Wolf Like Me season 2 VFX leads Adam Johansen and Damian Martin discuss their work building lifelike animatronics and share a new featurette.
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Warning: SPOILERS for Wolf Like Me season 2Peacock’s Wolf Like Me is a genre dramedy that dives deep into the ups and downs of interpersonal relationships. Created, written, and directed by Abe Forsythe, Wolf Like Me tells the story of Gary, a widower with a daughter, and Mary, a werewolf, as the two overcome their own hurdles to build and sustain a relationship.
You built three versions of Isla Fisher's werewolf. Can you talk about the differences between them and what each of them would be used for? Adam Johansen: So that's Andrew in arm extensions to give him that height, and leg extensions as well, wearing the static head. There were no animatronics in that one, but it had poseable jaws. That really gave lovely silhouette shots, and stalking and coming into rooms and anything where we wanted more of the wolf.
Damian and I, and everyone here at Odd Studio, are just the biggest Rick Baker fans and an American Werewolf in London fans. It’s no secret, really, that it’s a homage to those sequences. So, we knew we had to have the hand breaking, transforming, and stretching, and we really wanted to change her head. They were the two big things. We thought, “We can't not do that.”
Daiman Martin: Then it went into a full-size puppet version, which was larger, that we call the three-quarter puppet. It was the three-quarter-transformed version. It was a further along, fully-articulated puppet for them to carry through the house. It was deliberately awkward and quite heavy, so it was a hard thing for them to wrangle through. That took us to that last stage when it goes down into the basement.
Damian Martin: The belly rig was a standalone rig that actually opened up more like the Alien egg. It actually hatched open and unfurled, so there's a two-beat thing so that the belly could go and have that moment of horror, and then the punch through of the mutant pup with a lot of blood. Damian Martin: We never want to rely on being hidden in the shadows, even when we're told that it's not going to be seen, or it's going to be extreme background. It's too risky to take that for granted. We just want to build it to stand up in daylight, and then hope.
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