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Phil MΓ©heux, BSC reboots the James Bond franchise with Casino Royale. these shots in seamlessly β€” the airport sequence, the sinking building in Venice,​.


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My friend says that sinking the building in Venice was unrealistic for the following two reasons.1) Buildings in Venice supported by pylings and.


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I assume that the buildings in Venice are actually built on earth and not actually floating on water, so how the heck does that building manage to sink when the.


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I assume that the buildings in Venice are actually built on earth and not actually floating on water, so how the heck does that building manage to sink when the.


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tula-intim.ru β€Ί topic β€Ί venice-pilings-water-depth.


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My friend says that sinking the building in Venice was unrealistic for the following two reasons.1) Buildings in Venice supported by pylings and.


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tula-intim.ru β€Ί topic β€Ί venice-pilings-water-depth.


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[Casino Royale] Near the end when Bond shoots those bags and the water I'm pretty sure it was in Venice, those are are bags that keep the building afloat while Will that floating dude with the terrible sunburn tell me to go home or is there.


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He hits the side of a truck, destroys a hut, then slams into the concrete plinth on which Mollaka is running, the backhoe's bucket chewing into the concrete. In the scene, Bond gets into an ton digger and drives at about 35 miles per hour toward the building. Home Theaters Video TV. Martin Campbell preferred the direct way, with the bucket straight into the concrete. We did a couple of tests, and during the take it was even better than I expected. It would have been easy to bottom out on the tank or hit the roof, so we needed to have a lot of safety features. Contact CinemaReview.{/INSERTKEYS}{/PARAGRAPH} Corbould's three biggest challenges on the film were each totally different and took place in vastly different locations: the sinking Venetian house, with scenes located in Venice on the Grand Canal and in Pinewood in the Paddock Tank and the Stage; the Miami International Airport tarmac chase sequence, where Bond is pursuing a terrorist intent on blowing up a prototype plane; and Bond giving chase to Mollaka at a building site in Madagascar. The scene involves Bond following Vesper and Gettler into a Venetian house undergoing renovation, so it is supported by inflatable balloons. I was anxious to get really fast movement to sell the fact that the house is sinking. I've had experience with tankers before in License to Kill, and they are beasts to work with once you have all that tonnage hurling around. As he pursues them, the balloons are punctured by gunshots and begin to deflate, causing the walls to collapse. The hydraulic valves were controlled by computer because there was so much movement in the system β€” it moved up and down and tilted through two axes. {PARAGRAPH}{INSERTKEYS}CGI is a great tool and can be very useful, especially if blended seamlessly with reality to give a good performance, but if an effect can be done for real, it's the best way to go. First on the schedule were the scenes on the Madagascar building site, shot on location in the Bahamas on the site of a derelict hotel, which the art department had dressed as a construction site. Working in the tank of the stage at Pinewood, the production built a Venetian piazza and the interior of the three-story dilapidated house. Eventually, the whole building subsides into the Grand Canal. At Dunsfold Aerodrome in Surrey, first and second units spent 10 weeks filming the sequence where Bond pursues a second terrorist through a Miami airport building and onto the tarmac. Your Comments and Suggestions are Always Welcome. The concrete curled around the bucket and it came out like a wave. And obviously we wanted to strive to do more spectacular things than last time, so we souped up the tankers to get some high-speed collisions.