Deadpool holding Wolverine back in a golden circle while Cowboy Deadpool looks on in the foreground
Summary Wētā FX Supervisor Dan Macarin details working on Logan's iconic Marvel superhero mask and reuniting with Ryan Reynolds for Deadpool & Wolverine. Despite having their lightest release schedule in a very long time on the theatrical side, Deadpool & Wolverine has already become one of the biggest hits of 2024.
Dan Macarin Breaks Down Wētā FX's Work On Deadpool & Wolverine Close Screen Rant: First of all, I want to just say a massive congratulations on the masterpiece that this film has become. I don't know how much you're following that conversation online, but it's breaking records; everyone is loving it.
Those conversations are really easy because you have the team, you know what you're going to do, and the work is fantastic to be able to be a part of everything that the excitement of this show and what we really wanted to do. The first thing when we looked at it, when we saw behind the scenes the Wolverine mask, it was like, 'Oh, we have to do that! and they're like, 'No, no, no, no, we're going to leave that one alone. Just leave the mask as is, just Deadpool.
Based on when I saw the film, and again, because as someone who's been waiting to see this mask for I don't know how many years: I refused to blink, so I just kept looking. It doesn't feel like it's digital, it feels as real as it possibly could be. And that's just a testament to the work you guys have done.
I don't need as much hands-on from Hugh. I don't need him to be as much of a part of it because I understand what he's after and what look I need to give him. Things like when we played a few jokes at the start of the film where we had a zombie Logan head on the skeleton. Those were things that Ryan really wanted to surprise Hugh with and really wanted to have a lot of fun with it. So that was kind of a planned idea of making him laugh and making him a part of the experience end.
We had a couple of things that we had to make sure worked for the sequence, but the rest of it, they were mostly conversations around what's funny about a skeleton and what's not.
Those are really, really fun moments for us, but we had to do them in a way that wasn't distracting. A lot of the options in the Void circled around what can we do that still keeps the audience's focus? The selection of vehicles, ships in the background or the amount of trash, the color tones, what was going on in the sky were all specific to being there, but not being overwhelming within the visual frame.
Dan Macarin On The State Of VFX For Marvel Studios "We wanted to get our hands on as much work as we possibly could with this film." As someone who loves this film, you can tell that this film is made by people who love these characters and love this universe. I know VFX has been going through a lot over the last few years in light of the pandemic, and then, of course, the work demands from various students, especially with Marvel films.
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