I was surprised how short this feature was, considering all they had to do to make this fantasy-adventure-drama movie come alive. We get a quick idea of what it took, but more than that, we get the ideas in the heads of the director, and special-effects people on what they wanted to achieve on film.
Kevin Tod Haug, visual effects designer: "The goal was to give people an idea of where that line's drawn between fantasy and reality and how thin it was. You didn't just suddenly flip into this fantasy world and then flop out again how to go back and forth in a seamless way and not be overly intrusive."
There are about 80 visual special shots, according to Leslie McMinn, visual effects producer. Sheexplained what they called "the big shot," where you saw the all the people in the theater if you were Peter Pan flying through the audience, going up to the chandelier, down through the audience to the closeup shot of Freddie Highmore sitting in his seat watching the presentation. They had 150-200 extras and made them look like they were 1, 000 or more to fill the theater.
Director Mar Foster said it was important to "have both this old style Hollywood movie-making where everything was built in stages and at the same time still have this new technology to play but it to use it n a rudimentary sort of way. Later in the film, Neverland itself is on all the stage. "It's all real," he said. "I am hoping people don't even realize part of this is effects."
Kevin Tod Haug, visual effects designer: "The goal was to give people an idea of where that line's drawn between fantasy and reality and how thin it was. You didn't just suddenly flip into this fantasy world and then flop out again how to go back and forth in a seamless way and not be overly intrusive."
There are about 80 visual special shots, according to Leslie McMinn, visual effects producer. Sheexplained what they called "the big shot," where you saw the all the people in the theater if you were Peter Pan flying through the audience, going up to the chandelier, down through the audience to the closeup shot of Freddie Highmore sitting in his seat watching the presentation. They had 150-200 extras and made them look like they were 1, 000 or more to fill the theater.
Director Mar Foster said it was important to "have both this old style Hollywood movie-making where everything was built in stages and at the same time still have this new technology to play but it to use it n a rudimentary sort of way. Later in the film, Neverland itself is on all the stage. "It's all real," he said. "I am hoping people don't even realize part of this is effects."