6/19/2023 0 Comments Maquette the wedgeThis character is basically a giant head with a tiny body. Ultimately, the decision was made to keep him bald, as it seemed too far of a departure from the actor, and audiences struggled to connect the two.įrankie Stellato // There was a M.O.D.O.K.-sized, gray-faced maquette that someone would pick up and carry around to help with the actor’s eyelines. One day, maybe the different hairstyles we worked on will be released to the public, as it added a whole other level of hilarity to the character. There was a lot of work put into how this fusion between man and machine should look. looked more like a guy sitting in a chair rather than a person being a part of the chair. They really steered us away from things being too grotesque.Īdditionally, at the beginning of development, M.O.D.O.K. was to ensure that Corey’s likeness would still be as recognizable as possible. However, in the end, Peyton and Marvel’s vision of M.O.D.O.K. There was some back and forth looking at proportional wedges of the face, and also some tests with adding layers of scarring to the character. Ron Miller // When researching M.O.D.O.K., it seemed like there were endless versions of the character. ’s weapons and how they deployed and retracted, which was a lot of fun! We eventually found a balance between the versions and ended with our final design. A few versions and iterations after that, we began to kind of blend out the look of Corey, leaning more towards a version where he looked a lot like the M.O.D.O.K. armor, but that quickly went away, as it didn’t feel like M.O.D.O.K. We started with Corey Stoll’s face in what was essentially an early version of the M.O.D.O.K. My personal favorite was his death scene, as it was just so silly and made me laugh even from the very first previs I saw.Ĭan you elaborate about the design and creation of M.O.D.O.K.?įrankie Stellato // There were many iterations of M.O.D.O.K. is delivering any facial performance, with the exceptions of some shots where his mask was down and he was in battle mode. What are the sequences made by Digital Domain?įrankie Stellato // Digital Domain worked on pretty much all the shots where M.O.D.O.K. were worked on to help mold the M.O.D.O.K. Versions of him being angry, sad, happy, fighting etc. Like any show, things were done incrementally. We also had to figure out how to essentially stretch Corey’s likeness from human sized to a 5-feet-tall and 3-feet-wide face, which was a major challenge in itself. looking a little bit like Humpty Dumpty, so Digital Domain was tasked with helping to design the final look, as well as his overall personality. What were their expectations and approach about the visual effects?įrankie Stellato // At the beginning of production, we had a bit of an issue with M.O.D.O.K. They were an absolute pleasure to work with and had a lot of faith in what we could accomplish together. Ron Miller // Collaboration is a great word to describe it. We were given a lot of freedom with enhancing M.O.D.O.K.’s body and facial performances, based on the already great and hilarious performances from Corey Stoll (who is also great to work with!). Both Peyton and Jessie were extremely collaborative, informative, supportive and trusting of our team. How was the collaboration with Director Peyton Reed and the VFX Supervisor Jesse James Chisholm?įrankie Stellato // It was absolutely fantastic. When I heard that we were going to be working on M.O.D.O.K., I was even more excited, and honestly a bit terrified at the same time. Ron Miller // This was my first time, and I was quite excited to be working with VFX Supervisor Jesse James Chisholm and Director Peyton Reed. So overall, I felt fairly confident, and I was extremely excited to work on a character like M.O.D.O.K. I worked on a small sequence for Ant-Man and the Wasp where Hank and Janet were in the quantum realm. What was your feeling entering to Ant-Man universe?įrankie Stellato // This actually wasn’t my first time in the Ant-Man Universe. He worked at Weta FX for over 7 years before joining Digital Domain in 2022. Ron Miller has worked in visual effects for over 20 years. He joined the Digital Domain team in 2011 and has worked on a number of films including Ender’s Game, Deadpool, Black Widow and Spider-Man: No Way Home. Frankie Stellato has over 15 years of experience in animation.
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