#Patrice Vermette

[getamovieon]

Production designer Patrice Vermette put himself "in the position of the architect" for Dune.

[nofatclips]

I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.

REBECCA FERGUSON as LADY JESSICA

DUNE: PART ONE (2021) dir. Denis Villeneuve

[rogerdeakinsdp]

Academy Award Winners for Best Cinematography: 2022 — Greig Fraser, ACS, ASC Dune (2021) Directed by Denis Villeneuve Aspect Ratio: 2.39 : 1

Desert colors dominate throughout the movie, but Fraser, [production designer Patrice] Vermette and costume designer Jacqueline West went to great lengths to imbue that palette with subtle and organic variations of color. “We worked very hard to make sure the world of Dune was not monochromatic,” Fraser says. “For example, Patrice worked veins of reds and blues into the sand walls. He — and Jacqueline, who built these subtle gradations of color into the costumes — both did wonderfully subtle work, and I had to make sure we were capturing those subtleties."

“My approach was to pull as much color as possible out of non-colorful situations,” he continues. “It was all subtle differences, not necessarily bold color contrasts. Achieving bold color in film is super easy. Achieving depth [in the image while creating a natural-light look] when you’re working with a digital sensor and digital lights is harder than it might first appear.” — The American Society of Cinematographers, January 2022

[vibe-stash]

Dune: Part Two (2024)

Director: Denis Villeneuve DOP: Greig Fraser Production Design: Patrice Vermette

[arsonistmp3]

sets from dune (2021); patrice vermette

[rebeccalouisaferguson]

COLLIDER: The thing about being an actor is no matter who you are, you are just trying to get a break and you are trying to get noticed. You're trying to get better roles. Then there are people like you who have turned the corner and all of a sudden have landed really cool role roles at some point in their careers. When did you feel like you had turned the corner as an actor?

REBECCA FERGUSON: Mission [Impossible – Rogue Nation]. No discussions. Without a shadow of a doubt. I mean, also, it was such a corner. It wasn't even a corner, it was like jumping off a skyscraper. Doing a Mission: Impossible and being written such a huge role, like the lead with Tom Cruise, in a Mission: Impossible, how could that not just propel things forward? That is by far the turning point for me.

You have done a lot of cool roles. If someone has actually never seen anything you've done before, what is the first thing you'd like them to watch and why?

FERGUSON: That's so hard. I think it depends on the person, right? It depends on who they are, what area they're interested in, et cetera. For example, Mission for me, the first one showed a lot of fun, not an enormous range, but I think Silo for me is a lot of character choices that I've made that are very different to other things that I have done. Dune, Mission, and Silo.

I would recommend all three.

FERGUSON: Doctor Sleep was fun.

Especially the longer cut. Just throwing that out there for people that haven't seen it.

I gotta do one Dune question. Denis Villeneuve is a genius, and you knew the movie was gonna be good, but what has it been like reading reviews and feeling the reaction from fans? Because I genuinely think Dune 2 is a masterpiece and I think most people think the movie is spectacular. What has it been like for you with the movie doing so well and all the positive energy for the film?

FERGUSON: You know what? I think for me, because I had watched Dune and I was doing interviews — you and I did interviews — and I remember sitting there going, “I just want people to see it.” I heard myself say, “If you think Dune is good, wait until you see Dune 2,” and I remember thinking, “I really mean it.” I mean, the challenges, the angles, the storyline, the music, the scope, the Harkonnens, the graphics, it's all there. It's a masterpiece. And the fact that I know people have seen it and the response is what it is, it's a bit of me going, “Told ya.”

You kept saying it. I'm just overjoyed that Denis can make Dune Messiah when he wants to because the film has been so successful. As a fan, I want to see more, and I'm glad that he wants to do it.

FERGUSON: Me too. It's a universe. It's kind of what Star Wars was when it happened. I don't want to jinx it, but there's a lot that can be done here. This is a world. It's a sexy world, and it's dangerous, and it has different cultures and life and visions, and Patrice [Vermette], who is the designer, and the costumes. I mean, it's a spectacle in every aspect. It’s just phenomenal.

