Cory Stillman
Showtime’s The Curse is many things: funny, tense, insightful, strange. But in its tenth and final episode, the series — co-created by Nathan Fielder and Benny Safdie — emerges as something altogether different. Although the series is unsettling and off-kilter throughout, it remains grounded in reality, but VFX Supervisor Walter Schulz can attest to the surreal nature of the show’s conclusion, having first been drawn to the project by the topsy-turvy challenges it presented.
“The main point was to find out that the set buildings were going to have mirror walls. This was the challenge that drew me into the project,” says Schulz. “Reflections are one of the most difficult things to deal with when dealing with the set footage for VFX.”
For the uninitiated, The Curse ends with a literal reversal of gravity, in which Asher (Nathan Fielder) soars hopelessly and inexplicably upwards. Schulz and his team had to build an upside-down set to convey this reversal of gravity, but that was only the beginning of the intricate work that went into bringing that surreal finale to life.
“I commissioned a LiDar company to come in and do a careful scan of our main room and dependencies, which was useful when integrating the full sequence,” says Schulz. “In order to get our shots in the right-side-up room we had to move one wall aside, which kept us from doing reverse shots as the camera crew was there, we got some before removing the wall, but the LiDar scan was to finish those reverse shots in post if needed.”
Other unbelievable features of the undertaking include several 90-ton cranes, digital doubles of Nathan Fielder, and a full browser-based previs of the episode’s stunts.
“There was mutual cooperation between departments and also full confidence in what everyone was doing. I felt a great deal of accomplishment in the fact that we finished the show without a single incident on set,” says Schulz.
Indeed, as Asher clings onto a tree branch for his life, and eventually hurls upwards into the atmosphere, it is difficult to imagine the visual trickery being pulled off without accident or injury. But as Schulz points out in this exclusive interview with Awards Radar, the impressive collaboration between his team and all other departments ultimately led to one of the most seamless and unexpected implementations of VFX in recent television history.
What drew you to work on The Curse and how did you approach the unique challenges presented by the storyline and setting?
The main point was to find out that the set buildings were going to have mirror walls. This was the challenge that drew me into the project. Reflections are one of the most difficult things to deal with when dealing with the set footage for VFX. On the last episode it was also required to have an upside-down set built to convey the reversal of gravity for Nathan’s character.
Can you describe the process of designing and creating the upside-down room for the season finale, including any technical or creative hurdles you had to overcome?
Both sets were fully built, but I commissioned a LiDar company to come in and do a careful scan of our main room and dependencies, which was useful when integrating the full sequence. In order to get our shots in the right-side-up room we had to move one wall aside, which kept us from doing reverse shots as the camera crew was there, we got some before removing the wall, but the LiDar scan was to finish those reverse shots in post if needed.
Given your extensive experience, how do you balance on-set supervision with post-production work, especially on a project with complex visual effects like The Curse?
I believe that experience is great, but what’s really helpful throughout your career is to also keep all your skills sharp no matter what. If there are techniques you used 5 years ago and haven’t had the need to refresh, it plays against your optimal performance. New technologies are allowing us to flow smoothly from the On Set material to post-production, no time to waste. In particular, The Curse was mostly a traditional VFX show, and I really enjoyed that. I created browser-based previs sets to plan stunts, and I also created a digital double of Asher.
How do you collaborate with other departments, such as stunt coordinators and special effects teams, to bring the visual elements of a show like The Curse to life?
For this show, it was imperative to collaborate with all departments. Planning Asher’s anti-gravity shots involved amazing logistics, like a 90-ton crane (more than once), from which Nathan’s stunt double hand high up in the tree. There was mutual cooperation between departments and also full confidence in what everyone was doing. I felt a great deal of accomplishment in the fact that we finished the show without a single incident on set. The show has an almost equal part of VFX and special effects, allowing the show to feel real.
Considering the eco-conscious theme of the storyline, were there any specific visual effects or design choices you made to emphasize the couple’s passion for sustainable housing in the visuals of The Curse?
The storyline was well defined and most design was built to fit that. There was little room to increase or enhance their eco-conscious approach from a visual effects angle. I made many suggestions but these things usually are a director’s call.
What techniques or strategies did you use to convey the ethical and moral dilemmas faced by the characters through your visual effects work on The Curse?
Visual effects must always work to support the story and emotions that are expressed through acting. We always support those moments with color timing to accompany the emotion of the shot.
The Curse uses funny sarcasm to add a new twist to the ethical and moral dilemmas in the storyline.
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