Avengers: Infinity War
Nobody was more prepared forAvengers : Infinity Warmore than Charles Wood . The output designer for the back - to - back projection alongsideAvengers 4 , Wood had antecedently worked in all street corner of the MCU : Thor : The Dark World , Guardians of the Galaxy , Avengers : Age of Ultron , andDoctor Strange .
The climax of his and Marvel ’s entire squad ’s efforts can be seen inInfinity War , which is now usable on abode telecasting . For the Blu - shaft of light release , Screen Rantcaught up with Charles to discuss the unique challenge of such a freehanded yield and how it fit in the broad MCU plan .
Related : How Marvel keep Infinity War ’s Secrets From VFX Artists Working On The Film
Screen Rant : This was your fifth Marvel labor , and all of those plastic film ramp up up toInfinity Warjust as the story has . Because you had that experience with Thor and Doctor Strange and all those different types of superhero stories , what was the biggest challenge for you coming into this one ?
Charles Wood : I cogitate the scale of the project . The whole thing was … when we first looked at it , I would say the most intimidating thing was the scale leaf and probably the complexness of it and have to craft these films that were all entwined . Just the logistics of make a film like this . It was somewhat thought-provoking , I have to say . But brilliant , we were lucky to do it .
SR : On this movie , you ’re working with a big team who ’ve put to work on various Marvel picture before . How did those divvy up experiences inform the early stages of development , and how did that help the flow of the project ?
CW : Well , the thing is , form with Joe and Anthony , they had done obviouslyCivil War , worked on Captain America which I had n’t make , so they had their own angles , their own perspectives . And also , they ’re obviously very opinionated in how they wanted the film to look , but evenly were very interested in how we ’d put the others together that they had n’t worked on . They ’re very generous , badly are really great directors to work with . Just from the get - go , just very collaborative , meaning they always wanted - they gave us a lot of free range to explore stuff and nonsense that were n’t necessarily suppose of etc etc . So , yeah , it was a good experience all round . And you have to , on a project of this shell , everybody has to get involved . One single person could never produce something like this , you know ?
SR : As you note , Joe and Anthony exercise onCivil Warwhich is a movie that has a mess of characters . That ’s a worry for you - when you ’re doing the production design , you ’ve got to consider " how is that space going to be satisfy ? " How does that work in your system ? Were there any specific characters who posed a challenge in making sure they lick inside the sets ?
CW : Well , I hypothesise I ’d had experience with a lot of these character ' other films so you could see ahead and get a sense of what they might or might not be doing , and how they carry on curing . And what I stand for by behave is how they work within a quad . I mean , the country where you ’ve got to be much more deliberate is in the virtual universe . Because these were new virtual fictional character and you have to do a lot of R&D into interpret how they perform in a practical way . So those were the domain where we concentrated on it , I think .
SR : You talk about the ordered series of this project , and it is a openhanded movie and it ’s only one half of the actual production , but there are so many other aspect that make it a big challenge . One of them is programming - scheduling all the actors , which had an influence on the hand . How did that influence your employment ? Did that gravel any challenges when there are some situation where you have player who ca n’t be in the same room ?
CW : It does . You have to be pliable . You have to be able to look ahead far enough to be able to … you have sex , if you many soundstages and many sets already built in them , you often find yourself hopscotching from one degree to another . And if someone does n’t come uncommitted or there ’s some problem , you go back to another hardening . But you need to have a big fine art section , you ask to have a flock of art film director who can aid you navigate through all those change that constantly encounter on something like this . I intend , these films are made very often , so it was new territory for all of us I think .
SR : Infinity Waris revisit some sets and locations , which does n’t needfully happen very often in Marvel movies , in reality . You go back to the Sanctum Sanctorum and its besiege field , and Wakanda , and you were plain work out at the same time as Black Panther . And so those two pose unequalled challenge because you ’re play in an environment audiences are familiar with but you also need to adapt it to a novel story . How do you maintain that accuracy while also making certain it ’s ductile to whatever the Modern story ’s throwing up ?
CW : Well , I mean for certain with Doctor Strange , luckily we had done the film , doneDoctor Strangein its own right field , so we knew that world pretty well , so you ’re guided by what you ’ve done in the past tense . And hopefully you just then have the opportunity to break it if you could . With Wakanda , you ’re correctBlack Pantherwas filming at the same metre , so we could apparently see whatBlack Pantherwas doing and that helped us .
SR : One locating that ’s really fun is Edinburgh . There ’s an interesting geography and an intragroup logical system to the sequence - there was a mother wit of piazza to that conflict as they were croak around . How did you go about making certain that work out and convey that on screen without it distracting from the role in the moment ?
CW : Well , I think you ’ve just said it . When Joe and Anthony , when we first went to Edinburgh , certainly Joe was very familiar with Edinburgh the metropolis , and precisely what he require to do . He did n’t want to just dissipate all the landmark in Edinburgh at all . He require to make it a much more interesting billet than that and see it really from the street tier as you would at dark . So he had a very specific view of how that should be . And he say he wanted it to be a journey . So they stepped it out for us , it was n’t really a question of when we die there we sort of … Joe and Anthony were very influential in how that was going to encounter before we even get there .
SR : lastly , I want to talk a little about the unique challenges ofAvengers 4and blast these back - to - back . Because , as you articulate , that made the project twice as fully grown . In full term of mapping it out , were there any singular challenges that come up from that way of thinking ?
CW : Unique challenges … yeah , obviously I ca n’t really annotate aboutAvengers 4except to say evidently the creation of that film … both pic contribute on the other , so to speak . I ca n’t really say too much , so I demand to be heedful what I ’m pronounce .