You know how much I love Silo. When did you realize that Silo might actually be something really special? Because you're never really sure until a certain point.

FERGUSON: I wasn't sure until reviews came out and numbers were going up. Literally. I needed the recognition of the people to understand, and maybe because I'm the lead and I'm carrying it, and it's hard to know in that sense, but I think I was very worried in many ways that it wouldn't deliver. I was questioning it, not in my heart because it's a love project and I love the people, as you know, but as a show. Would it hold? Would people watch it? When the digits came in and I got a phone call from Apple saying, “Well, this is looking good,” I went, “Oh, okay, good!”

I'm a huge fan of Apple TV. I think the sci-fi they make is easily the best of any streamers by a mile. I'm always looking at what's in the top 10, especially the top five because if it's something I love I want it to be there because I know they'll make more.

FERGUSON: That’s most of the things, not just the sci-fi. For me, like, The Morning Show, Season 1 of Ted Lasso, it's such a varied range. I loved Shrinking. I loved it. Apple is good at finding niches that stand out. It's great.

I’ve said this before, if I had to give up streaming channels I would not give up Apple TV.

FERGUSON: Apple right now listening in, they’re like, “Yeah!”

Here's the thing, you know this about me, I wouldn't say this if I didn't actually believe it. It's quality stuff.

I know that you're an executive producer on Silo, and I'm curious, what's an example of something that you did as a producer or something that you've learned in making the first season that you applied to the second season?

FERGUSON: I don't like analyzing myself in that sense. I have a very strong voice onset, as in I'm very much a part of the process. To understand, people turn to me for questions, as well, which is a nice feeling of giving people security of angles and ideas. When people have ideas, even people who are not part of the DP, acting or directing but they might have an idea, they come to me. I feel a part of the entire spectrum of the show and I take the place as well, but I don't see myself as a producer, which is maybe weird. I see myself as very much a part of driving the show forward, and I love everyone so much and I care for every single human being. I know them, I know their family, I know the kids, I know their situation. It's pure, utter love. So, I don't know where the producer steps in or where the actor steps in. I don't know. I just have a very strong voice and a position that is anchored.

Being a producer and obviously the lead in everything on the show, how much do you like looking at early cuts?

FERGUSON: I get access to them. Right now, I'm watching the cuts. I'm watching the studio cuts, which mean visual effects, sound, nothing is done, and I find it daunting. I find myself calling the supervisor who's doing it sometimes, and I'm like, “Oh, the glory around my head, it looks…” And he’s like, “Yeah, but we haven't graded it yet.” I’m like, “Okay!” But when you asked about the producing lot, I watch Graham, and I watch Joanna Thapa and Nina [Jack], who are the producers on set who are phenomenal, and the directors. I really study people. I look at them, I ask them questions, I’m curious. But it trickles from Graham and all of it. The whole process.

The only reason this show works is because of Graham's leadership and his brilliant writing. I love the whole arc of the first season and how it ties together. Can you give an example of Graham on set problem-solving and why he is such a special showrunner?

FERGUSON: Do you know what? It's not a problem-solving. I think when Graham comes, there's a buzz. There’s a buzz from everyone because we know that the creator– It's like daddy walked on set to help us again. Usually when he comes, he's there, and I grab him, and I ask him to pitch the next season for me. So I basically don't give him two seconds to respond to other people's issues because I ask him for all the attention myself. We've become a little group gathered around the chairs, and he pitches us new ideas. It's a community. What he shows, his enormous leadership is that he backs away and he doesn't step in and take over. He is very much the man who just leans back. He lets people solve it. He comes up with a joke or a reassuring thing or does little tweaks, but you don't know he does it. He lets the people who is given the job do that job.

In an ideal world, how many seasons would you like for the show?

