User:TenTonParasol/Overhaul
Writing (revise)[edit]
After Universal acquired the film rights from Fox, Whedon began writing the screenplay. His task was to explain the premise of a television series that few had seen without boring new viewers or longtime fans. He based his story on original story ideas for Firefly's un-filmed second season.[1] Whedon's original script was 190 pages, and attempted to address all major plot points introduced in the series. After presenting the script to Barry Mendel under the title "The Kitchen Sink", Whedon and Mendel collaborated on cutting down the script to a size film-able under his budget constraints.[1] The tightened script and a budget Mendel and Whedon prepared were submitted to Universal on a Friday and on the following Monday morning, Stacey Snider, then head of Universal, called Mendel to officially greenlight the movie.[2]
Universal planned to begin shooting in October 2003, but delays in finishing the script postponed the start of shooting to June 2004.[3]
Design (revise)[edit]
Comic book artist Bernie Wrightson, co-creator of Swamp Thing, contributed concept drawings for the Reavers.[4] Other comic book artists who contributed to the production design include Joshua Middleton and Leinil Francis Yu (Visual Companion).
Serenity costumes are influenced by Wild West style: natural materials such as wool, cotton, and leather in drab earth tones predominate. The clothing of the Alliance organization within the series (in reality, reused uniforms from Starship Troopers[5]) is monolithically monochromatic. The cramped interior of the Serenity ship itself appears to be influenced by the "worn future" precedent set by the famous fictional Star Wars spaceship the Millennium Falcon[6] but devolved even further.
"Serenity" was clearly written by someone who grew up worshiping at the altar of Han Solo and the space marines in Aliens, but this genre picture is still a thrillingly original science fiction creation. The writing is as good as in the best "Star Trek" episodes, while offering a thoughtfully bleak vision of the future that brings to mind Blade Runner."[7]
— Peter Hartlaub, San Francisco Chronicle
This future envisioned in Serenity has two political and cultural centers: Anglo-American and Chinese. Characters all speak English and Mandarin, with the latter language reserved for the strongest curse words.[8]
Cinematography (revise)[edit]
The opening sequence shifts perspectives several times, from a traditional narrative to that of a schoolroom which is later revealed to be River's disjointed memories. Whedon said in the DVD commentary that the approach works thematically as well, since it depicts River's fractured state of mind. Once the narrative reaches Serenity herself, Whedon uses a long steadicam shot of several minutes to establish "safety",[9] as well as (re-)introduce every character aboard the ship and touch on their personalities and motivations.
Stuntwork (revise)[edit]
Stunt coordinator Chad Stahelski, a student of Jeet Kune Do under Dan Inosanto, created a customized fighting style for Summer Glau to use in the film's fight scenes. It was a hybrid of Kung Fu, kickboxing and elements of ballet, all combined to create a "balletic" martial art.[10][11]
Visual effects (revise)[edit]
As the budget for the film was considerably smaller than for other films, practical special effects were used as much as possible: if a computer-generated imagery (CGI) composite was required, as many tangible sets and props as possible were constructed to minimize the use of computer effects.[12] The most technically challenging scene was the mule skiff chase.[12] For budgetary reasons, a gimbal and CGI, much like those used in the pod race in Star Wars Episode I: The Phantom Menace, were quickly ruled out, creating a challenge for the production team to find an alternative.[13] Instead, the crew fashioned a trailer with a cantilevered arm attached to the "hovercraft" and shot the scene while riding up Templin Highway north of Santa Clarita.[13] Serenity visual effects supervisor Loni Peristere told the Los Angeles Times, "Traditionally this would have been, like, a 30-day shoot. I think we did it in five."[13] Zoic Studios, the company that produced the graphics for the series, had to perform a complete overhaul of their computer model of Serenity, as the television model would not stand up to the high-definition scrutiny of cinema screens (and high-definition video resolution).[14][15]
- ^ a b Serenity Collector's Edition DVD cast commentary
- ^ "Serenity Collector's Edition DVD Special Features
- ^ Cite error: The named reference
VisualCompanion17was invoked but never defined (see the help page). - ^ Epstein, Daniel Robert (c. 2005-09-30). "Interview with Joss Whedon". Suicide Girls. Retrieved 2006-05-19.
{{cite web}}: Check date values in:|date=(help) - ^ Koukoulas, Steve. "Firefly the Complete Series". dvd.net.au. Retrieved 2006-09-26.
- ^ Tyler, Joshua (2005-09-29). "Movie Review". cinemablend.com. Retrieved 2006-09-26.
- ^ Cite error: The named reference
sfchronwas invoked but never defined (see the help page). - ^ Espenson, Jane (2005-09). "Finding Serenity – Anti-Heroes, Lost Shepherd and Space Hookers in Joss Whedon's Firefly". Retrieved 2006-10-13.
{{cite web}}: Check date values in:|year=(help) - ^ Whedon, Serenity: Director's Commentary, track 1 "Living Weapon"
- ^ Sci-fi-online.com
- ^ Movies.about.com
- ^ a b Whedon, Serenity: Director's Commentary, "What's In A Firefly"
- ^ a b c Cite error: The named reference
McNamarawas invoked but never defined (see the help page). - ^ Miller, Gerri. "Inside 'Serenity'". Retrieved 2006-07-09.
- ^ "Interview with Zoic Studios' Visual Effects for Serenity". NewTek.com. 2006-01-24. Archived from the original on 2006-03-18. Retrieved 2006-07-09.