Chris Corbould -- the special effects supervisor of THE DARK KNIGHT RISES -- is a good friend of BOFís. And heís an Oscar winner too! Hereís his short Q&A from the August Ď11 RISES set visit in Pittsburgh, PA.
CHRIS CORBOULD: Weíve got a two-hour rig to do some explosions in the stadium which should be a lot of fun for us and the crowd.
So tell us about that set-up out there. Thereís this kind of raised patch.
CC: Yeah, I canít really get into specifics of storylines for obvious reasons otherwise Iíll be shot! However, thereís a scene later where thereís a bit of a football game going on and for whatever reason, thereís a fairly sizeable explosion. The raised platform is a technical part ofÖ itís there for a technical reason, nothing more.
BOF: I donít know how much you can answer but you told me before, I asked you aboutÖ
CC: Bill, yeah?
BOF: Yes. There another vehicle that you would like to create besides The Batpod and of course The Tumbler and you said that you had, you wouldnít tell me what it was, but you had an idea, and Iím not going to ask you what it was, I know how Chris is, but did you get to create that vehicle for this one?
CC: Not the one, no, but we have another stunning vehicle!
Have you filmed with it yet?
In THE DARK KNIGHT, we saw some pretty amazing things, thereís the semi-truck, but I mean is there anything that you still havenít figured out how exactly youíre going to do it yet for this?
CC: Yeah, quite frequently (laughs)! I have never actually had a schedule which has been so crammed full of special effects; we shot in England, we did some exciting aerial stuff in England and once we got to Pittsburgh, every single day there is something big going on and itís quite relentless right the way through to November.
It looks like youíre shooting more daytime scenes, at least in some of the pictures we saw, does that provide more challenges, going into a shoot like that?
CC: Um, not really, Iím a great big fan of working days, Iím not nocturnal personally and I was really pleased to see that Batman actually got out during the day and it, to me, actually adds a great look, seeing Batman out in the daylight, itís a total different look, you know, there are scenes at night, but, you know, I think the end sequence is all Batman during the day and it adds a whole new element to it.
Emma (Thomas) mentioned that the film takes place mostly in the winter and one thing we didnít really get chance to ask her is about the fake snow.
CC: Yes there is, yeah. LOTS and LOTS of it!
Youíre not giving Batman skates in this one?
CC: Oh no, noÖBat-Skis (laughs)! Iím joking, Iím joking!
How much pre-production time do you particularly get on a movie, how much did you get on this one? And what was the most challenging pre-production aspect of this film?
CC: I started this in January and I first had a meeting with Chris [Nolan] in November at his house and we roughly talked through the script, you know, he gave me Christmas to think it over and then I started in January and we went through the whole process, the script process, um, going to see the locations, we started shooting in England in, I think, mid-May, so thatís a sort of time-scale for me, starting with pencil and a pad and whatís that, four and a half months, five months.
Do you all have a couple of show-stoppers in this film? Like the truck scene or the hospital scene in [the last one]?