FERGUSON: I believe the show has an ending, and I know when that is. So, that's the answer. You'll find out when the show's done. Actually, to be honest, I don't think it's a secret. I mean, the books are the books, and the three books are divided into four seasons. So I believe — unless any Apple person is gonna jump on — I think we're absolutely fine to say Season 1 we've done, Season 2 is shot and coming out, and we're now looking at green-lighting Seasons 3 and 4. I think we would film them maybe together, and that will be the end.

That's what I wanted to ask you about. They did that with See. They filmed Seasons 2 and 3 together. The biggest problem for me, and I think for a lot of fans, is streaming shows often take long breaks between seasons because it takes a long time to film. Because this show's ending is in sight, I wanted to ask you if Seasons 3 and 4 could film together, which seems like you guys might.

FERGUSON: I think that is the plan, and I believe that because the request of it is so demanding, which is amazing. The point would be to give the people what they want to get so we don't have too much of a gap. But everything changes. It's about timing, it's about what works, what else is coming out. It's a mathematical equation of how things are being dropped and when it's being dropped.

The other thing is, obviously it's very daunting to write 20 episodes of a show, but if you were filming Seasons 3 and 4 at the same time, you could block shoot and maybe save a lot of time by doing everything on that one set and then that's it.

FERGUSON: Exactly. You've got it, Steven. But what we also have to understand is you then have 20 episodes and you might have five different directors. As actors, we're jumping, nothing is consecutive, so it's very strenuous for us, it's very strenuous for the directors. But that's how we did Season 2, as well. One day I would film with three different directors, three different episodes. So, I have color-coordinated and directorially coordinated my scripts. I only have my stuff, no one else’s, and I have it in sequence, in order so I know, when I look at the day color-wise, who I'm working with, when I'm working, where I am. It's very unsexy — I find it very sexy. I love everything that has to do with highlighters. I’m a bit OCD.

How did the underwater stuff in Season 2 compare to your work on Rogue Nation?

FERGUSON: The same people that I worked with, the water people who I love at Pinewood, the best people — Joe, Pete, “Perfect Pete” — I love them. All of them. I'm very comfortable in water. I'm a diver. I love water. I love challenging myself. With Rogue Nation, there was a specific scene that wasn't that crazy — we were underwater, I’m saving him, and get out. In this, we have excessive, extravagant moments that I'm very excited for you to see.

Do you think there's a chance for Season 2 to be out this year, or do you think it's more realistic early next year?

FERGUSON: This year.

Have they told you?

FERGUSON: No, that's what I think.

I really hope that's true. The thing I'm thinking about is you guys just wrapped in March, and I know how long post-production takes and VFX so that's why I was like, “Can they make November? Is it possible?”

FERGUSON: We don't have a release date. We have something we're working towards. I have all 10 episodes of studio cuts, but then it's grading VFX, and there's so much that needs to be done. I think we're hoping for a date, and I think we're pushing for it. I think Apple is incredible at their response to needed editorial changes. I think the collaboration is so good between the directors in the studio that I don't see why it wouldn't work. But that is out of my hands.

What can you tease about Juliette’s journey in Season 2 without spoilers?

FERGUSON: If I could tell you. I shouldn't say this, but it gets wet. I don't even know if I should say that, but I just did. It's so intense. It is so intense. It's a multitude of things that happen, and it's like Season 1 was the introduction to the chaos that is gonna happen.

I know that you are gonna be filming Mercy with Chris Pratt, and I know it films in LA. I’m super excited. What about this project versus the other scripts you probably were reading said, “This is the one I wanna make?”

FERGUSON: It was eight days of shooting, so it gave me time off. The character was intriguing, but the director and the producer, so Timur [Bekmambetov] and the producer, Chuck Rovan, who did Oppenheimer, it was the conversations with them about where they wanted to take the character of Maddox, the AI judge that I’m playing. I was intrigued with what I could do with the eight days of this character, and it's not asking for a lot when it comes to change. I have basically one look and so many small details in the acting. I know it's AI and it sort of, once again, puts me in sort of a futuristic box. For me, I pick the roles due to the character and what I haven’t done before. And by the way, Chris Pratt is the loveliest, kindest, and very smart human being.

