“Hello. I am Denis Villeneuve. I am the director of 'Dune, part two'”. [TENSE MUSIC] “Then this scene occurs exactly after the introduction of Feyd-Rautha, where we saw him as a psychopath. And here, we bring this character to his political environment, where he would be a strange celebration of his birthday, where in Harkonnen culture, the prince will have to fight slaves to demonstrate his worth in front of the audience. And the whole scene has been designed as a dance between Feyd-Rautha, played by the great Butler of Austin and the crowd. Austin created a cross mixture between, I will say, an Olympic sword fighter, a serial killer and Mick Jagger. He brought a great sexual attraction to the part. And Feyd-Rautha is one of the most emblematic characters of 'Dune', Austin had large shoes to fill. And I am very proud of what brought to the screen. An aspect that I love of Frank Herbert's 'dune' is also a study of the impact of the environment on humans. How nature shapes human psyche, behaviors, culture, technology, politics, etc. Do you want to know about the Fremen? You look at the desert. But for Harkonnen, it is a bit more complicated because they completely destroyed their natural world. And I was looking for environmental clues, ideas, clues that will give me some clues about who they are exactly. And I thought about, what would happen if your sunlight out of color instead of revealing them? What happens if they came from a world in black and white? That would give us an idea where binary, fascist and cruel behaviors come from. As my photography director, Greig Fraser, and we were making a brainstorm on how to bring an alien sunlight that will be black and white to the screen, Greig had the idea of trying infrared. And infrared is the wavelength of light that is usually blocked in cameras because it is considered noise. And we modify the cameras to let only that wavelength pass and block the other colors. And he created that mysterious, strange, alien and nightmare atmosphere with which he dreamed for Giedi Prime. ” “Happy birthday, dear nephew.” [CHEERING] “We see almost through the skin. The eyes become perforating as insects. And the problem with that technique is that there is no way to return. We film it in this way. It is not an effect that was done in the publication. And so, these scenes never appear in colors. “” Why don't they stop the fight? “” Plans inside the plans. ” [DRAMATIC MUSIC] [NON-ENGLISH SINGING]: “Show me who you are.” “Now, everything is again, this scene is a game between the Baron, which put his nephew, Feyd, under tremendous pressure, so he will be pushed in front of the crowd to prove his value.” And keep the scene very intimate around Feyd, keeping the crowd in the background, just like the landscape that will do it, a little like the desert for Paul. A pressure that will push it and feel the impact of that pressure intimately. I came up with the design of these picadores, characters that are very scary in the book. And I came with that type of diabolical form that seemed to come from one of our nightmares. Again, give us an idea of what is pleasure for Harkonnen, what is sport for them, how cruel or desperately cruel they are. And here there is a moment that I love, in which we feel that Feyd is not afraid of pain. He loves pain. He loves bleeding, being at the limit between life and death. It is someone who only has, you just respect one thing, it is courage and good fighters. And the slave who has proven to have shown that his skills won the respect of Feyd, and that is why he did not kill him immediately. He played with him like a cat and a mouse. It is a scene that, somehow, is very close to what was described in the book. And it is a scene that every time I see it, especially with the crazy score of Hans Zimmer and the great work of sound design to give life to that crowd, I am very proud. “” It is really impressive. ” [CROWD CHANTING]
