Gary Brozenich
On the release of Disney’s Maleficent: Mistress of Evil now on Digital 4K Ultra HD™ and Movies Anywhere, 4K Ultra HD and Blu-ray™. Our colleague Jesus Figueroa of ThisFunktional caught up with VFX Supervisor Gary Brozenich for Maleficent: Mistress of Evil. Check out his interview below.
The thrilling sequel to 2014’s Maleficent, starring Angelina Jolie as Maleficent and Elle Fanning as her goddaughter Aurora, arrives home with brand-new bonus features, extended scenes, outtakes and an exclusive extra for Digital consumers.
Jesus Figueroa: Congratulations on this visually stunning movie. With so many elements to this movie, the action, the characters in the different sceneries. How much more difficult is it when you have so much to supervise?
Gary Brozenich: So in that sense, you know, you have to try to prepare as much as you possibly can and talk about everything as much as you possibly can in advance so that when you do get surprised on the day, which happens every day that you know, you’ve got a well-thought-out a well-thought-out plan B to plug-in also I had a really good team, a really great production team. I had a great second unit supervisor that worked with me who I’ve known for years and you know, we had a lot of onset support so I never felt kind of overwhelmed by it, but I actually love working on these kind of movies. So I think to me just throw me in the middle of it and and it’s sort of a sink or swim and I kind of enjoy that process.
JF: What kind of added pressure do you get when you when you come into a movie like this where the character so beloved and so well known?
GB: I think that the main thing is making sure that anything that we do relating to that character those characters is respected and that anything that we change or enhance our that we do to to make that, you know a more up-to-date or what we consider to be a better version is done in conjunction and in tandem with the actor or actress that that relates to and that includes like, you know the world creation as well. You know that, if say Angelina or Elle were used to seeing or understanding that when they looked away from the throne area that was Maleficent’s in the first film that then became Elle’s throne in the second one if they were familiar with what was out there. If there was a change that happened to there was something that they were they were aware of, you know, and I think that that kind of an inclusion, you know that kind of that sort of, you know, open discussion and making sure that you’re aware your a part of the dialogue with them so that there’s nothing that they’re meant to be seeing that that isn’t what they don’t know about it. It’s a big part of it, but I think if you missed that and then that’s when you can get into trouble.