Yeah, he's very nice.

FERGUSON: I'm not saying that I'm shocked. It's just, like, I'm so happy to be working with such lovely people. I feel very lucky.

Yeah, I just spoke to him for Garfield and had him talk about it.

FERGUSON: He's such a goofball with a very high intelligence.

Yeah, also, he is very popular with the shows he does and the movies he makes. People really like watching them.

FERGUSON: He's likable and he's fun. He has the quality, the Sam Rockwell quality. It's goofy, it's quick, it's fast. He responds very wittily, even off camera. We haven't started filming, but when we were rehearsing, he left the room, and I threw him a one-liner and he just threw one back within a second, and I thought, “His mind is very active.”

[byneddiedingo]

Dune: Part Two (Denis Villeneuve, 2023)

Cast: Timothée Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Stellan Skarsgård, Charlotte Rampling. Screenplay: Denis Villeneuve, Jon Spaihts, based on a novel by Frank Herbert. Cinematography: Greig Fraser. Production design: Patrice Vermette. Film editing: Joe Walker. Music: Hans Zimmer.

[charlotteswebbbbb]

The set of Dune Part 2, production design by Patrice Vermette.

[iffltd]

D U N E part t w o (2024)

starring Timothee Chalomet Rebecca Ferguson Zendaya Javier Bardem Austin Butler Florence Pugh Josh Brolin David Bautista Stellan Skarsgaard Lea Seydoux Souhelia Yacoub with Christopher Walken and Charlotte Rampling produced by Mary Parent Denis Villeneuve Cale Boyter Tanya LaPointe Patrick McCormick screenplay by Denis Villeneuve Jon Spaihts (based on the novel by Frank Herbert) music by Hans Zimmer cinematography by Greig Fraser edited by Joe Walker production design by Patrice Vermette costume design by Jacqueline West visual effects supervisor Luisa Abuchaibe casting by Francine Maisler from Warner Bros.

[themovieblogonline]

Dive Deeper into Arrakis: "The Art and Soul of Dune Part 2"

Are you ready to return to the vast deserts of Arrakis? "Dune Part Two" may have left you awestruck by its epic battles and stunning visuals. But the journey doesn't end there. "The Art and Soul of Dune Part 2" by Tanya Lapointe and Stefanie Broos is your key to unlocking the secrets behind the film's creation. This visually stunning hardcover book takes you on a breathtaking journey into the creative process that brought "Dune Part Two" to life. Imagine yourself peering over the shoulder of director Denis Villeneuve as he crafts his vision for Arrakis. Explore the genesis of the film, from the initial spark of inspiration to the meticulously designed sets and costumes. Unveiling the Spice of Creation "The Art and Soul of Dune Part 2" offers unparalleled insight into every aspect of the filmmaking process. Delve into the creation of the striking environmental designs that transport you to the harsh beauty of Arrakis. Admire the intricate costume concepts that bring the characters of Paul Atreides, Chani, and Lady Jessica to life in stunning detail. Witness the groundbreaking digital effects that create the film's awe-inspiring sandworms and epic battles. The book boasts exclusive interviews with key members of the cast and crew. Get up close and personal with Denis Villeneuve as he shares his visionary approach to adapting Frank Herbert's science fiction masterpiece. Production designer Patrice Vermette reveals the secrets behind the creation of Arrakis' unforgettable landscapes. Other crew members also chime in, offering a uniquely candid account of the film's ambitious international shoot. A Must-Have for Dune Devotees "The Art and Soul of Dune Part 2" is more than just a coffee table book. This is one of those must-haves for die-hard Dune fans. Whether you're fascinated by the film's technical mastery or simply crave a deeper connection to the world of Arrakis, this book is a must-have. Consider it the ultimate companion piece to Denis Villeneuve's cinematic masterpiece. The "Dune" franchise has a fascinating history on the silver screen. The first attempt to adapt Frank Herbert's complex novel came in 1984 with David Lynch's film. While visually striking, the film's convoluted plot alienated many viewers. Denis Villeneuve's 2021 film marked a successful return to Arrakis, captivating audiences with its faithfulness to the source material and stunning visuals. "Dune Part Two" promises to continue this success, further expanding upon Herbert's epic saga. https://www.youtube.com/watch?v=QznvWYHs4J4 Read the full article

