Unveiling the Ultimate Magic: Dive into the Epic World of Percy Jackson and The Olympians at NYCC 2023
Delve into the world of Rick Riordan's Percy Jackson and The Olympians as the talented crew shares their insights and challenges in crafting this captivating series
Summary
In an effort to stay true to the original books, the upcoming Percy Jackson and the Olympians Disney+ series will be more faithful to the source material compared to the previous film adaptations. Furthermore, author Rick Riordan's involvement as a producer adds an extra layer of authenticity to the project.
The production and costume designers encountered difficulties in crafting suitable visual elements for the show. This included the task of making fabric resemble bark or moss for the dryads, as well as striking the perfect color balance for the cabins at Camp Half-Blood.
Similarly, the VFX supervisors confronted challenges in designing a scene where circus animals were released on the Las Vegas strip. They made dedicated efforts to ensure that Percy's world felt genuine, even going as far as providing authentic portrayals of his dyslexia.
This winter will mark the long-awaited arrival of Percy Jackson and the Olympians, signaling a fresh chapter in Rick Riordan's treasured fantasy tales. In the making since 2020, the Disney+ series will chronicle the journey of its eponymous hero as he confronts the consequences of his divine lineage: Poseidon. Starring Walker Scobell as Percy, the show features an impressive ensemble cast including Virginia Kull from Big Little Lies, Megan Mullally from Will & Grace, Jason Mantzoukas from The League, and the late Lance Reddick in his final television role before his passing earlier this year.
With Zeus' lightning bolt mysteriously vanishing, Percy finds himself wrongfully accused and embarks on a quest to prove his innocence. Accompanied by his friends Grover and Annabeth, Percy embraces his demigod abilities as he traverses the United States to restore harmony to Olympus. This new adaptation holds a promise of greater fidelity to the original novels, as author Rick Riordan takes on the role of producer for the series.
Dan Hennah & Tish Monaghan On Percy Jackson And The Olympians
Our website interviewed production designer Dan Hennah, costume designer Tish Monaghan, VFX supervisor Erik Henry, and ILM VFX supervisor Jeff White to delve into the process of bringing Riordan's work to life, exploring the challenges faced during production, and highlighting the aspects that fans will find most enjoyable.Your browser does not support the video tag.
On our website: During the panel, you briefly mentioned the extensive amount of time it took to achieve the desired orange color for the shirts. I'm interested to know what other aspects, from both of your viewpoints, required similar meticulousness and significant additional effort to attain perfection.
Regarding the dryads, I would say the most time-consuming aspect of the department was working on them. The dryads are essentially people who resemble trees, so we had to make fabric imitate the appearance of bark, moss, or fragments of forest floor. This involved our dye department meticulously dyeing silk to match the various shades of green found in the forest, representing lichen and moss. Additionally, our sewing department dedicated a significant amount of labor to felting the fabric. The goal was for the fabric to feel indistinguishable from actual moss when touched, as real moss wouldn't have lasted on the garments. Finally, we had to assemble all of these components into a dress that resembled a tree, but still allowed the actors to move comfortably. Overall, this particular project was the most challenging and demanding one for us.
What is your experience with such labor-intensive tasks?
Dan Hennah: For me, it was a combination of factors, mainly focusing on Camp Half-Blood and the dwellings of the campers. It was crucial to find the right mix of aesthetics for cabins like Ares', Hermes', Poseidon's, and Hephaestus'. Achieving a proper color balance was important, but more importantly, I wanted to convey a story through each cabin. For instance, since Poseidon is associated with the sea, using various shades of blue was necessary. However, we also had to ensure that Percy would easily stand out when he enters his cabin. This meant taking into account the forest setting as well.
Tish Monaghan: Especially when it comes to the forest ambiance, right?
Dan Hennah: Yeah, exactly.
Tish Monaghan: That was another.
What are you looking forward to the most in terms of fan reactions when the show is released?
Dan Hennah: With each episode being released one at a time, I'm excited for the weekly anticipation. However, for the first episode, I think it will be interesting to see how fans respond to the world we have created. Although we don't fully explore Camp Half-Blood in the first episode.
Tish Monaghan: No, we don't in episode one. However, we do in episode two.
Dan Hennah: In episode two, Camp Half-Blood is an incredible location for me. I am eagerly looking forward to hearing people's opinions about it.
I'm particularly intrigued by the Underworld, as I have yet to witness its wonders. The Asphodelians, an unfamiliar term to me, are captivating characters within this realm. These immovable creatures, clad in shrouds, possess a striking sculptural quality, set against a sparsely wooded backdrop.
I am eagerly anticipating the sight of our children in their muted yet vibrant costumes, navigating through that monochromatic world. It excites me to envision us observing their journey until they ultimately encounter Hades. By the way, Dan Hennah is the remarkably industrious god in this context.
Tish Monaghan: Okay.
Dan Hennah: He is. He's got all those people to look after.
Source: Our website Plus
Erik Henry & Jeff White On Percy Jackson And The Olympians
Please share any scenes from the movie that posed challenges in terms of visual effects and had to be meticulously perfected.
Erik Henry shared an interesting experience of filming a scene in which the show's creator wanted a truck filled with circus animals to be set free on the Las Vegas strip. They decided to use real animals instead of computer-generated ones. To create the illusion, they filmed cars outside the stage, giving the impression of an accident. However, there were no actual animals present, only people.
To find suitable animals, Erik traveled from BC to Los Angeles where they had access to animals approved by Disney. They filmed a bear, ostrich, camel, and a few others. Afterward, they filmed the background plate at the MGM Grand in Vegas and added a computer-generated zebra. The process of combining all these different elements was complicated, even though it was just one shot.
What aspects of the visual representation do you believe fans of the book series will appreciate the most?
Jeff White: While each reader forms their own mental images while reading, I believe many will be pleased with the decisions we made. Our main goal was to create a world that feels genuine for Percy. We even had discussions with members of our team at ILM who have dyslexia, as it varies for each person. Our aim was to make the dyslexia effect on the paper as authentic as possible.
Our guiding principle in every design decision was ensuring wish fulfillment. The scene I particularly adore is where Percy is being bullied in the bathroom and his head gets dunked in the toilet, resulting in an explosive burst of water. It's a power that anyone would long for. When children witness this, they will undoubtedly be captivated.
About Percy Jackson And The Olympians
Check out our additional interview with Percy Jackson and the Olympians here!
Jon Steinberg, Dan Shotz, and James Bobin
Percy Jackson and the Olympians will debut with a two-episode premiere on December 20 on Disney+.
