Click here to read the full article.
For Andrew Jackson, the key to making the monsters of Christopher Nolan’s “The Odyssey” convincing was often simple: put something real in front of the camera, whether that meant a giant Cyclops hung from cables or Samantha
Morton reshaping silicone faces with her hands.
In a pre-recorded conversation with VFX magazine Befores & Afters editor Ian Failes that screened at View Conference in Italy’s Turin, the film’s Oscar-winning visual effects supervisor described how the production blended puppetry, prosthetics, stunts, miniatures and digital effects to create creatures including the Cyclops and Scylla, as well as Circe’s transformations and the film’s giant Laestrygonians.
Rather than treating practical effects and VFX as opposing approaches, Jackson explained the aim was to give Nolan and the actors something physical to work with whenever possible.
That philosophy was clearest with the Cyclops.
“When you’re in a cave filming, and we knew we were going to be in a cave, in a real cave, filming with real actors around a fire, there needed to be something there,” Jackson said. “To occupy that volume and give the actors something to perform to, the camera something to frame, lighting.”
The original plan called for a more complex full-size puppet, but the schedule changed dramatically after Nolan and production designer Ruth De Jong found a real cave in Greece. What had been expected to shoot near the end of production suddenly had to be ready within months.
“There was this sort of general reaction: ‘Oh no, we can’t do that in that timescale. It’s just not possible,’” Jackson recalled. “And I said, ‘No, no, no, we’re not going to give up.’”
His solution was to simplify the creature into a giant marionette.
“Forget about all of the complicated joints, elbows, wrists, shoulders,” he told the team. Instead, they built the main rigid sections of the body and suspended them with cables.
Once they saw it move, Jackson realized they were onto something.
“You could just give it a bit of a push, and the whole thing moved in a really convincing way because of the scale,” he said.
In hindsight, he believes the rushed schedule actually improved the result. “It pains me to say it,” Jackson said, because getting the puppet “to a cave halfway up a mountain in Greece in two months” was so difficult. But its loose, lightweight construction gave it a fluidity that a more elaborate mechanical version might have lost.
“It’s those constraints that force creative solutions that are better than if you have no limits,” he said, describing what he sees as Nolan’s approach to filmmaking across every department.
The finished Cyclops became a hybrid. Animatronic hands were used for moments in which soldiers were grabbed, while CG filled in missing joints and augmented the full-size puppet.
Its face was created with another simple, though again not easy, solution.
Jackson had filmed actor Bill Irwin experimenting with the character while the team was still considering extensive prosthetics. He took footage of one of Irwin’s real eyes, rotated it and repositioned it on the actor’s forehead.
“I showed Chris [Nolan], and he said, ‘That’s how we’re doing it. Forget about all the prosthetics. Do that because that’s really good.’”
For Jackson, the advantage was that the eye remained part of Irwin’s actual performance.
“All of the performance of this eye is part of his face, and it’s all synchronized perfectly,” he said.
Scylla required a different mixture of techniques.
The production was shooting aboard a real boat in the Mediterranean, so the team built a practical creature head with an opening mouth that could be slid over stunt performers before they were physically pulled off the deck on rigging set up by stunt coordinator George Cottle.
“We could actually do those stunt people being pulled off the deck of the boat for real in the right place,” Jackson said.
The rest of the monster was then created digitally, with CG necks extending from the practical head.
“So again, a mixture of practical and CG,” Jackson said, “but very much practical for the actors and the heads at the point where they’re grabbed off the boat.”
That same emphasis on physical performance shaped Circe’s transformation sequence.
Jackson, who worked closely on the scene with prosthetics designer Conor O’Sullivan, said an early animatronic approach felt too slow and restrictive.
“That’s never going to work for this,” he remembered thinking.
Instead, the team created extremely soft silicone faces over rigid skull structures that had been precut and held together with magnets. That allowed Morton to physically manipulate the transformation herself.
“She would actually physically move the thing herself,” Jackson said. “She was kind of instrumental in effecting the change of the shape.”
The result gave Morton freedom to perform rather than simply react to a preprogrammed mechanical effect.
“We shot her doing that for the full length of the roll of film, like three minutes on a take of her just going on and on and kind of pulling and pushing and manipulating and really getting into that performance,” Jackson said.
Even the Laestrygonian giants relied heavily on old-school illusion.
“Most of that was really just achieved in camera,” Jackson said, using camera placement, larger performers, smaller stand-ins and carefully chosen angles. A handful of shots were digitally adjusted, but much of the scale difference came from staging.
Across the film, Jackson said the real objective was not to prove that something had been done practically.
It was to make sure that whatever appeared on screen felt grounded in the same physical world as the actors.
As he put it while discussing the Cyclops, having “something real on the right size in the right place” goes a long way toward defining what an effect should look like, even when digital work ultimately completes the illusion.
From Willis O’Brien’s “King Kong” to Nolan’s “The Odyssey,” it’s always been the mix of tricks that casts the spell on an audience.
