In my first meeting with Dean and Scott it was clear they knew what VFX shots they needed to tell the Bill & Ted story and also conceptually knew what the shots should look like. I was a big fan of Dean’s Galaxy Quest and loved the VFX work done at ILM by VFX Supervisor Bill George and his team. What was it like working with director Dean Parisot? Bill started to show Dean his concept paintings and soon a steady flow of ‘yes, do that’ from Dean gave us a jump start to the creation of Hell, Death’s House, the Future and the Freeway scenes. Bill’s paintings ended up speaking volumes to the VFX vendors – BUF, Mel’s Studios and ShadeVFX. As luck would have it I was able to negotiate with ILM to have Bill design all the worlds. While discussing all of this, Dean mentioned how much he enjoyed working with Bill George on Galaxy Quest and how brilliant a conceptual designer he was. Originally the plan was to use a single vendor but it became clear multiply vendors had to been sourced and most importantly we needed a Conceptual designer to design all these fantasy worlds for Bill & Ted to visit in their journey to writing the perfect song. Once Dean turned over his cut to VFX, we were able to assess just how much work there was to complete within the tight post schedule. Talk us through the design and implementation of bringing this larger-than-life world to fruition. But like Bill & Ted we never gave up trying to unite the world. The area of town were most of the team lived, including the Director, had very weak signals and the internet provider could not cope with demand with kids remote learning, and parents remote working. Unfortunately the weak link was by far the internet connections provided by Spectrum. Efilm colorist Skip Kimbal and his team were incredible and were able to set up a remote viewing system. I think the toughest part was doing the DI, color timing the movie, remotely.
We spent our days doing reviews with the help of programs like Cinesync and Frankie and became the Brady bunch daily on zoom. Our vendors had to move their operations to their homes.
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We finally previewed a very unfinished version of the movie and then along came Covid-19. Ambitions and visions were very high and butworking with a beer budget we had to make very dollar count.
I can tell you that from a VFX point of view it was tough going. From the stories they tell it was huge struggle to launch it. How challenging it was to bring Bill & Ted back to the masses?ĭirector Dean Parisot and Producer Scott Kroopf are probably the best ones to answer that question. If ever there was a time for ‘Be excellent to each other” it’s now and I think the movie delivers. My hope is that Bill & Ted Face the Music will give the fans an escape back to that simpler time of silliness and positive vibes. It was a silly fun movie, just pure entertainment and an opportunity to escape reality. Then along came Bill & Ted’s Excellent Adventure in 1989 and for many months we were calling each other dude and thinking that everything was most excellent. In that vein, Caddyshack will forever be one of my favorites. What are your memories of the first two Bill & Ted movies, and what did you think when news of a sequel came about after all these years?Ĭomedy was flourishing in the 1980’s, and there were so many incredibly funny movies we started quoting lines from in our everyday lives.
Major parts of the movie were about to be shot in large green screen stages with minimum sets and plans were being discussed to start up a second unit. Mutual friends let me know that Producer Scott Kroopf, who I had worked with on the movie Limitless, was looking for additional VFX help on-set in New Orleans. How did you first get involved with Bill & Ted Face The Music?
We chatted to Nancy to discuss all things Bill & Ted Face The Music, working with Keanu and Alex, her thoughts on the current state of VFX in movies and her past credits.
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Her feature film background includes stints as the VFX Producer for Academy Award-winning films Babe and Gladiator and co-VFX Producer for the Academy Award nominee I, Robot, plus other films including Men in Black 3, Total Recall, Resident Evil, Ender’s Game and Ghostbusters. John is the film’s VFX Producer and has worked on numerous high-profile projects in her illustrious career. The first two Bill & Ted movies are cult classics and now this third chapter brings our loveable heroes back onto the big (and small) screen where they belong. This third instalment of adventures which stars Keanu Reeves and Alex Winter is a project long in the making. Bill & Ted Face The Music is out on 16 th September 2020 in the UK and has just been released in the US.
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