Luc Besson is the creator of one of the most beloved sci-fi movies of all time with The Fifth Element. Now, he aims to take a stab and make another classic in the form of Valerian and the City Of The Thousand Planets. Besson showed off seven minutes of the film at San Diego Comic Con, and apparently, it’s something incredible.
Today, he went into much detail about the film, including about his feelings on shooting in 2D and 3D.
“The switch from 2D to 3D is so good that I don’t want to bother myself to shoot in 3D,” he began. “Because the way I’m shooting, my style, I can go from huge crane shots. But I can also take a small camera and run after an actor with the camera in one hand, going through doors. You cannot do that with a double-3D version camera, which is 70 kilos. If you shoot in real 3D, you oblige yourself to a certain way of filming that doesn’t fit with me at all. Chris [Nolan], his way of shooting fits with it. So I totally understand he liked to do it with the big camera, because he’s very elegant. I’m much more like a fox.” While this fox is famous for the spectacle and style of his films, Besson admitted those are the last elements he applies to a project: “I try to work by layers first. First characters, who they are? What is the plot? Where do I want it to go? Then one of the two or three last layers is about the color and the style. But it comes at the endIf I find something stylish or beautiful, if I can’t integrate it in a way that serves the story, I just leave it out. I need to be sure of that. What was interesting to me here, we were humans dealing with thousands of different kinds of aliens, 8,000 to be precise, and the world is pretty nice. They exchange science, art, commerce. They’re doing deals together. It’s not like, ‘Oooo, the aliens are the mean guys.’ It’s quite reflective of who we are today. We have American, and French, and Albania and Greenland. We’re all different, but the same. It’s like that, except instead of different races in the galaxy.”
The movie opens July 21st, 2017.
