With “Dune,”Denis Villeneuve confirms that his visionary directorship is what he is. Adapted from Frank Herbert’s 1965 novel, “Dune”Villeneuve pays tribute to his artisans for creating the film’s look and sound. It is set in 10191.
Patrice Vermette, production design
Patrice preps a lot. He is a workaholic and it’s all about details and massive visual research — whether you dig in the past or project into the future, it requires research. I knew he would bring the right sensibility to the architecture and the way we approach light and texture in the film.
Every detail of every set was engraved by Patrice, down to the way that the sand is visible. Some sets were so large that there was no place to put them on, so they had to be built outside. Patrice is a remarkable cultural person and both of us come from the world documentaries. He’s a maniac and I love him for that.
Patrice had never been in a movie this big before, so I had to sell him to the studio.
Greig Fraser, cinematography
I was looking for a cinematographer with the ability to work with natural lighting, to embrace nature and not force it on her, but to more dance with her. His work impressed me greatly. “Zero Dark Thirty” “Mary Magdalene.”When it was time for the making “Dune,”He was the first name I thought of.
I was apprehensive about the process at the beginning of preparation. “Dune,”But I wanted to ensure that all options were explored. I wanted a camera with flexibility and versatility. I wanted to embrace and celebrate the power of the desert. I wanted the natural world to be the main character in the movie. Greig and me worked in real sunlight for exteriors as well as outdoor sets. Before Greig joined me, I was picturing the light, contrast and nature of the light. It is very close to what I had envisioned in my early dreams. Greig is an amazing artist, and he was a great friend.
Hans Zimmer, music
I needed a composer to bring the alien sound of the desert — the spirituality of Arrakis — to life. Hans and I agreed the score should be very feminine, and a female voice should be prominent — and that the score should seem to be coming from an alien world, and avoid using recognizable instruments, and that the score should sometimes be closer to sound effects. It was exciting to see him explore new areas and get out of his comfort zone. The music should be able to convey the scene’s subtext and provide depth.
Every piece of music was a challenge. I still vividly recall the moment when Paul brought the music for the harvester rescue. It was then that Paul came into contact with the deep sand desert and the sandworm. We didn’t approach it like a monster sequence, but rather a spiritual encounter. When I heard the music for the first time, it was so beautiful that I wept. It’s one of the most difficult pieces of music I’ve heard in a long time.
Donald Mowat, hair and makeup artist, prosthetics
Donald is meticulous and Spartan as a makeup artist. He’s always going to be as subtle and discrete as possible. He’s always working to protect the human face. The biggest challenge is “Dune”The Harkonnens were my go-to for makeup and hair. They had to have a certain look. The Baron is a human being but he’s so heavy he needs a system to float in the air because his legs are not strong enough to bear his weight. That required a lot of R&D. We attempted to design a human form that would not look like a baby or a cartoon, but still be powerful and intimidating. I didn’t want CGI. Donald and his team made amazing prosthetics. I loved Donald’s work so much that I redesigned the opening scene of the Baron so he could be seen naked. His form is so beautiful and powerful that I had to show it. Stellan was so terrifying that there was silence when he walked onto the set
Bob Morgan, Jacqueline West. Costumes
Frank Herbert was the source of many clues. Frank Herbert describes the appearance of military uniforms, including the clothing, suits and some details. Jacqueline West and Bob Morgan were both available to me. She is well-known for her historical work. The movie should look historic. The book felt like it was written by a historian, who had returned from the future. I wanted the costume design to have a romantic touch and to be more realistic than sci-fi. They were open to the idea and returned with powerful, beautiful references.