarvesandeightdoublesthecrewhadaminimumof16dwarvesonagivenworkdaynottakingintoaccountanystuntdoublesorstandinsneededforcertainscenes.brbrConsideringtheamountoftimetheseperformershadtositintheirrespectivechairsDavidWhiteputagreatdealofconsiderationintowhichartistfromhisdepartmentwouldbeassignedtoeachactorandwheretheactorswerepositionedwithinthetrailers.IdontthinkIveeverhadatrailerfullofBritishactorsofthatcaliberitwasquiteextraordinarysaysDavidWhite.Therewasalotofbanterandagreatvibebutallofthegentlemenhaveadisciplinewhenitcomestoworkandweregoodsportsaboutcominginsoearly.Theyeachhadtheirdifferentwaysofdealingwithitsomenappedsomereadsomelistenedtomusicallsortsoftrickswereusedtogetby.brbrDespitetheprepworktheactorswhoportraythedwarveswereupforthechallengeathand.ItwastoughbutwhenwefinishedandyousawthequalityoftheirworkyouknewitwaswortheverysecondsaysRayWinstone.Genius.brbrimgsrchttpwww.girl.com.augraphicssnowwhitehuntsman5.jpgalthspace15vspace5alignleftProstheticsusedtobemadefromthestandardfoamlatexbutasthematerialissodenseandhasnotranslucencywhatsoeverithastobepaintedtocreateaneffect.Becausetheuseoflatexputsmorepressureonthelightingscenariossiliconeisthepreferredmaterialoftheday.WhitecommendsitsfantasticqualitiesnotingWecanchangethedensityandthecolortogetitexactlyrightfortheactororactress.brbrWithaminimumofeightprincipaldwarvesandeightdoublesallneedingprostheticsforeachnewshootingdayWhiteandhisteamcreatedmorethan400differentsetsofprostheticsforalloftheseartistsandthatwentupbytheday.Forexampleifeverysingleeyebrowonaprincipalprostheticwasmanuallypunched300timesthatresultedin600punchesoneverysinglepiecetimes400brbrstrongLearningMovementstrongbrAsthecostumehairmakeupandprostheticsdepartmentsallhadtodealwiththetrialsandtribulationsofmarryingtheimagesoftheprincipalswiththeirdoublessodidPeterElliott.Theestablishedmovementdirectorhasworkedonmorethan50featuresincludingsuchclassicsasGorillasintheMistTheStoryofDianFosseyandGreystokeTheLegendofTarzanLordoftheApesandrecentmarvelssuchasWheretheWildThingsAreandTheHitchhikersGuidetotheGalaxy.brbrPeterElliottschallengeonthisfilmwastoteachtheprincipalactorsandtheirrespectivedoubleshowtoallmatchthemannerinwhichtheymove.Todothishecollaboratedwiththecasttoinventawalkthatwasachievablebybothactorsplayingthesamerole.Theneachpairhadtolearntowalkinamannerthatwasuniquetotheirparticularcharacter.brbrIwasgiventhreeweeksduringwhichwehadintenserehearsalsrecallsPeterElliott.Istartedwiththedoublesjusttogetthegenericframeworkthentookourprincipalsandworkedonwalks.Peopledonotrealisehowharditistochangesomethingasintegralasthewayyouwalkandthenmakeitlookandfeelcompletelynatural.Itwasatighttimeframetogetitreadybutwemanageditintheend.brbrOneofthemostintrinsicthingsthattheactorschangedfortheirwalkswastheircenterofgravity.WhenwesitontwolegsourcenterofgravityiscompletelybalancedandinthemiddlesharesPeterElliott.Toreleasetheweightfromonelegtotakeastepweleanbackwardsslightlywhichreleasesourweighttoputtheotherlegforward.Ourcenterofgravityiscontinuallyandveryminutelygoingbackwardsandforwards.brbrThiswasquitedifferentamongthetallerandshorteractors.SaysPeterElliottOurdoubleshadawholedifferentwayofwalking.Theirlegsareshorterandtheydonthavethesamedistanceourprincipalsdoinwhichtoachievethat.Sotheychangetheircenterofgravityfromsidetosidewhichcreatesanaturaltwistintheirwalk.brbrItwasquiteanewexperienceforournewbandofdwarves.WehadtogotodwarfcollegerecountsFrost.PeterElliottwhoisoneofthebestmovementcoachesintheworldtrainedustowalkinaparticularwayforwhatseemedlikeweeksandweeks.Therewasajokeamongstthedwarvesonset.YoudjusthearsomeonecryoutsmallstepswhichisexactlywhatPeterElliottshoutedatusconstantlyforweekswhilehittinguswithbamboo.brbrstrongClothingtheDwarvesstrongbrOncetheprincipalsanddoubleshadbeenthroughprostheticshairorwigapplicationandmakeuptheywerefinallyreadytogetintocostume.ThedwarveswereoneofthemainchallengesformeaseachofthosecharactershadapersonalitysaysColleenAtwood.MathematicallyitwassimplebecauseitwasallaboutproportionbutifImanagedtogettheheadandshouldersratiorightbetweenaprincipalandhisdoubleIcouldntmakethebodythingwork.Weendedupusingbodysuitsonsomeoftheactorsanddoublestomakethebodiescorrespondandthenexaggeratedthedwarfqualityintheprincipalactor.brbrThebodysuitshadtobespecificallydesignedtorecreatethebodyshapeofeachprincipalactorandhisdouble.Indeedtheywereintendedtochangethemethodologyoftheactor.Thecostumedesignbecameanincrediblyimportantpartofthetechnicalitiesbehindthesuitdesignwhichcanappeartolowerthecrotchandchangetheshapesofthearmslegsandbody.brbrEventhoughthisstoryexistsinafantasticalworlditwasstillgroundedinatimeperiodthatonecouldbelieve.FromthebeginningofpreproductionAtwoodcollaboratedwithRupertSandersprostheticsandthehairandmakeupteamstoachievethisfeat.ThecostumedesignersaysRupertSanderstalkedtousallabouthowhewantedSnowWhiteandtheHuntsmantobeabitedgierthanjustafairytale.brbrIfyoulookcloseenoughyoullnoticethatColleenAtwoodsubtlyincorporatedthecharacterspersonalitiesintothecostumes.DuirandCollarethebuddytrailblazersexplainsColleenAtwood.Theyhavearusticfrontiersoweneededtogivethemweapons.MuirandQuerthaveamoredemurespiritualsidetothem.NionisoutgoingandcomedicandthenwehavethesaltydogsBeithandGort.Theconceptwasthatalloftheseguysaremagpiestheystealandstashtreasurealloverthewoodlandsbutalsocarryabitofblingundertheircoats.brbrstrongMirrorManandEnchantingCreaturesAdditionalVFXoftheEpicstrongbrThedwarveswerenottheonlycharactersuponwhichseveraldepartmentheadshadtocollaborate.WhileRupertSanderslikestokeepasmuchofhisshootingincameraaspossibletherearemanythingsthatneedthehelpinghandofvisualeffectswizardrytoenhanceandelevateacharacterorscene.TocreateRupertSandersvisionoftheworldweseeinSnowWhiteandtheHuntsmanthedirectorandexecutiveproducerBordersenlistedthehelpofeightaccomplishedvendorsfromacrosstheglobe.brbrVisualeffectsproducerLyndaThompsondiscusseswhatdrewhertosuchamassivelaborofloveIremembermyfirstmeetingonthisfilmwaswithRupertSandersandCedricNicolasTroyanaboutthetonepoemthatRupertSanderswantedtoputtogether.ItwasasalestoolinasensebutitwowedthestudiobecauseitwasagreattonalguideandaninsighttowhatRupertSanderswantedtoachieve.Honestlyitwasamazing.ItreallyexcitedmeaboutthemovieandwhilstIhadplannedtojustprepthemovieIfoundthatIcouldntstopworkingonitbecauseitjustblewmeaway.brbrGivenhertimeframeitwasimportantforLyndaThompsonsteamtohavedifferentvendorsconcentrateoneacharea.Theywereabletodivideuptheworkfairlyeasilyasthefilmnaturallysplitsbycharactersandareasofexpertisefromdifferenthousesallpickedbecauseoftheirreputationsforbeingtopoftheirgame.TheseincludedsuchworkasthecreationofthedwarvestheEnchantedForestcreaturesthegoodfairiesthedarkfairiessetextensionsfacereplacementscharacteragingandtransformationsandofcoursetheMirrorMan.brbrUnderthesupervisionofVFXsupervisorsCedricNicolasTroyanandPhilipBrennanthehousesachievedthefollowingRhythmampHuesaccomplishedworkonthedwarvesEnchantedForestcreaturesCGgoodfairiesCGbridgetrollCGmagpiesandCGravensDoubleNegativeVisualEffectshelpedtocreateDarkForestcreaturesincludingdarkfairiesandtheintricateshardvisualeffectswhenRavennasShadowArmysplintersPixomondoworkedtocreateRavennasShadowArmyaswellasassistedwithcrowdduplicationsandsetextensionsTheMilldevelopedtheMirrorManBlueBoltcraftedKingMagnuscastleandthecastleitbecomesunderRavennasruleaswellascoordinatedsetextensionsdigitalmattepaintingsandCGfireballsduringRavennasattackonanadvancingarmyBaseBlackconducteddigitalmattepaintingsandsetextensionsLolaVFXhelpedtoimaginethedwarvescoordinatedRavennasfaceagingandfacereplacementsandVFXofSnowWhiteinherfrozenstateandHydraulxcreatedCGswordsandconductedworkonRavennastransformations.brbrWithinRavennasmirrorchamberistheiconicmagicmirrorrestingagainstthewall.Thischerishedbutcursedrelichasovertimegrowntobecomeaphysicalentity.Ravennaissoobsessedwithherownimagethatthemirrorreflectsamanifestationofhersoulandherdarksubconscious.IndeeditallowsthemirrortorevealwhatRavennatrulyhasbecome.Themirrortellsherwhathersubconsciousknowsandrevealsatruththatsheletsnootherpersonwitness.brbrTheinspirationforRupertSandersMirrorManwasasculpturecalledFaceOffbythetalentedLondonbasedIrishartistKevinFrancisGray.AsweneededtocaptureRavennasreflectioninitonthecamerawehadtocreateafakestandingMirrorMansothatshecouldseeherselfinitexplainsCedricNicolasTroyan.ItsentirelycomputergeneratedbyateamatTheMillandhesneverfullysolidandneverfullyliquid.ThatwasonpurposetoreflectRavennascharacterthatisalwayschangingandnotnecessarilyinagoodway.brbrFortheMirrorManscenesCharlizeTheronactuallyactedoppositeafigurewithaREDcamerabuiltintoitsothatitcouldrecordwhatherreflectionwouldlooklikeduringtheactualscene.AtthesametimethevoiceoftheMirrorManCHRISOBIwasjustoffsetfeedinglinestotheactress.brbrSodoestheMirrorManactuallyexistIsRavennatheonlypersonwhoseeshimRupertSandersandtheproducerswouldlikefortheaudiencetobelievewhattheychoosetobelieve.brbrTheeighthouseswerenttheonlyoneswithtricksuptheirsleeves.SpecialeffectsarestampedalloverthefilmespeciallyinthewinteryworldofRavennascreation.ForexampleforthedropsofbloodspilleduponthesnowbySnowWhitesmotherSandersthoughtthefakebloodlookedtoofake.AneasysolutionThedirectorhadtheFXguysactuallydrawhisownbloodtouseasthebloodthatappearsonthesnowyland.brbrimgsrchttpwww.girl.com.augraphicssnowwhitehuntsman3.jpgalthspace15vspace5alignrightstrongDarkCastlesand800YearOldOaksSetDesignandLocationsstrongbrTheworldinwhichSnowWhiteliveswasdesignedandcreatedbyTheBourneSupremacysDominicWatkinsalmostentirelyonsetsatPinewoodStudiosinBuckinghamshireintheU.K.ItwasimportantforSanderstohavephysicalsetstoshootonararetreatforcastandcrewwhoworkonmanyproductionsthatrelyonhugegreenscreenstagestorecreatetheirbiggestsets.brbrAsonemightimagineproductionwasmassive.CommendsRupertSandersofhisproductiondesignersworkDomWatkinsdidanincrediblejobwiththeamountofsetswehad.Wedlaughattheamountsofwork.Everyweekendtherewouldbeanotherthreeorfoursetshedhavetobuild.Pinewoodbecamelikeamazefromabove.YoudwalkthroughHammondscastleandgointoRavennascastle.Youdwalkthroughthatontothetrollbridge.Whilethetrollbridgewasbeingremadeintotheicywastetherewouldbeavillagethere.Everythingwasliterallystackedin.DomWatkinshadanincredibletimetryingtomanagethatfinanciallycreativelyandpractically.Itwashuge.brbrOfthe23orsosetsbuiltatPinewoodthemostmassivewastheimpressiveroyalcastleoncebelongingtoKingMagnusbeforeRavennausurpedhisrulekilledhimanddrainedlifefromthekingdom.TheforebodingcastlewasbuiltinanautoparkbytheentrancetoPinewoodStudiosdominatingtheskylineforthe24weeksittooktocreateandthefourweeksitwasusedforfilming.brbrItwasourbiggestsinglespendandthefirstsetwehadtocrackonwithasitwasadesignboltedintotheconceptofthecastleinteriorandexteriorsayssupervisingartdirectorDaveWarren.DominicWatkinsandRupertSandershadtheconceptinmindthatthecastlecouldonlybeapproachedbyacausewayfromabeachandwefoundabeautifulbeachwithanislandonarockyisthmuspeninsulasothedesignofthecastlegrew.brbrThebeachWarrenreferencesisMarloesSandsinPembrokeshireinWaleswherethemainunitspentanentireweekfilmingKristenStewartasSnowWhiteChrisHemsworthastheHuntsmanandtheirralliedtroopsduringanepicbattle.Thesebeachscenesplayedoutagainstastunningbackground.Therocksonthebeachareuniqueinthemannerinwhichtheytiltsotheartdepartmentsqueezedsomeoftherockstoformamold.ThistechniqueallowedthemtorecreatethelookonthecastleinterioratPinewood.brbrAnexplanationofthetechniqueTosqueezethearearequiredwaspaintedwithlayersofsiliconeandalayerofmaterialsimilartonettingthiswasthenallowedtoset.ThismoldwasbackedwithplasterorfoamforsupportandtransportedtotheworkshopatPinewoodStudios.Thesiliconemoldwasthenusedtorecreatethedesiredshapeortexture.OthersqueezesincludeTretowerVillagestoneandslatewalltextureatalocalchurchinIverandthecolumnsatSt.BartholomewsChurchinLondon.brbrMorethan2000squarefeetofplasterstoneworkpolystyreneand700sheetsofvarioustexturedrockswereusedtocreatebothcastlesonthePinewoodbacklotKingMagnusandthecastlethatbelongstoDukeHammond.brbrTheroyalcastlegoesthroughvariousstagesovertime.DuringMagnusreigncolorfulflagsdonnedthewallscourtiersaredressedinbrightcolorstreesblossomandflowersbloom.AfterhisuntimelydemisethecastlewasredecoratedtoRavennasdarkstandards.ThoroughlyblackandastoxicastheheartthatbeatsinsideofthewickedQueenthegroundsarecoveredindeadvinesandthewallsarebedeckedwithtornandraggedbloodredflags.brbrThevinesusedtodecoratethesetswefindduringRavennasreignarecalledlianavines.TheyweregrowninMalaysiaespeciallyfortheproductionandwereshippedovertotheU.K.foruseduringfilmingultimatelydeliveredtoPinewoodina40footseacontainer.brbrDuetotheunpredictablenatureofeveryshootingscheduletheartdepartmenthadtochangethelookofthecastleseveraltimes.InordertocompleteRupertSandersrequiredshotstheywentfromtheMagnustoRavennalooktotheRavennatoMagnuslookduringproduction.Eachtransformationtookanincrediblyshortamountoftimeonlytwoandahalfdaysforthedepartmenttoaccomplishthecomplextransitions.Naturallyitrequiredagooddealofworkingaroundtheclockforaquickturnaround.brbrTogivethereaderanideaoftheamountofprepworkthatwentintothesetdesignandeventualbuildherearesomestaggeringstatistics.Approximately15000artificialappleblossomswereusedtocoveranappletreeinthecastlecourtyard.Almost60000hogringswereusedtoattachtheblossomstothistree.Morethan1500treesranginginheightfromthreetotenmeterswereincorporatedintotheproduction.AllofthesetreeshavebeenusedaspartoftheBlackParkForestryProgramtorestoretheparktoitsprewarperiod.Approximately3000fauxfloorslabswereproducedandthetreeintheEnchantedForestwasconstructedof2317individualsteelpieces.brbrSamMercerwasmovedbyRupertSandersfascinatingdecisions.TheproducercommendsRupertSandersapproachtothefilmdesignisthateverythingisjustslightlyenhancedorslightlytakenintothatfairytalezone.Justsoitdoesntfeeltoocommonandtoofamiliaryetitstillputyouintherightplaceandmood.Forinstancescalewasreallyimportanttohim.ItsnotlikeSnowWhiteortheHuntsmanjustgobyanytreetheywalkbya200foottree.Itsnotjustthatthebranchesarenormal.ThebranchesarecreepyandmakeSnowWhitesjourneythroughtheforestedgyandcreepy.Itpushesourreactionaryzoneupjustalittlebitfurthermakingusmoreonedge.brbrInadditiontoconstructingDukeHammondscastleonthebacklotproductiondesignerDomWatkinsartdirectorWarrenHaighandtheirteamssetaboutbuildingtheroyalvillagewhichwasoriginallypenciledtobeshotonlocationinWales.Duetologisticstosetdecoratingneedsforvariousstagesandtoallowformorecontrolovertheshootavillagehadtobeconstructed.Aswiththecastlethevillagegoesthroughtwostagesduringthetworeigns.MagnusvillageisabrightlycoloredprosperouscommunitywhereasRavennasisatorchedruinedandrundowndwellingwithafeelingofthecrepuscularhour.brbrOnalighternotethestrawthatwasusedinSnowWhiteandtheHuntsmanisanancientvarietygrownespeciallyforthatchingroofsinSomerset.Itwasharvestedinthetraditionalfashionusing1920smachinery.HumorouslythelocalpigeonsdiscoveredthethatchingonthevillagesetanddescendedtoPinewoodenmasseatabout510p.m.tofeastonthecornheads.brbrimgsrchttpwww.girl.com.augraphicssnowwhitehuntsman6.jpgalthspace15vspace5alignleftWhilethesuperiorsetdesignsofDominicWatkinswowedthosewholaideyesuponthemhisteamsabilitytoturnascrapoflandaclearinginthemarshesoranormalpartoftheforestintosomethingquitespectacularisunparalleled.Theymorphedfamiliarshootinglocationsintounrecognisableandbeautifulsetpieces.WhocouldhaveguessedthattwomoundsofearthonthebacklotatPinewoodcouldbecomeatrollbridgeorthataformerlydullgreenpartofparklandcouldtransmogrifyintotheEnchantedForestbrbrSeverallocationswereusedforboththeEnchantedForestandtheDarkForestincludingBearsRailsinWindsorGreatParktheQueensbackyard.Rothacknowledgesthathewasamazedbyhowtheywereabletocapturethescenes.HenotesWeshottheEnchantedForestontheQueensland.ItsabeautifulareabehindWindsorCastleandthedeerandelkthatroamtherecanbetracedtoHenryV.Weshotaroundtreesthatarecenturiesold.brbrBearsRailswaschosenforitsancientwoodpasturewhichisfullof800yearoldoaktreesmainlyusedforshipbuildingindayslonggone.BurnhamBeechesLangleyParkandafilmingregularBlackParkadjacenttoPinewoodStudiosalsoformedpartofthejourneythroughSanctuaryandtheDarkForest.AdditionallyafamiliarlocationBourneWoodsplayedhosttotheepicbattlesceneatthebeginningofourstorywhenKingMagnusrescuesRavennaonlytobebetrayedthenextdaybytheeternalbeauty.brbrCharlizeTheronInterviewforSnowWhiteandtheHuntsmanbrahrefhttpwww.girl.com.aucharlizetheronsnowwhiteandthehuntsman.htmwww.girl.com.aucharlizetheronsnowwhiteandthehuntsman.htmap


 
 



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