Real-world research informed not only the way the Grievers looked, but also how they moved. An image that struck a chord with us was one of crabs crawling over each other in the sea we kept this in mind for the finale when multiple Grievers attack the Gladers.” We used whatever grossed me out for the textures, like a slug’s skin with warts from a frog. We studied how ants move, and looked at slugs for the organic soft parts of the body. “We started developing it by looking at macro photos of bed bugs and fleas – I always find that whatever crazy creature you want to create, nature has already done it for you somewhere. “We had some very cool concept designs from Wes illustrating how the Griever should look,” said Rowe. One of the key challenges for Rowe and Brevig was bringing to life the Grievers: menacing, part-mechanical creatures that emerge at night to patrol the labyrinth. “With a kicking team like that,” said Rowe, “you know you have a great show on your hands!” Having been awarded the work, Rowe and Brevig grew the team by bringing in lead animator Eric de Boer – a Life of Pi veteran – and creature supervisor James Jacobs, formerly of Weta Digital. I’ve done a number of creature shows in the past, most notably The Golden Compass.” Eric has a wealth of knowledge on set, having supervised many shows and directed his own feature. “We have a great mutual respect and a shorthand that makes the split easy. “Eric and I have worked in a similar way in the past,” said Rowe. I thought, “If he can do that on our first meeting, then wow! Dailies are going to be fun!” Within minutes of our meeting him, he was describing the first scene from the movie – he was so full of energy, describing the elevator rising up, using sound effects and jumping around the room. “When we heard there was talk of a film, the Method Studios team hopped on a plane and met with Joe Conmy at Fox. “My daughter had read the book and loved it,” said Sue Rowe, recalling the early days of the project. Watch a montage of clips from The Maze Runner : Rowe led the studio team, visiting the set in Baton Rouge for crucial VFX sequence photography, while Brevig remained on set for the duration of the shoot. VFX supervisor duties were shared by Sue Rowe and Eric Brevig. ![]() Method Studios was the major visual effects vendor for The Maze Runner, delivering around 530 shots for the film. Thomas has no memory of how he got there, but by exploring the maze along with the other people trapped there, he gradually pieces together the puzzle of his past … and begins to believe in the possibility of escape. Now the latest fantasy adventure has hit the screens in the form of The Maze Runner.Īdapted from the best-selling novel by James Dashner and directed by Wes Ball, The Maze Runner begins when a boy called Thomas awakes mysteriously in a glade set at the heart of a giant labyrinth. First came Harry Potter, then Twilight and The Hunger Games. In recent years, filmmakers have found fertile ground – and enjoyed impressive box office returns – in adapting young adult novels.
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