Watchmen

Video Journal #2

Tue, 06 May 2008 13:17:56 -0800

To put it simply, there is an enormous amount of characters that populate the many time periods and environments of the Watchmen world. Although we encountered many challenges while making Watchmen, one of the most interesting and rewarding was creating the wardrobe for all of those people. This is the second time I've had the pleasure of working with Costume Designer Michael Wilkinson. Once again, I'm amazed by his talent and dedication. Take a look at the links below. Quicktime: Small Medium Large HD Versions Windows Media Player: Small Medium Large HD 720p HD 1080p - Zack

Take a look...

Tue, 22 Apr 2008 08:03:23 -0800

youtube.com/watchmenmovie

Video Journal #1

Wed, 09 Apr 2008 12:26:04 -0800

Here it is, the first of 12 video blogs that we will be releasing during the next year to give you an inside look at the making of Watchmen. We'll launch one every month on the 6th, so keep an eye out for them as they will be premiering on various sites throughout the year. With that said... Quicktime: Small Medium Large HD Versions Windows Media Player: Small Medium Large HD 720p HD 1080p - Zack

blog.clayenos.com

Thu, 03 Apr 2008 14:58:23 -0800

Thought you might find this interesting... http://blog.clayenos.com/ -Zack

One Year to Midnight

Wed, 05 Mar 2008 23:55:00 -0800

Here we are, officially one year and counting until the release of Watchmen on 03.06.09. Being a fan that follows production blogs, I know that the time a film is in post can often seem like an eternity with interesting bits of information few and far between. So to help pass the time, here is your first look at some of the Watchmen characters. -Zack

That's a wrap!

Tue, 19 Feb 2008 18:00:20 -0800

I promise to refrain from getting too sentimental, but I want to take a moment to say thanks to the Watchmen cast & crew. You have all been phenomenal. It has been quite an experience and I could not have done it without the hard work and determination of each and every one of you. A film adaptation of Watchmen has been in the works for almost 20 years and thanks to you, it is finally in the can. It has been such a pleasure to be surrounded by a team that is so dedicated and that has given 110% each and every day. I am extremely grateful for the level of attention to detail put forth by each department to capture all of the texture that makes Watchmen the incredibly unique property that it is. Although we still have a lot of work to do in post, the shoot has been an experience I will not soon forget! Thank you, -Zack P.S. While I'm in the process of thanking people, I figure it's a good time to say thanks to the Watchmen fans for all of their continued support. Since the crew got wrap gifts, I figured you deserved a little something as well. So, to bring a little closure to the previous "Storyboard" blog, I've included a frame from the film that shows what it looks like when it all comes together. Thanks!

An Experience Second to None

Fri, 15 Feb 2008 18:27:45 -0800

As we approach the last days of shooting Watchmen -- yes, the end is nigh -- it's time to reflect on the whole Watchmen experience. I think back to January 2007 when I first met Zack and he walked me through his drawings for the title sequence. I remember my initial reaction was, How can we shoot all of it? Why do we have to shoot all that? And if we do, how do we shoot all of it? We spent the next two months scouting, researching and budgeting locations all over the world, including Australia, London, Prague, Spain -- at one point we even considered New York -- and, of course, Los Angeles. I now sit in my Vancouver hotel room one year later, and guess what? We did shoot all of it -- every frame of it, and not just the title sequence drawings but all of Zack's drawings are now committed to film. The combination of modern-day technology and the level of artistic ability of so many people has made the Watchmen experience second to none. The spirit behind the making of this film was nothing short of total pleasure and love. As I wandered from room to room at the wrap party, there was not only a sense of accomplishment from everyone involved but a feeling of sadness that it's coming to an end. The one thing that remains for me is the anticipation and excitement of seeing the finished product, knowing that we’ve all worked on something very special. Thank you Zack, for allowing me to be a part of it. -Herb Gains Watchmen Executive Producer

