How different will the stunts and wirework be in New Moon?
J.J. Makaro: We’re striving for a look of our own. Basically, what we’re doing is we’re trying to strip down all of the old things you’ve seen in vampire movies. If you’ve seen it before, we’ve tried to get rid of it, tried to figure a different way on it. I’m hoping we’re going to come up with something that’s really cool.
In the first movie, the goal was to make it more like a Hong Kong action-type thing. Are you going far away from that?
JM: Yeah, we’re trying to tone the Hong Kong aspect down and go more real. Going to the actors, we spent a lot of time talking to them about what their character would be and what kind of performance. Rather than teaching them how to fight in a particular style, we’re trying to adapt our fights to match their style that they already bring with them.
There aren’t a lot of fights on this show. Mostly it’s been about chasing or jumping and transition of being a human to wolf, and selling the fact that the wolf boys are something that we don’t quite understand yet.
We have wirework, but we’re really trying to not do a lot of it. We don’t want to get into the Hong Kong, floaty stuff that you see all the time, vampires hanging in the air and all of that. It’s a tough call, because wires are wires, and the inherent problem with them is exactly that. They get floaty on you. So we’re having a heck of a time trying to find the balance that gives us enough to make it supernatural without it being over the top.
What's Rachelle’s (Victoria's) wire work like?
JM: She’s been doing some really awesome work for us. Her and her stunt double have gotten a great shorthand between them, and they communicate very well. We’ve been out in the bush slamming her stunt double all over the place, into trees constantly until we get everything to where we feel confident that we’re not going to hurt Rachelle, and then we do some stuff with her. She’s done some really good stuff, and she’s tough, too. We don’t have to baby her. She’s really keen and a really hard worker. So it’s a pleasure doing it.
Most challenging scene of this movie for you guys?
JM: I think in terms of complications, it’s going to be the fight. Like I say, we’re trying for something different. It’s kind of become cool, because we’ve given ourselves so many limitations that there’s only so many holes you can squeak out of to make it work, and it's created its own thing. It’s really exciting to see what it is.
What adjectives would you use to describe it?
JM: What we’re doing is trying to go inside the vampire world. Everybody always looks at it from the human world. So we see them hanging in the air. We see them doing all this stuff that we think of, but in reality, they’re way faster than us. So there’s a lot going on that we don’t normally see.
In most movies, you’d turn around and there’d be a vampire there and then they’d be somewhere else. We’re trying to go into their world and see what’s happening for a little bit and then come back into our own and see what it’s like. And trying to find the juxtaposition of all of that is where the interesting moments are in this fight that we’re working on.
How much CG is being used to create the fight?
JM: There’s a fair amount. But the fun of doing these kinds of shows is concentrating on using the CG to enhance what’s happening rather than using it to tell the story. So we have a lot of CG work in here. There are parts of it that have to be, because you just physically can’t create that element, but more it’s about just cleaning up. We’ll do something and then they’ll go in and clean up what we’ve done.
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