Production Notes The millennia-old battle between Vampires and Lycans rages on in stunning 3D in Underworld Awakening

The damp, overcast streets of Vancouver provided the dark, wet mood the filmmakers sought for their dystopian future, while the modernist architecture provided inspiration for the vast unnamed city.” Underworld is not our world,” says Mårlind. “You can’t say it’s Moscow or New York or Rome. It’s Underworld. This was what was very attractive to us, because we were able to explore new ideas.

“If you look around, you will see very hard concrete architectural types,” he continues. “It is very unlike the Gothic style of a place like Budapest, but it has a very cool feel that has been extremely fun to explore.”

The filmmakers gave the fictional city a skyline inspired by the buildings of Soviet-era Eastern Europe. “We went with a very specific look, the architectural style known as brutalism,” says production designer Claude Paré. “Brutalism was the predominant style of the Communist era. It is functional, unadorned and rectilinear. Typically it’s built from stark, grey slabs of poured concrete in bold symmetrical forms. In Vancouver, there are many buildings designed by the architect Arthur Erickson that fit the profile and we were fortunate to be able use of some of these buildings, including Simon Fraser University, which we made our key location, the headquarters of Antigen.”

“We scanned different buildings from all over Vancouver, then brought those images together to create a kind of composite photo,” says McQuaide. “The buildings may be recognizable, if you know Vancouver well, but they are not situated next to each other except in our cityscape. Once we captured the actual geometry of the space, we recreated what was there practically. Because it’s data, we’re not married to any particular angle, so the camera can move freely in the virtual space.”

Production designer Paré also created a cave-like home for the Vampire coven. Hunted to near extinction, a small group has taken refuge in an underground lair beneath a giant hydroelectric dam. “There just happened to be fantastic hydroelectric dam about a half an hour north of Vancouver,” says Wright.

The lair is a monument to earlier times, filled with relics of formerly luxurious lives. “Everything is dripping and very moldy,” says Paré. “It’s done in tones of ochre, brown, dark green and there’s lots of black.”

It contrasts sharply with the hard geometry of the city, says Mårlind. “We wanted the Vampire world to be old and sensual and round,” he explains. “It has a feeling of the womb to it, because that is a theme in the film for Selene.”

Both the coven and the Antigen interiors had to be custom built for the shoot. “Vancouver has a number of sound stage facilities that allowed us to spread out and build all of these sets,” says Wright. “Vancouver also has very, very highly skilled set construction people, which came in handy. We were creating a medieval crypt-like coven and then we were doing very high-tech concrete and glass interiors for Antigen and those are two completely different finishes.”

Selene’s iconic costume had to be recreated down to the last detail by Academy Award®-nominated costume designer Monique Prudhomme. “The first time I saw her in the costume, I thought, she’s back!” Prudhomme says. “The challenge was to find a fabric that would give the same feel and comfort. The costume is very simple, but it was critical to get it right. The latex suit has absolutely no hanger appeal, but because Kate is so beautiful and athletic, she fills it out and makes it look fantastic. The detail in her costume comes from the leather corset that is boned and embroidered. It’s like her armor.”

Giving the actress added panache is her oversized death dealer coat. “It’s a leather coat that is elaborately embroidered on the shoulders, in the front and on the sleeves,” says the designer. “That coat gives her a big ‘swoosh’ of movement, and also brings the Vampire tradition to her look.”

Putting on the costume the first time was like coming home, says Beckinsale. “Just the sound it makes is very specific. I was very intimidated by the costume in the beginning, but I trust it now. It actually gives me a help, if anything.”

Special-effects makeup designer Todd Masters was entrusted with the task of creating an original visual concept for Eve, the first Vampire-Lycan hybrid. “It was a really great honor to be handed this mantle,” says Masters. “The technology and artistic technique have developed so quickly that the bar is very high. The Eve hybrid went through quite a few developments. It was important to be able to see India inside, so she isn’t just a monster when she goes through this dynamic transformation. We wanted to see a lot of performance. We made some really cool teeth for her, as well as contact lenses and amazing ruby nails.”