[denimbex1986]

'Christopher Nolan’s biopic “Oppenheimer” has already grossed over $270 million domestically, setting a number of records both for the filmmaker and in general. There’s been a lot of talk about its Oscar potential next year, so it’s time to get down to the nitty-gritty in the below-the-line crafts categories where it is likely to get nominations, as well as its primary competition in those races.

The presence of “Dune: Part Two” — unless Warner Bros. moves it due to the ongoing writers’ and actors’ strikes — hangs over “Oppenheimer” like a dark Oscar cloud. The first “Dune” won six Oscars in early 2022, all in craft and technical categories, only missing out on two of its nominations there for Best Costume Design (which went to “Cruella“) and for Best Makeup and Hairstyling (which went to “The Eyes of Tammy Faye”). It’s fairly safe to presume that the finale of Denis Villeneuve’s two-part adaptation of Frank Herbert’s sci-fi classic will do just as well in those same categories.

In fact, “Oppenheimer” and “Dune: Part Two” could be going head-to-head in many key categories, although Warner also has “Barbie” now to push in a number of those same races, particularly for Best Production Design and Best Costume Design (the latter of which it’s likely to win).

Let’s consider each category for “Oppenheimer” and what it’s likely to face in its path towards Oscar night.

Cinematography

To shoot his latest magnum opus, Nolan reunited with DP Hoyte Van Hoytema, who previously earned an Oscar nomination in 2018 for his work filming Nolan’s previous WWII-set drama, “Dunkirk.” Whether you’re watching “Oppenheimer” in IMAX 70mm – the preferred viewing method since Van Hoytema shot using IMAX cameras – or just in 70mm, “Oppenheimer” is a big screen experience like no other. Although much of it takes place in a cramped interrogation room, the scenes where it breaks out into the wide vistas of New Mexico and the Los Alamos campus where scientists develop the first atomic bomb leave little question what Van Hoytema’s camera framing and lighting bring to the film. It regularly alternates between black-and-white and color, something that would normally be difficult to do, but all of it looks so good that the eye rarely notices the switches after a point. There’s little question Van Hoytema will receive his second Oscar nomination, though he’s going up against previous “Dune” winner Greig Fraser.

Production Design

Production designer Ruth De Jong came onto her first Nolan film after performing similar duties for Jordan Peele’s “Nope” (also shot by Van Hoytema). This is another crucial craft because it involved literally building the Los Alamos complex where the scientists developed the bomb, as well as showing its evolution over time. De Jong and her team also had to dress the locations in which Oppenheimer and Robert Downey Jr.’s Strauss are being interrogated. Although De Jong’s work is undeniable, this might be a tougher category for “Oppenheimer” to win since the academy often goes for more expansive and fantastical films here, which could allow “Dune” production designer Patrice Vermette to win his second Oscar.

Editing

Another craft that’s crucial to achieving Nolan’s vision was the editing by Jennifer Lame — her second time working with Nolan after 2020’s “Tenet” — especially keeping track of the two running storylines and building up the tension leading up to the Trinity test. Despite having worked on Best Picture-nominated movies before, her work on “Oppenheimer” is likely to be her first Oscar nomination. Interestingly, Lame previously edited a lot of “Barbie” co-writer Noah Baumbach’s movies, including the Oscar-nominated “Marriage Story” as well as many movies that Baumbach made with Greta Gerwig, such as “Frances Ha” and “Mistress America.”

Original Score

If there’s one category where “Oppenheimer” may have the best odds, it’s Best Original Score, because previous winner Ludwig Goransson (“Black Panther”) has delivered another fantastic set of compositions that drives the emotional tension throughout Nolan’s three-hour film. Even so, Goransson is going up against two-time Oscar winner Hans Zimmer and his “Dune: Part Two” score, which could be just as groundbreaking. Right now, it looks like it could be a photo finish.