Storyboards

Fri, 18 Jan 2008 11:48:46 -0800

Alongside the graphic novel, I always keep a copy of my storyboards with me on set. Storyboards are without a doubt, the most efficient way to communicate what’s in my head to all the departments throughout the project. Storyboards play a vital part in my process long before I start sharing them with my team. I’ve always storyboarded my commercials and movies. It is a key part of my process for envisioning the entire film from beginning to end. In addition to using that drawing time to figure out blocking and action, it is also when I can begin to get a sense of whether the dialog and pacing are working. As you can see from these frames, my storyboards aren’t necessarily super-finished art pieces on their own. I often find that the frames that get the most detail are the ones where I’m stalling - thinking of the next shots. In contrast, if I already have a sequence sorted out in my head, the boards tend to be much sketchier. In the past, once I had completed my sketches, I would have a clean up pass done by an artist. Lately, I have foregone that step. Instead, I opt to distribute my original boards. This speeds up the information dissemination process and also ensures that the boards going out to each of the various departments are 100% accurate and that no details are lost during an illustration polish pass. Once completed, the boards play a key role throughout pre-production, mapping out every frame that I intend to shoot. Visually presenting the what, where, why, who, when, etc. of every frame. This gives us a starting point for discussions. As we break down each frame, department by department, they help clarify everyone’s responsibilities, needs and expectations. The boards often spur discussions that raise important questions. Many times the answers to these questions are crucial to a successful shoot. Once we finish pre-production and start shooting, mini storyboard sides are distributed to the crew at the beginning of each day. Many of us refer back to them countless times on any given day. The bottom line is that, although it takes me a tremendous amount of time during pre-production to draw each and every frame (2,581 in the case of Watchmen), in the end, the shooting boards become one of my most useful tools. -Zack

Dave Gibbons visits the set - part 2 of 2

Fri, 21 Dec 2007 10:39:48 -0800

On the movie backlot, like a sailor on shore leave, I gawp in wonder at a New York City that never really was. Once a Canadian lumber yard, it's become a complex of American city streets. At the corner, a Treasure Island store promises a bounty of pulp thrills; down the block, the Gunga Diner beckons, fully fitted out in chrome and purple leather and, over there, the Rumrunner sign looms luridly. Even the austere facade of the Institute For Extraspatial Studies can't spoil the gaudy fun. On an upper floor, I spot the windows of the Judomaster Martial Arts Studio. I’m stopped in my tracks. Judomaster? Detail piles on dizzying detail. Rain's falling hard now and I'm led inside, through a grubby little hovel crammed with dressmaking dummies, past the huge halls of Karnak, into Dan Dreiberg's homely brownstone and down to where the Owl Ship sits. I clamber aboard in giddy delight. The rest of the visit kaleidoscopes crazily by: I watch footage of Rorschach pulling Nite Owl off a bloodied Knot Top; I flip through an issue of the Black Freighter; on a laptop, I see raw CGI blocking for the Vietnam sequence; I hold a smiley face pin splattered with what looks like real human bean juice; sitting in my own personal director's chair, I sign dozens of books and posters for cast and crew... Finally, tired but happy, arms around my new buddies, costumed and otherwise, it's my turn to smile for the camera. A month later, I'm smiling still. -Dave Gibbons December 2007

Dave Gibbons visits the set - part 1 of 2

Fri, 14 Dec 2007 14:29:06 -0800

It's perhaps the most surreal experience of my life. There they are, in a shadowy clubhouse, standing around a map of the USA, just as we'd imagined them. The smoke of the Comedian's cigar hangs in the air as I drink in the details of the scene. Framed old copies of The New York Gazette tell stories of past exploits; trophies glint in glass-fronted display cases; Moloch's solar weapon shines in a dusty corner and over there, on its mannequin stand, the faded costume of the original Nite Owl keeps silent vigil. Then, a sudden flash of unearthly blue light announces the arrival of Dr. Manhattan and the tableau comes to life. The voices of quarreling heroes rise and fall, a Zippo flares and the map catches fire. Somewhere, someone shouts "Cut!" And I'm standing amongst them. Nite Owl shakes my hand. The Comedian slaps me on the back. Silk Spectre smiles a dazzling greeting. I'm overwhelmed by the depth and detail of what I'm seeing. But more than that. I'm overwhelmed by the commitment, the passion, the palpable desire to do this right. I'm starting to feel a glow that eclipses even Dr. Manhattan's... -Dave Gibbons December 2007

