Lemony Snicket's A Series of Unfortunate Events: A very elaborate set visit to the production of the upcoming Jim Carrey starrer, Lemony Snicket's A Series of Unfortunate Events, was conducted by About.com recently. Take very deep look inside the film's production...
"Set 1 was a desert area with train tracks and power lines. There was a field of burnt corn on one side and empty, plowed dirt on the other. Train tracks ran through the middle with a beat up old Imperial parked over the tracks. This car belonged to the villain, Count Olaf, and it was full of mirrors on the inside so he could always look at himself. He’s an actor. The Imperial’s license plate was NR4-7531, for the nit picky fans.
Set 2 was Briney Beach, the beginning of movie where the kids get the bad news about their parents’s death. One side was the beach, but that was at most ? of this space. Half the space was water, and the other ? on the other end was a peer with a one or two story lighthouse. On the beach side, several wooden boats were washed up on shore. A painted cloth background showed mountains and sky. Again, the space was mostly water and they were actively shooting on set. The water was shallow enough for people to walk in waist to chest deep, about four feet. During one shot, they created splashing in the water, a circle of what looked like bullet shots but it’s not. When it stopped, the hoses swirl slowly, like the Bellagio fountain, until they stop and go back under water"
"Director Brad Silberling explained his decision to remain on soundstages for the shoot. “To me, it’s funny, when you look at the bare premise of the story of these books, it could just be a story of just gross child abuse,” Silberling said. “I mean, if you placed it into a completely contemporary setting, went on practical locations and had basically Robert Mitchum out trying to like knock off a bunch of kids, it’s horrifying. So in a way, what [author Daniel] Handler did and I believe it was part of the intelligence of creating a world that you couldn’t quite define, was he made the situation survivable and palatable for the readership by creating his own world that had touchstones of what you know but is its own things. So we initially didn’t set out to design the entire world but what happened was [production designer] Rich Heinrichs and I went out, did some scouting back east a year ago and each time we came even down to the beach, we kept saying, ‘Mm, no, we want to bend this our way. We want to control this.’ I wanted a sort of holistic feel to the movie where you get you’re stepping into, again, a bit of illustrated storytelling and hopefully it’ll remind you of reading a good book when you’re a kid.”"
Last but not least, a segment on the visual effects elements is alos present which comprise about 400 something shots in the film, most of which revolve around the baby character Sunny who is CG about 15-20% of the time - "A fun shot that Sunny gets to do is Sunny, while they’re all eating dinner around the table, we see the father in a flashback passing things around and we see Sunny hanging from the table like a dog would be doing, just holding on by her teeth."
CLICK HERE for more on the sets!
CLICK HERE for more on director Brad Siberling comments on the film!
CLICK HERE for more on the visual effects!