The Ancient One (Tilda Swinton) unleashes her incredible powers
What was your pre-production
BD: I was in pre-production for 10
weeks, which is the standard prep
for a film of that size. But the interesting thing about Strange was that
the film got put back at one point
during casting. So we did some initial work and then I went off and
did another project. Then we came
back several months later to start it
again, and some of the initial ideas
were already developed. When we
actually started the full production,
a lot of those ideas were very much
cemented by that point.
What sort of color palette did
you develop for the film?
BD: I wanted there to be a journey
for the film, so the color and the palette become richer as the film pro-gresses. In Act One there’s an origin
story for Doctor Strange, when he’s a
neurosurgeon working in New York.
The first act of the script is about his
life there, and it’s a narcissistic life.
It’s kind of empty, it’s winter, and
the palette reflects that. We shot on
65mm digital in the first act to look
very real and very cemented. There’s
no pushing of color.
Then he has his accident and
begins a journey of self-discovery.
He travels to Kathmandu to find
answers, and the palette changes.
You’re hit by this sense of heat and
color and dust, which is exactly what
happens when you go there. Scott really wanted to feel the grittiness of Dr. Stephen Strange (Benedict Cumberbatch) practices martial arts
Dr. Stephen Strange (Benedict Cumberbatch) in a moment of frustration