Director: Eran Creevy
Production: 42 / Automatik Entertainment / DMG Entertainment / Hands-on Producers / IM Global Film Fund / Silver Pictures
How far would you go for the one you love?
Collide, produced by Joel Silver, Ben Pugh, Brian Kavanaugh-Jones, Rory Aitken, Daniel Hetzer and directed by Eran Creevy, is full of action, passion, fast-paced car chases and extravagant characters – everything you need to make a thrilling film.
For any art department team, this film would present a lot of exciting challenges, and it is with no surprise that Painting Practice immediately agreed to take on the job. The film required complex visuals with long and carefully choreographed car chases, gun fights and raids; it also needed to depict the criminal drug-dealing world with an underground and vibrant tone. With that in mind, Joel Collins, Production Designer, and Justin Hutchinson-Chatburn, VFX Art Director, put a talented team together to create compelling concepts and detailed previz sequences for the main VFX scenes.
Joel’s wall: Our Production Designer at work
To pay for his girlfriend Juliette’s (Felicity Jones) medical emergency while abroad, Casey (Nichoals Hoult) has no choice but to help an eccentric gangster (Ben Kingsley) in a drug heist. After a failed attempt, he travels across Europe to save Juliette from the hands of a cruel drug lord (Anthony Hopkins), racing against time and going beyond the impossible – all for love.
Joel Collins and Painting Practice designed a variety of sets and atmosphere, from the cosy warmth of Casey and Felicity’s flat to the ‘underground’- style bar, with saturated colours, multiple graffiti and kitsch stickers.
During the production of Collide Painting Practice were once again on board helping to solve some of the film’s more trickier action sequences. One particular sequence was a wild escape by hero Casey (Nicholas Hoult) from the clutches of the films villain Karl Hagen (Anthony Hopkins).
Director, Eran Creevy wanted to film the sequence without a single cut point whilst giving the camera total freedom of movement within the action. It was a tough challenge that involved a lot of key considerations from the stunt work, through to the actual set design.
Creating the illusion that it was all shot in one go meant that the sequence was heavily previsualised in a virtual set where actors, camera and car position could be meticulously worked out. With the help of camera operator Stuart Howell ( Bourne Identity, …..) VFX art director Justin CHC was able to work out the camera moves and logistics to get a series of shots that would blend seamlessly together and create the illusion.
The resulting previz was instrumental in dividing the action into parts across two separate locations. And when you put the two side by side, you can see that the results are practically frame for frame identical to the final shot.
Director Eran Creevy and actor Anthony Hopkins on the shoot