Today – an early summer afternoon in 2011 – they’ll be lucky to get one shot filmed. ‘The way he used to put down a storyboard and say “here’s the scene”, I can say “here’s the scene you’re about to play.”’ ‘It’s a very Hitchcockian thing,’ he explains, describing the pre-capture animations used as guides for actors acting to eye-line marks, or performing in the void. ![]() It’s his first film in 3D, his first with motion capture technology, but he’s already a vocal fan. This is a radical re-vamp of the familiar Jack and the Beanstalk tale, told with swashbuckling derring-do and an epic sweep. The footage, two years away from theatrical release, is rudimentary at best, full of pre-vis effects and stock animation, but Singer’s imagination and rapid-fire chatter fill in the blanks. In a massive studio at Elstree, halfway through the shoot for Jack The Giant Slayer (then known as Jack The Giant Killer), he’s in his element, reviewing shots from the previous weeks on a flat-screen TV in a small tent that is dwarfed by the beanstalk cross-section outside.
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