Chris is a Senior News Writer for Collider. He can be found in an IMAX screen, with his eyes watering and his ears bleeding for his own pleasure. He joined the news team in 2022 and accidentally fell upwards into a senior position despite his best efforts.
The Big Picture In an industry increasingly reliant on digital effects and green-screen wizardry, Kingdom of the Planet of the Apes stands out for its director Wes Ball's commitment to authenticity and two feet planted in the real world. When making the film, Ball was determined to make it feel as real as possible, as shown in his approach to the film's production in a refreshing embrace of real-world locations.
The challenge on this movie was, 'How do you make a movie that’s so technically…?' I kind of liken it to you’re building a jigsaw puzzle, all in separate pieces, its own piece individually, and you gotta carve it just right way over here in these different kinds of arrangements. It’s not until the last four weeks, where I’m at right now, where all those pieces come together, and you have no time to change it, and they better fit.
"The problem is, I have twelve cameras around us that are just separate cameras capturing every little nuance of the actor," he explained. "I’ve got a camera on one face, and I’ve got about half-a-dozen to two dozen infrared cameras that are hiding in the set, behind little things of leaves, or whatever, just camouflaged on the set, that are actually the technical craft process of capturing all of this information so that we can get it right.
"So, ultimately the images up there might be full CG, 100%, which there’s about 30 to 40 minutes of full CG, which I don’t think people will be able to tell, there’s some scenes that you would never guess, just because that’s how it had to get done. But it all started from a real camera, and a real world with real, physical actions."
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