Eisley says the elaborate makeup completed the character for her. “I just loved it. I got the Lycan fangs which are very big and gnarly and just very, very intense, plus blood red, very long claws. The contact lenses are a unique mix of black and ice blue, because Eve’s not full Lycan or full Vampire. The contact lenses were very comfortable, but the claws were very painful. They were glued onto my fingers and it felt like they were going to rip my nails off, so it wasn’t too pleasant. But it looks great!”

In addition to introducing new characters and a new setting, Underworld Awakening reaches a new level of action for the franchise. “For the first movie, we had no real budget at all,” says Wright. What made it work was the atmospherics and story points and acting. This is the most wirework I’ve ever done on any film. You’ll see Selene jumping over fences and making impossible leaps. The bar has been raised so high and I think we have elevated the game.”

Brad Martin, who began as a stunt coordinator on Underworld, served as second unit director as well this time out. “Brad knows the Underworld franchise as well as anybody, so we had tremendous good fortune in getting him to play a directorial role in the second unit action sequences of the film,” says Lucchesi. “He’s also a great friend of Kate’s, so he had her confidence in terms of asking her to perform some pretty impressive moves. Kate did a lot of her own stunts because Brad made her feel comfortable.”

Martin was given ten weeks to prep for the film and develop the tricks and tools he needed for this major enterprise. “There were a couple things that we needed to do some research and design for,” he says. “The biggest R & D we did was for the uber-Lycan. How do people interact with this enormous creature that is purely CG?”

According to Martin, Beckinsale didn’t require a lot of training for the role. “Kate’s retention is ridiculously good,” he says. “On the first Underworld we did a month of training with her. We worked three times a week and she trained hard. But it’s been ten years since then. We were showing her stuff on set and she might have been rusty at first, but after a rehearsal or two, she got right in there. She brings the attitude.”

The actress says she sometimes felt out of her depth, but knew she could rely on Martin and his team. “Because I know this character very well and have had such thorough training, it was a bit like riding a bike,” she says. “I sort of assumed I wouldn’t be able to do things and then found, oh actually, I just ran up a wall … and that was really fun!”

Martin had a huge impact on the design and execution of the high-powered action sequences in the movie. “Brad wasn’t just setting up stunts,” says Wright. “He’s phenomenally talented at putting together whole action sequences.”

Detective Sebastian fights side-by-side with Selene in some of the movie’s most thrilling scenes. “After I did Takers, I wanted to become the next action hero, so my thing is, any time I get a chance to shoot guns on a movie set in a safe environment, I jump at the opportunity,” Ealy admits. “It’s so much fun and this particular crew has found a way to make me look so cool with a gun. That’s like every young actor’s dream…to try and look as cool as Bruce Willis and the guys from Miami Vice, because those are the guys you saw coming up.”

The film was shot with new RED Epic cameras. The cameras’ extraordinary 5K resolution is roughly five times greater than that of HD. “So it’s an amazing image quality,” says Kasimir Lehto, the film’s stereographer, who advised on all 3D issues and monitored the stereoscopic image while it was being recorded. “It is really clean and crisp.”

While 3D is more prevalent than ever, many filmmakers opt for the simpler process of postproduction dimensionalization, says Wright. “Unlike many of the live action films out there, we actually shot in stereoscopic 3D for the entire film. It’s immensely time consuming, it’s very difficult and it makes every single shot of the movie a special effect.”

It also creates an image that affects the human brain differently than post-production dimensionalization, according to the producer. “It just looks more real. It may not look as flashy because you’re not carving out the different planes and highlighting them differently. The two cameras mimic the two eyes of the viewer, so you are seeing something that affects you emotionally and intellectually as a viewer.”

