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more. For instance when they come into contact with each other the characters would have to say, "Kowalski [Clooney's character] Houston. " And then the other one says,"Houston Kowalski Go. " And then he starts talking, there's a whole protocol. But as George [got involved] we said let's keep it simple.
We establish it [in the dialogue] so we have a sense that this is the reality for them, then let's simplify this. And we kept the jargon in some points, more when it was an identical conversation. But less when there was an exchange between characters. First of all [Sandra Bullock] is a fish out of water. We tried to make that very specific. She's a medical engineer and she happened to have the opportunity to go to space. So she's not an expert. When we see her for the first time, you will see that she's not enjoying the experience. We wanted it to be a character who doesn't control that environment. That's the thing about adversity in life. Usually adversity brings us out of our comfort zone that's what makes it even more challenging. We wanted a character who was completely outside of her comfort zone. There are a lot of moments in Gravity where the film is shows instead of telling for example, Sandra Bullock gets inside an airlock and it fills with oxygen, but she is still suffocating to death because she's in her spacesuit and she ran out of oxygen a few minutes earlier.
The film never tells us "Oh, she has to get the helmet off or she'll die," it just shows that she's passing out. Was there concern from the studio that you needed to spell things out more? Did you experiment with different ways of conveying information like that, without using dialogue?That was part of the challenge from the screenplay, how to do it. Everybody has experiences of adversity. We all have experiences in our lives that are very challenging. The idea was for the characters to channel that experience of reality. We wanted to try and give as little information as possible. The whole point of Gravity is the immersive quality of it. When you show a film that is just technology without the visual effect. Or in many cases the actors weren't even in the shot, it was just pre visuals. We were testing previs basically Nike Hyperdunk Flyknit 2017 White and some shots Hypervenom Nike Indoor
of the actors. You didn't have that immersive experience, you were just watching bad animations. And .
y intelligent people. Early on, in the first draft, we had a couple of scenes where [the advisors] explained how stupid we were. So we had to cut [those scenes] back or out. And then Nike Metcon Mens
wrap that into a more plausible way. Always knowing that this was a feature not a documentary. So we tried to respect that currency in the frame of our feature. Actually there was a paragraph that was FILLED with jargon and filled with absolute technical accuracy but it was absolutely distracting because it was 300 pages of technical stuff. Frustrating for me because I love that technical stuff, but it was not helping the development of our characters. There was a balance. At some point I think when George got involved there was way Nike Hyperlive Bhm
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