Production
The film includes over four hundred visual effects shots —a very large shot count for an independent, privately financed film. Budget constraints required an international effort. Work was split between Toronto-based Mr. X Inc., Lost Boys Studios in Vancouver, and Atomic Visual Effects in Cape Town, South Africa. The visual effects team, led by Evan Jacobs, worked closely with the filmmakers to create visual metaphors that would capture the essence of the film's technical subjects with attention to aesthetic detail.
The wedding was filmed in St. Patrick's Catholic Church, which was built in 1888 and is in northwest Portland. St. Patrick's is not a Polish parish, as was shown in the movie; historically it has had a primarily Irish congregation. Some of the interviews were filmed on the University of Washington campus in Seattle. Most notably, the grand staircase and reading room of Suzzallo Library, the quad, and the front of Denny Hall were used as interview locations.
Read more about this topic: What The Bleep Do We Know!?/Archive 4
Famous quotes containing the word production:
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)
“[T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains “ichthyol,” a medicinal preparation used externally, in Webster’s clarifying phrase, “as an alterant and discutient.””
—State of Utah, U.S. public relief program (1935-1943)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)