Lehto concurs: “When the viewer is watching stereoscopic 3D, there’s a psychophysical reaction. Since the visual information is received in the same way as we receive visual information from the world around us in real life, the body’s actually sending signals to the brain that are consistent with the experience of reality. So the Lycans in Underworld Awakening are going to be super scary!”

The filmmakers take the technology to an even higher level for the finale of the film, a brutal battle that pits Selene and her small band of followers against the uber-Lycan. “We asked RED to give us a build that would allow us to shoot at a faster rate in 3D,” says James McQuaide. “Until that point, we were only able shoot 72 frames a second. RED was good enough to make that a priority and they sent us what in essence is a pre-alpha build of the firmware that allows us to shoot 120 frames a second. It was the first time these cameras were ever used on a real movie. And I think people will really notice the difference. The tests that we did were phenomenal.”

Lucchesi can’t recall ever seeing such a visually stunning live-action 3D movie. “Most of the movies made have had such a large CG component,” he says. “This has lots more live action, which is more challenging to make look good. The combination of the new RED Epics cameras, plus the inspired work done by our cinematographer, Scott Kevan, and our production designer, Claude Paré, and Len Wiseman’s initial vision, has made for a uniquely beautiful 3D movie.”

ABOUT THE CAST

KATE BECKINSALE (Selene) English actress Kate Beckinsale is revealing herself to be one of films’ most versatile and charismatic actresses. She first gained notice in Kenneth Branagh’s Much Ado About Nothing and then subsequently appeared as the heroine of John Schlesinger’s Cold Comfort Farm, Whit Stillman’s The Last Days of Disco opposite Chloe Sevigny, Jonathan Kaplan’s Brokedown Palace opposite Claire Danes and in the British comedy Shooting Fish. Additional film credits include Haunted opposite Aidan Quinn, and Manuel Fleche’s Mary Louise ou la permission.

In 2001, Beckinsale starred opposite Ben Affleck and Josh Hartnett in Disney’s epic Pearl Harbor. She starred opposite John Cusack in Serendipity, opposite Matthew McConaughey and Gary Oldham in Tiptoes and opposite Christian Bale and Frances McDormand in the ensemble drama Laurel Canyon. Film appearances include starring opposite Hugh Jackman in Van Helsing and starring in the hit vampire tales Underworld and sequel Underworld: Evolution for Sony Screen Gem. Beckinsale also starred as screen legend ‘Ava Gardner’ in Martin Scorcese’s The Aviator, in the Screen Gems thriller Vacancy opposite Luke Wilson and the comedy blockbuster Click opposite Adam Sandler. Recent films include the independent drama Snow Angels opposite Sam Rockwell, directed by David Gordon Green and the independent drama Fragments (aka Winged Creatures) opposite Forest Whitaker and Dakota Fanning,

Her television appearances include playing the title role in A&E’s Emma and in One Against the Wind for Hallmark Films. On the stage, she has appeared in “Clocks & Whistles”, “Sweetheart,” and the British National Touring production of “The Seagull.”

In 2009, Beckinsale starred in the action thriller Whiteout produced by Joel Silver, and the dark comedy Everybody’s Fine opposite Robert Deniro and Drew Barrymore.  That same year, she also starred in the independent political drama Nothing But The Truth opposite Alan Alda and Matt Dillon, which garnered her great recognition for her accolade worthy performance.  Beckinsale will next be seen in the suspense thriller Contraband opposite Mark Wahlberg out January 2012. Beckinsale recently wrapped production in the adaptation of Total Recall opposite Colin Farrell and Jessica Biel directed by Len Wiseman.

Among his other film credits are Mike Leigh’s Life is Sweet, Robert Altman’s Pret a Porter, Still Crazy, Guinevere, Bruce Beresford’s Evelyn, Ulysses, Tara Road, V for Vendetta, Spies ,The Reaping, Sisters, Sixty Six, and Till Death. Other feature films include Neil Jordan’s Ondine, Devil’s Mercy and The Heavy.

