ideas, and Steen Lyders Hansen, Søren Buus and I were to transform their ideas into digital matte paintings.
9 chapter sequences in all, as far as I remember. All of them between 20 and 45 seconds, accompanied by music.
Per's approach to the job was that light direstions and such cheap things, didn't matter. An interesting idea,
although in this case I had a hard time blending the fore- and background together. I think I got away with it
quite well, since it's a sequence that I still hear people talk about. The car on the road is CGI.
My favourite sequence, based on 3 stills blending into one another, with the city lights turning on, and the sky
closing as the sun sets. And in the little 27x30 pixel boat left of the middle, Bess is on her way.
(Stills from the movie, courtesy of Zentropa Films)
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