That doesn’t stop action, so the birds are blurry all of the time. You’ve got to keep in mind that you’re shooting something that would normally be shot with a movie camera that has an effective shutter speed of 1/50th of a second.

The rigging is tricky on a dove because of the way the wings fold.Įdlund: They’re always moving too. Packer: We started out with a good model that was rigged. The doves were purposely oversized.įxg: What was approach to building those and getting them to work?Įdlund: Helena had done wings for Megan Fox for another movie so she drew on that. Packer: They were huge! But they worked for the comedy.Įdlund: There was no possible way that they could have shot real doves for that scene – they’d still be shooting them I think. What effects were involved there?Įdlund: They were CG doves – super oversized and the directors wanted them to be like that – they were like eagle-doves really! And what I found interesting about the film was that this wasn’t just hard core guy stuff, it had some soft undertones with compassion and humanity, and some sweetness which I think will appeal to a lot of people.įxg: One cool scene has the guys arriving at the prom and they release some doves. One was more verbal and the other more visual. Packer: They worked really well together, and really complemented each other in terms of comedy. I’ve done a lot of movies, but never with two directors. That was an interesting gestalt that the movie had. When you have two you have two ideas that have to come into focus. Directors Phil Lord and Christopher Miller.Įdlund: It was great, but it was also both exhilarating and exasperating, which I think is the case with nearly any director. Richard Edlund: We also had two directors, which was interesting.

And then when the coach catches them getting high and they see ice-cream cones and cat heads. We worked on the freeway chase to enhance the comedy, the explosions, the doves – which are very large for comic effect – as the get out of the limo at the prom. So we got into a lot of goofing up stuff. Helena Packer: The effects had to help the story and be realistic, but because it was a comedy they were kind of hyper-realistic just to get a laugh. wp-content/uploads/1jump_trailer.mp4Watch the trailer for ’21 Jump Street’.įxg: What was the nature of the work you did for 21 Jump Street?

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