Rea starred at the Public Theater in New York in Sam Shepard’s new play Kicking a Dead Horse. The play was also done at The Abbey Theater in Ireland. Stephen also starred in Sam Shepard’s new play Ages of The Moon at The Abbey in Ireland. The play had its American debut at The Atlantic Theater Company in NY in January of 2010. Stephen also starred at The Abbey Theater in the world premiere production of Sebastian Barry’s Tales of Ballycumber directed by David Leveaux.

Stephen Rea trained in Ireland’s Abbey Theatre School and divided his time in the 1970s and 1980s between fringe theatre, major stage productions, TV and films. He also starred in or directed all of the productions of the Field Day Theatre, a group he formed with playwright Brian Friel in 1980.

Rea was nominated for Broadway’s 1993 Tony Award as Best Actor for Frank McGuiness’ Someone Who’ll Watch Over Me. He has starred in numerous theatre productions in Dublin and London’s West End, as well as appearing in several television productions for the BBC, Channel 4 and HBO.

MICHAEL EALY (Detective Sebastian) From his breakout role in Barbershop and Barbershop 2, Michael Ealy is quickly rising through the ranks as one of Hollywood’s leading young actors. He will next be seen starring opposite Kate Beckinsale in Underworld Awakening: New Dawn and opposite Taraji P. Henson in Screen Gems’ Think Like A Man, based off the widely successful Steve Harvey novel.

Ealy most recently co-starred in Takers opposite Matt Dillon, Idris Elba and Hayden Christensen which was a box office smash this summer. The film centered around a world of a notorious group of criminals who continue to baffle police by pulling off perfectly executed bank robberies. He also starred in Tyler Perry’s For Colored Girls with Janet Jackson, Thandie Newton, Kimberly Elise, Whoopi Goldberg and Phylicia Rashad which earned him the Best Supporting Actor Award from the African-American Film Critics Association (AAFCA).

On television, Ealy joined the cast of the hit CBS series The Good Wife with Julianne Marguiles and Christine Baranski this season. He also returned to Showtime for a five episode arc in Californication playing Natascha McElhone's love interest on the show. Last year, Ealy appeared on the hit ABC series FlashForward where he portrayed CIA agent Marshall Vogel. He will next be starring in the USA series Common Law which will premiere next year.

Previously, Ealy starred in Sony Pictures’ Seven Pounds opposite Will Smith. Smith personally selected Ealy to play the pivotal role of Smith’s younger brother in this dark drama. He also starred in Spike Lee’s World War II drama The Miracle at St. Anna which portrayed the story of four buffalo soldiers who risk their lives to save a young, Italian boy, while in enemy territory. Ealy was also featured in the docu-mini-series, The People Speak, based on Howard Zinn’s acclaimed book. One of the historical figures he portrays is “Malcolm X”. Other star-studded performances include: Matt Damon, Viggo Mortensen, Sean Penn, Josh Brolin and Don Cheadle, to name a few.

On television, Ealy starred in the Showtime mini-series Sleeper Cell where he portrayed Darwyn, a Muslim FBI agent sent undercover to infiltrate a terrorist cell in Los Angeles. Sleeper Cell quickly went on to receive a Golden Globe nomination for Best Miniseries and an AFI Honor for Best Program of the Year and Ealy also earned a nomination for a Golden Globe for his lead performance in the mini-series.

In addition, Ealy was handpicked by Oprah Winfrey to star opposite Halle Berry in the ABC and Harpo Films telepic, Their Eyes Were Watching God. The special received rave reviews and was viewed by over 26 million people. Ealy earned an NAACP Image Award nomination for Outstanding Actor in a Television Movie, Mini-Series or Dramatic Special for his portrayal of “Teacake.” Ealy also starred in a Sundance selection: the film noir, Never Die Alone, opposite DMX, for Fox Searchlight Pictures.