The Backlot

Mon, 26 Nov 2007 12:15:35 -0800

After a couple months of shooting at various locations and on stages, last week we finally made the transition to our New York City backlot. Since the New York City that is rendered in the graphic novel is so particular, it was very important to me that our backlot speak the same language, the vernacular of WATCHMEN. In addition, the backlot needs to function as many different parts of the city, countless store fronts, street corners, alleys, etc. So, with that in mind, we set out to build own own custom backlot here in Vancouver, BC. In my opinion, the results speak for themselves. Thanks to all of the many talented people who contributed to making this backlot a reality! Here are a few interesting facts about the backlot: • 5,800 feet of neon requiring 24,000 watts of power • 100 unique and custom-designed graphics created for the various storefronts • 5,000 square feet of custom posters • Street had to work for 1938, 1945, 1953, 1957, 1964, 1974, 1975, 1977, and 1985 • 1,040 feet of 1:1 scale New York streets • 98,400 square feet of exterior scenery • 12,500 square feet of interior scenery • Building heights range from 23'9" to 42'6" • 10,325 16-foot 2x4s • 3,600 sheets of OSB (plywood-like construction material) • 384,000 square feet of foam brick • 200,000 nails • 3,500 tubes of construction adhesive • 160,000 lbs. of steel I-beams support the facades • 300 cubic meters of concrete • 6,000 square feet of glass • 4,800 square feet of plexiglass • 20,000 donuts were consumed by the construction crew • 20,000 gallons of water and 3,000 gallons of Gatorade was drunk by the crew -Zack

"The War Room"

Fri, 02 Nov 2007 11:36:50 -0800

Here’s a quick peek of the "War Room" at the production office. It’s a huge space. We used this room frequently for meetings during pre-production. Surrounding the many seats and long tables in the middle of the room, all the walls are covered and sectioned off into individual scenes – all the concept art, visual reference and any other related materials are grouped together for display. One of the things I love about the graphic novel is the incredible attention to detail. Here in the war room, we have created a place where all the departments can combine and display applicable reference, rendering a similar level of detail. From set concepts, to location photos, concepts for props, costumes, vehicles and even product logos, the surrounding walls incorporate it all. These walls are very useful in helping us keep track of so many different elements. Walking through this room gives one a real sense of each set or location – outlining the overall vibe of what we’re trying to create. I feel like this room captures the essence of having a clear blueprint for everyone to ensure that everyone is working toward the same vision. If you happen to be checking these pictures out wishing you could see more of the art, I assure you that sometime in November I will post a series of first look photos to show you in more detail what we’ve been up to. Please stay tuned. -Zack

Post Comic-Con report...

Fri, 03 Aug 2007 09:35:54 -0800

Okay, so I'm back up in Vancouver prepping like crazy. Although things are incredibly busy, everything is really coming together. But, more on that in a future blog... I just wanted to take a minute to say "Thanks" to everyone who attended the various Watchmen and 300 events at Comic-Con. It was great having a chance to sit on the panel and talk a little bit about the film and introduce you to a couple of our cast members. I also had a great time meeting some of you on the convention floor. Thanks for the continued support for 300. To come back to the same room where we first showed the trailer and a year later to have another packed room still wanting to talk about the film was great. I've included a few photos from this years Comic-Con events. For more on the day's events, check out the day as seen through the eyes of MTV. That's it for now. I'll check back in soon with an update. Thanks, Zack

Comic-Con Poster

Fri, 27 Jul 2007 14:49:52 -0800

Cast

Fri, 27 Jul 2007 13:49:29 -0800

Malin Akerman (upcoming The Heartbreak Kid) as Laurie Juspeczyk aka Silk Spectre

Billy Crudup (The Good Shepherd) as Jon Osterman, aka Dr. Manhattan

Matthew Goode (Match Point) as Adrian Veidt, aka Ozymandias

Jackie Earle Haley (Little Children) as Walter Kovacs, aka Rorschach

Jeffrey Dean Morgan (TV’s Grey’s Anatomy) as Edward Blake, aka the Comedian

Patrick Wilson (Little Children) as Dan Dreiberg, aka Nite Owl