Hamias: “Coming up with the idea was difficult enough already, but then we thought: How on earth are we going to do it? So using technology was a very crucial element and probably one of the most important aspects. Morrison: “We had to build special platforms within which we imitated blood movement and filmed it”.
Watch sweeney todd full movie online how to#
We had to learn how to “control” it and did a lot of filming on that…but patience is a virtue… and finally we got it in the end.” Hamias: Definitely, the biggest challenge was to do the blood movement. What was the biggest challenge to overcome? So all in all, I was directing the animation, timing and movement, and then at the final stage I was putting all the elements together in compositing with my team.” and basically was making sure that everyone in the team kept the same style across all the mediums. I was then referencing for the film shoot, stills, Photoshop painting etc.
First, I started off creating the look for approval by Tim Burton, and then we took it to the 3D modelers, both actual ones and in CGI. Hamias: “My role was to direct the design aspect and the whole animation process. I asked Shamias to define his role in the production process. We did everything in house at th1ng, including production.” The biggest challenge was definitely to put the whole idea into existence. There was a big team of CGI and then compositing etc. We had at times about eight people involved and to be honest it was a very intensive project. Morrison: “The making of Sweeney Todd took about three months. We took all of the creative work to Tim and he just spread them all over the floor… and then he spent about a day looking through them and said: ‘I really like this narrative piece’ (I did it in a literally black and white theme with pencils) – ‘and I really like those color frames’ (which were done by Shay) and there you have it.”
Morrison: “We did not need to pitch a lot really.
Shay Hamias came up with this fantastic picture of an industrial Victorian London – as you would imagine it without having seen the film – and there you go that’s how it all started…” So I sketched a couple of slides, like a narrative, and then asked the team at th1ng, about 7 or 8 of them, to share our ideas. So I watched the movie and then I completely stopped thinking about it for a while, just to clear my mind, you know… And then, after some time, all of a sudden I started picturing the whole idea in my head. We met for a few drinks, discussed the movie, watched some parts of it… and then he just let me come up with anything really. Morrison: “It wasn’t anything straightforwardly agreed. How was Tim Burton involved in the creation of the title sequence? A kind of visual journey of dread and eeriness with a reminiscent play of saturated colours and evocative images.” Richard Morrison: “The main concept was that of blood A notorious theme of blood trickling down… through the darkness of Todd’s industrial London. What was the concept for this title sequence? I talked to both designers about the making of the title sequence. Morrison worked closely with th1ng’s designer/director Shay Hamias. This project reunites th1ng’s titles director Richard Morrison with Tim Burton for the first time since the seminal Batman sequence from 1989. Title designer Richard Morrison says he wanted to pull the viewer into the movie before it even started: “The main idea was to make the sequence itchy and yet grand“. Dangerous Parking Richard Morrison, th1ng (2007)
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