...and I didn't even have to hold my breath (yet). That part may still come later.
Maybe it's something in the air. Or the water. Hard to say, but whatever it is, it seems to be
exerting a strange force that makes all the films I'm involved in get shot, either partially or
entirely, on green-screen or blue-screen.
In the case of Seven Swords, it's blue-screen or grey-screen depending on how you
look at it. They're shooting using my Holoset (now renamed the
by Reflecmedia) and the accompanying retroreflective
backdrop for isolating elements to be assembled into some of the special-effects sequences.
But since Mark Grove is directing, you know that the action is going to be real and not merely generated
by computer. The CGI is just the icing on the cake--and us actors are going to get wallopped more than
a few times during the baking of said cake. It's all part of the job, really, and just helps make it all that much more real.
The one question I get asked the most about performing in a blue-screened set like this, facing imaginary adversaries
with invisible allies by one's side, is whether it's a lot more difficult to act in a vacuum where all those elements are
only going to be added in post.
What you might not realize is that making movies the old-fashioned way is often just
like that, too--because the world you see in the movie still gets assembled in post. When you watch something as simple as
a conversation between two people, the two halves might have been filmed at different times in different locations.
Neither of the actors may have been talking to each other and the two "sides" of the room might have been in different
Or there was the sex scene that was shot over here a while back where the woman's partner wasn't on the set...and
couldn't be, because a movie camera had to be where he would have been in the movie world. This was a big
film camera, too, not some itty-bitty camcorder--as always, size does matter--but the mere lack of a partner
didn't seem to impair her performance.
It's not always like that, by any means, but it works out that way often enough. I've been filmed having a conversation
with someone who hadn't even been cast at the time the camera was rolling on my lines, and I've had angry face-to-face
confrontations where the the two of us were at least fifty feet apart at the time.
Interacting directly with the other actors is a terrific thing and it certainly can help with your performance, too, but
you have to get used to playing solo, whether you're dealing with computer-generated monsters on a yet-to-be
drawn alien landscape, or you're making a down-to-earth drama on real movie film that won't feel even a single
stroke of a computer artist's brush.