Here, based on the graphic novel by Richard McGuire, tells the story of almost 100 years of the same family, in a single shot that is always the same. Tom Hanks and Robin Wright cross multiple ages thanks to makeup and digital rejuvenation. Double challenge for a veteran director like Robert Zemeckis.
The first images of Herenew effort by Robert Zemeckis with Tom Hanks And Robin Wrightadaptation of graphic novel of the same name by Richard McGuirereleased in 2014. The film follows the story of the same family for almost 100 years, in the same room and with the exact same shot: Hanks and Wright were digitally rejuvenated or aged as necessary. In short, this is yet another technical challenge for the director of Back to the Future.
Here, Robert Zemeckis freezes, ages and rejuvenates the cast in the same room
It’s not the first time Robert Zemeckis “use” the friend Tom Hanks For technical experiments: made him interact with the greats of American history in Forrest Gumphad him play several characters of various ages in Polar Express, via performance capture. Fitting with Eric Roth the graphic novel Here Of Richard McGuire (published in Italy with the title “Qui”), this time imposes on him and others Robin Wright to interpret the same characters over an entire lifetime, rejuvenated or aged depending on the period told. The film will be released in November, and Zemeckis explains: “It only works because the performances are great. Both Tom and Robin understood immediately: we have to channel how we were fifty or forty years ago, find that energy, that kind of posture, raise a bit of the voice, those things.”
If the challenge consisted only of this, it wouldn’t be enough for Zemeckis, but the idea was to transpose the idea behind the graphic novel from life: telling the exact same place across decades and decades… with the same shot! Robert is enthusiastic: “The perspective is always the same and never changes, but everything else changes. Actually it’s never been done before. There are similar scenes in early silent films, before the language of montage was invented. But other than that, yeah, we’re hooked a nice risk. […] They’ve always seen me for some reason as that of visual effects. But they are always choices that serve the story and the characters. […] I’ve always thought that our job as filmmakers is show the audience things they don’t see in real life.”
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