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Advertisement - Continue Reading Below. And then eventually that makes its way into a shooting plan when we get to live-action shooting. We ended up doing Thanos primarily, and Weta also did Thanos, but just for one sequence, on Titan. So we ended up being responsible for a lot of the really heavy, depressing scenes, as you can imagine, having seen the film.
He was playing it very casually and normally, just throwing ideas around. Thanos, as a character, has well over 40 minutes of screen time. When we presented that test early on, literally the first day of shooting, it was an interesting presentation. And me and my digital effects supervisor hiding in the corner, trying not to make too much of our presence known, and just waiting as Josh Brolin was checking this out. I think what was really great about his reaction was his sense that he did not, as an actor, need to overplay the acting.
When we did this test, he was doing it as a pretty casual conversation. But what he saw in the test was that even in a very casual performance, a lot of subtle facial details were coming through. So moving forward, he was able to just play it as subtle as he wanted to, or intense, or whatever. It was all not getting filtered out [in the motion-capture process]. I think there was a huge sigh of relief in the room, that in fact, we could pull this off, that this was gonna work.
And obviously since that time — since the shooting, and then a year and a half, two years later, when we finally finished the film — a lot of that was improved greatly. We were really happy with the results and worked very hard to make that happen technically and visually. Thanos has been around for decades in the comics and has already appeared in the movies.
How did his design change this time around? We certainly started with the historical design, then we got an update as a digital sculpt from the Marvel Art Department.
Then we took it from there, where we would slightly tweak the proportions of the eyes, and the relationship of the eyes to the mouth, for example, slightly toward Brolin. I think, all in all, that helps in the overall performance matching, and getting a little closer to feeling what Brolin was doing with the character as well.
Then, of course, the details of the costume and the textural detail of the skin, these are all things that took months, and maybe even close to a year, of going back and forth between Marvel and our teams. In this case, they built the cameras that capture the motion of the body in and around the set pieces built by [production designer] Charlie Wood and his team.
And that enabled the actors to actually be on set interacting with each other, and all the while, you have as many characters as you want. I think we had plus characters on a scene sometimes.
Then we process the facial tracking. Then we have another step, where we work with Disney Research in a technology called Medusa, which gets really high-resolution imagery of face shapes of Brolin, which essentially get put into a reference library. So, what happens to the muscles, to the skin, to the face, to the bone, when you transition from shapes A to B, as well. It now knows — it now has been trained, essentially — to know that this is a better result.
As you do this hundreds of times, it learns from this process and effectively gets better over time. Where Thanos of the comics may differ from his cinematic counterpart is in his motivation. That is, the sentient cosmic entity that represents the concept of death in the Marvel Universe: capital-D Death.
The Death of the Marvel Universe can manifest physically in a number of ways, but often appears as a humanoid female, even if skeletal. Death appeared to Thanos in his youth, presumably because of his obsession with death and nihilism, and the two formed a relationship — a relationship that apparently hit rocky shores when Thanos was first defeated by the Avengers. Since then, Thanos has been characterized by his desire to make a tribute to Death on a cosmic scale — i.
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