Sound

The other category where “Oppenheimer” is very likely a frontrunner is Best Sound, a category that often goes to the loudest movie, which is quite achievable when you literally set off an atomic bomb in one of your movie’s pivotal scenes. There’s a faction of movie-lovers who always seem to take issue with the sound mix in all of Nolan’s movies, but the sound work in “Oppenheimer” is next level, even if you just take into account the moments leading up to and after the Trinity atomic bomb test. The use of sound and silence leading up to that explosion helped create one of the most breathtaking film moments of the year. In other words, Nolan’s sound team has made “Oppenheimer” as much a sonic experience as it is a visual one.

Costume Design

With any period piece, costume design is key, and dressing Cillian Murphy’s title character and those around him was important in establishing the authenticity of “Oppenheimer’s” period look. It was the work of costume designer Ellen Mirojnick, working with Nolan for the first time. While she’s never received an Oscar nomination for her work, she is a Primetime Emmy winner for “Behind the Candelabra” with two other nominations at those awards. Unfortunately for her, this category probably belongs to “Barbie,” and it will be hard for anyone else to make much of an impact.

Makeup and Hairstyling

With any biopic, makeup and hairstyling can play a large part in turning the actors into the known roles they’re playing, such as Jessica Chastain as Tammy Faye Baker in the aforementioned “The Eyes of Tammy Faye” or Gary Oldman as Winston Churchill in “Darkest Hour.” In both cases, the actors and the makeup/hairstyling won Oscars.

The teams put together by hair department head Jaime Leigh McIntosh and head of makeup and prosthetics Luisa Abel did a lot of sometimes imperceptible work turning the mostly male actors into their real-life counterparts, although not as many people may know what these original historical figures looked like. Because of that, this might be a tougher category to win for “Oppenheimer,” especially with other movies coming this season that have turned their actors into better-known subjects, such as the work used to turn Bradley Cooper into Leonard Bernstein for “Maestro.”

Visual Effects

Best Visual Effects is a category in which many of Nolan’s movies have thrived: his films “Inception” (2010), “Interstellar” (2014) and “Tenet” (2020) won that Oscar. Yet oddly, this is another craft category where “Oppenheimer” might have a tough time. That is partly because Nolan has spent a lot of time on the press circuit declaring that the movie didn’t use any CGI. It will have to put together an impressive VFX reel to convince academy members in the visual effects branch that it deserves to get nominated.

In the end, what it comes down to as far as the battle for craft Oscars between “Oppenheimer” and “Dune: Part Two” is whether Oscar voters will want to give the same awards to the conclusion of Villeneuve’s sci-fi epic or honor some new crafts people working with Nolan. “Oppenheimer” is not expected to have a candidate in the Best Original Song category, so that leaves all the potential acting, writing and directing nominations it could be vying for — and of course Best Picture...'

[thelowkeygeek]

