We chat with BeauIsAfraid VFX Supervisor Alexandre Lafortune, who breaks down crafting a short film in the middle of Ari Aster's surreal tragicomedy epic:
Ari Aster is back with another mind-bending journey in Beau is Afraid. The latest from the mind behind Hereditary and Midsommar centers on the chronically paranoid Beau as he learns his mother has died in a horrific fashion and attempts to venture to her funeral, resulting in a surreal journey in which he confronts the demons of his past.
Screen Rant recently caught up exclusively with VFX Supervisor Alexander Lafortune to discuss Beau is Afraid, and the hefty workload he and the artists at Folks undertook for the project, including crafting an effects-heavy short film situated in the middle of the movie.Alexander Lafortune on Beau is Afraid Screen Rant: Beau is Afraid is just a wild film from start to finish, as is almost anything by Ari Aster, and the visuals that go into this movie are a big part of that.
That's mostly what we had done on this — a muzzle flash, multiple-plate merge. Because, maybe you've seen it, a lot of those shots are super long, more than 20, 25 shots lasting more than 600 frames, and even some went on until 2000 or 3000 frames. That's almost a few minutes long for one shot, but of course, usually you get that by merging plates together in a seamless way, that is the idea. We also did the stunts of Beau being hit by the truck.
Alexandre Lafortune: Yeah, so there's a big part of the movie I was not directly involved with Ari, but we had some cues from him. At the end of the project, I had the chance to really be one on one with Ari for the final few weeks, I had the chance to meet him, like, twice a week. Ari does have his vision, and I felt that it was hard.
We spent a month just creating the previsualization for each sequence in the short, starting from storyboard, then knowing the studio dimensions, it was kind of technical, so you had to place the camera, and we were able to tell the crew to build some sets [to certain] dimensions, and then, on the day of the shoot, [tell] the camera [operators] to get what we've done in previs, we were able to tell them the lens should be around this or should be that.
You've worked on both large-scale and smaller-scale projects. Since Beau is Afraid falls right in that middle ground between the two, which do you prefer?
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