He's going to approach you and add weight and hopeful it will bring you up." Nipsel turns to his crane camera operator, "Zoom over Karl and zoom in on Moon only," then shouts across the pool, "Moon, the camera comes at you! Stay where you are! Go back to your shoals. "You can kick him, but hopefully it will force his nose up, okay? And let it fly. The scene appears, showing Urban under the ice, breaking to the surface, and fending off a Viking attempting to clutch the same shoal. "Playback for Karl's underwater camera please!" says Nipsel. Swipe over it." Urban wades through the artificial ice to a ladder, climbs up, and goes to the bank of monitors. He turns to one of his camera operators, "What I like is the liveliness.
cut!" "Cut! Cut! Breathe, everyone breathe!" says the first assistant director. "Right and left! Swish around! Loose Moon! Karl! Fish around! And. Moon Bloodgood is at the edge of a shoal - chained to her drowning captor. A horse and its rider try to retreat backward. The Vikings flail and collapse into the water. "Gentlemen ready! Roll cameras! Three! Two! One! Fire gimbals! Action Karl! Let it fly!" At intervals, the air tanks shoot the ice plates upward. "Let's go hot on the gimbals please! Snow! Hail!" He moves to the bank of monitors. "These plates of ice are on gimbals, and those guy over there with the air tanks… once they hit the trigger, the whole thing comes up and you'll everybody go to the bottom."Ĭlick+the+pic+for+a+gallery+of+
"The story itself is set in a pocket of history where the Vikings came to North America and had a conflict with the American Indians," says visual effects supervisor Randy Goux, whose prior work includes Serenity and TV's Firefly. But none of them really deconstructed the genre, and did something really grungy, dirty and subversive." So Nipsel considered the subjects that, for the most part, haven't been touched, and concluded: "Vikings was it." Then I wanted to make a pirate movie, and Pirates of the Caribbean happened. "I always wanted to make a gladiator movie, then Gladiator happened. "What I'm interested in is taking a proven genre and deconstructing it," he tells IGN FilmForce on the Vancouver set. And that's exactly what Nipsel says he wants to deliver. Making any film these days is a big risk, but when your flick is set 1,000 years before the purchase of New York and has almost no dialogue, then, yeah. Director Marcus Nipesl, the fella who brought us 2003's Texas Chainsaw Massacre, is taking a big chance with Pathfinder.