Check out the latest LOWKEY GEEK #youtube video! NEW DUNE: PART TWO Official Trailer 2 REACTION | Zendaya, Timothée Chalamet | Warner Bros by LOWKEY GEEK! The brand new Dune: Part Two trailer is here! Keep watching for my full reaction! 🔔 Consider Subscribing: https://ift.tt/64xP5Fc 🎤 LOWKEY GEEK Podcast Channel: https://ift.tt/VwTjzPi 🎧 Listen on Spotify: https://ift.tt/dyDXEkv ► Fever events and experiences: https://ift.tt/oU0Kym4 ► 80s Tees: 30% OFF with code WINTER30: https://ift.tt/dfRUazv ► Bulletproof Coffee - 20% Off with code LOWKEYGEEK20: https://ift.tt/auWebIR ► Entertainment Earth - 10% OFF In-Stock Items Plus Free Shipping On Orders $40+: https://ee.toys/LOWKEYG ► The gear we use on this channel: https://amzn.to/3L79c1Y ► Merchandise: https://ift.tt/3bgKH6x Follow Us --------------------------------------------------- Twitter: https://twitter.com/the_lowkey_geek Instagram: https://ift.tt/1lhfiej Follow the Team on Letterboxd ----------------- Blake Wolf: https://ift.tt/3Hfld2U Rene A. Zelada: https://ift.tt/FLqTRpm Movie Info --------------------------------------------------- Do what must be done. #DunePartTwo only in theaters November 3. DUNE: PART TWO The saga continues as award-winning filmmaker Denis Villeneuve embarks on “Dune: Part Two,” the next chapter of Frank Herbert’s celebrated novel Dune, with an expanded all-star international ensemble cast. The film, from Warner Bros. Pictures and Legendary Pictures, is the highly anticipated follow-up to 2021’s six-time Academy Award-winning “Dune.” The big-screen epic continues the adaptation of Frank Herbert’s acclaimed bestseller Dune with returning and new stars, including Oscar nominee Timothée Chalamet (“Wonka,” “Call Me by Your Name”), Zendaya (“Spider-Man: No Way Home,” “Malcolm & Marie,” “Euphoria”), Rebecca Ferguson (“Mission: Impossible – Dead Reckoning”), Oscar nominee Josh Brolin (“Avengers: End Game,” “Milk”), Oscar nominee Austin Butler (“Elvis,” “Once Upon A Time...In Hollywood”), Oscar nominee Florence Pugh (“Black Widow,” “Little Women”), Dave Bautista (the “Guardians of the Galaxy” films, “Thor: Love and Thunder”), Oscar winner Christopher Walken (“The Deer Hunter,” “Hairspray”), Stephen McKinley Henderson (“Fences,” “Lady Bird”), Léa Seydoux (the “James Bond” franchise and “Crimes of the Future”), with Stellan Skarsgård (the “Mamma Mia!” films, “Avengers: Age of Ultron”), with Oscar nominee Charlotte Rampling (“45 Years,” “Assassin’s Creed”), and Oscar winner Javier Bardem (“No Country for Old Men,” “Being the Ricardos”). “Dune: Part Two” will explore the mythic journey of Paul Atreides as he unites with Chani and the Fremen while on a warpath of revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the known universe, he endeavors to prevent a terrible future only he can foresee. Villeneuve directed from a screenplay he co-wrote with Jon Spaihts based on Herbert’s novel. The film is produced by Mary Parent, Cale Boyter, Villeneuve, Tanya Lapointe and Patrick McCormick. The executive producers are Josh Grode, Herbert W. Gains, Jon Spaihts, Thomas Tull, Brian Herbert, Byron Merritt, Kim Herbert, with Kevin J. Anderson serving as creative consultant. Villeneuve is again collaborating with his “Dune” creatives: Oscar-winning director of photography Greig Fraser; Oscar-winning production designer Patrice Vermette; Oscar-winning editor Joe Walker; Oscar-winning visual effects supervisor Paul Lambert; Oscar-nominated costume designer Jacqueline West. Oscar-winning composer Hans Zimmer is again on hand to create the score. “Dune: Part Two” was filmed on location in Budapest, Abu Dhabi, Jordan and Italy. The film is slated for a November 3, 2023 worldwide release from Warner Bros. Pictures. #dune #zendaya #timotheechalamet #trailerreaction #teasertrailer #officialtrailer #trailerpark via YouTube https://youtu.be/f4Dkcuvd_YQ

[vibe-stash]

Dune: Part Two (2024)

Director: Denis Villeneuve DOP: Greig Fraser Production Design: Patrice Vermette

[indianhour]

Denis Villeneuve Didn't Want Outside Interpretations To Interfere With Dune's Design

The iconography and ideas from “Dune” can be found in lots of other sci-fi films and shows, particularly “Star Wars,” with many concepts from Lucas’ saga resembling Herbert’s book. And it’s not like the book is too vague or too specific in its descriptions that reinterpreting images would be impossible. According to production designer Patrice Vermette (via GamesRadar), “The book gives a lot of…