Jared Harris is one of our awesome veteran actors with a wide range of experience, which means he knows quite a bit about green screen work. “Tricks and Tips for Going With Nothing It’s very important to be all on the same page about what you’re looking at and where you’re at,” he says. a result. “If it’s moving — when is it moving, how fast, where is it going? Because there’s nothing worse than when people’s eye lines start to warp around it, you know, cats with lasers on their heads.” He laughs. “It totally ruins it.”
Once everyone is looking in the same direction, he continues, “It’s an imaginative process. You know, you’re trying to imagine what it is.”
Fortunately, it’s not as much of a concern as you might think, when it comes to its work on Apple TV+ institutionBased on the books by Isaac Asimov. On the show, Harris plays Hari Seldon, a mathematician whose equations can accurately predict the future, who he discovers is bleak. It’s Harry’s efforts to save civilization as the galaxy knows it whichever kicks off the story – an aspect of the show that stays true to Asimov’s work.
Harris says that when taking on a character like Hari, who was raised elsewhere, he has to develop an attachment to the role “from the get-go. That’s part of the conversations you have with the showrunner and the directors and the people involved. When you talk to the costume designers and the make-up and all that kind of stuff, they They want you to establish ownership of the role because they need you to understand the role in a deeper, more important psychological sense than they have the time to do, if you will. And your understanding can start to inform their choices as well, because they kind of interfere with those conversations.”
One of the most exciting aspects of the series is that while it’s a massive sci-fi epic set across hundreds of years and different galaxies, there’s very little use of green screen. “Obviously, for things that are in space, they have to be CGI,” says Harris. But one goal [the producers] When they were taking off, they wanted the world to feel real and tactile, which means they wanted to build as much as possible in order to have practical sets.”
From his tone, it was clear that he preferred it. “I think you can tell when you’re watching actors who are basically in a giant kind of green screen, where there’s nothing real there. In a way you can feel it, you know, when you’re watching it. I think it’s more interesting for the viewers, because if the answer is ‘how’ They do that?” is “Well, they just did it in a computer,” it takes away the magic you want to feel.