A native of Silver Spring, Maryland, Ealy graduated college with a degree in English. Shortly after, he headed to New York where he performed in several stage productions, including the Off-Broadway hits Joe Fearless and Whoa Jack, for which he earned an Adelco Award nomination for his performance.

 

THEO JAMES (David) an up-and-coming your star whose film credits include

Woody Allen’s You Will Meet A Tall Dark Stranger, A Passionate Woman and The Inbetweeners Movie.

On the small screen he has been seen in the BBC production Room at the Top and in Lucasfilm/HBO’s Red Tails. His television credits also include Bedlam and Downtown Abbey.

James trained at the Bristol Old Vic Theatre School and his numerous theatre credits include, Closer, Zoo Story and The Slippery Soapbox.
INDIA EISLEY (Eve) With an onscreen presence that is just as distinct as her gorgeous looks, Los Angeles native India Eisley has carved her own path in Hollywood and is rapidly becoming a household name. Eisley stars as “Ashley Juergens,” in ABC Family’s Teen Choice Award winning television series, The Secret Life of an American Teenager, now in its 4^th season. Her character, a rebellious and feisty teenager, was also adapted into the book, ‘The Secret Diary of Ashley Juergens’.

This mysterious beauty is no average teen. Eisley is the daughter of Argentine-British actress Olivia Hussey (famous for her role as the iconic Juliet in Franco Zeffirelli’s Romeo and Juliet) and famed musician/actor David Glen Eisley. She attributes her early childhood experiences of being surrounded by her parents and fellow actors on movie sets for igniting her passion for acting and film.

India is the quintessential film buff, known to frequent movie theaters multiple times a week to catch the newest releases…watching anything from the dramatic or romantic comedy to the latest action flick…India can quote it all and absorbs every detail found on the silver screen…films have been her passion since a very young age.
CHARLES DANCE (Thomas) In some thirty five years as an actor Charles Dance has amassed an impressive body of work in all media from title roles with the Royal Shakespeare Company, and major work in London’s commercial theatre including, Good, and Long Day’s Journey Into Night with Jessica Lange, and Shadowlands for which he received the London Critic’s Circle Award for best actor, through award-winning television series - The Jewel in the Crown (BAFTA nomination for best actor) Rebecca, Nicholas Nickleby, Fingersmith, Bleak House for which he received an International Emmy® nomination and won the Press Guild Award for best actor,  Consenting Adults about the ground-breaking Wolfenden Report of 1957 which resulted in the de-criminalisation of homosexuality, and more recently Dickens Secret Life - a documentary about Charles Dickens’ turbulent personal life.

Dance’s major film credits include, Plenty, White Mischief, Good Morning Babylon, The Golden Child, Alien 3, Last Action Hero, Hilary and Jackie, Michael Collins, Starter For Ten for Sam Mendes’ Company, Robert Altman’s Gosford Park, and Kabloonak for which he received the best actor award at the Paris film festival in 1996, The Perfect Disagreement, directed by Antoine de Caunes, and The Shooter with Wesley Snipes.

His debut as a film director and writer was the hugely successful  Ladies in Lavender with Judi Dench and Maggie Smith for which both ‘great dames’ were nominated for European Film Academy Awards®. He has appeared in the television series Trinity, and Merlin as well as the television adaptation of Going Postal by Terry Pratchet and a two-part adaptation of the Peter Pan story for Sky entitled Neverland directed by Nick Willing also featuring Rhys Ifans, Anna Friel and Bob Hoskins.

His recent film roles include Roland Joffe’s feature There Be Dragons, Your Highness, a feature directed by David Gordon Green and staring James Franco and Natalie Portman, Ironclad, directed by Jonathan English, also featuring Derek Jacobi and Brian Cox, and Deepa Mehta’s Winds of Change.

Dance currently appears as “Tywin Lannister” in the new HBO series Game of Thrones.