"We call it the pancake rig it’s like a big pancake she was on that let her fall what looks like four floors down before she makes her way back up to the roof,” Poppleton said in the press notes. During all of this, the building is collapsing in on itself. Once on the roof, she's met with shifting and crumbling slabs of concrete, exposing gaping holes and sheer drops-offs. Once she realizes what's happened, it's about her struggle to get out of the crumbling restaurant, up the stairs and to the roof, where Ray's chopper is waiting. The entire scene is delivered in a continuous sweep, beginning with Emma's point of view: she awakes, stunned, barely able to hear anything, trying to make sense of where she is and what she's seeing. To infuse this scene with as much realistic panic and mayhem as possible, Peyton had Chusid design this space around traffic patterns he had mapped out with special effects supervisor Brian Cox and stunt coordinator Allan Poppleton. It was created by the filmmakers, with production designer Barry Chusid dreaming up the restaurant's interior, an elegant space with ponds, potted trees, chandeliers, columns and a honey-onxy bar.
The first thing to note is this high-rise itself doesn't exist.
CAST OF SAN ANDREAS QUAKE MOVIE SERIES
This sequence, which looks chaotic and messy as one would expect during an earthquake, was created with a series of highly precise interlocking movements and effects overseen by several departments. The Rooftop Rescue in Downtown Los AngelesĪt the outset of the movie, Ray needs to save Emma, who was eating at a fancy restaurant in an upper story of a high-rise in downtown Los Angeles when the quake hits. To get a sense of just how complicated this film's production was, we'll let the filmmakers walk us through a single scene and break it down for us. For a week, I was shooting a boat on a green screen stage, doing all these stunts with water flying around then it was a helicopter for another week then a plane. “If we weren’t in the water, we were on a boat gimbal or a helicopter gimbal. “I think there were maybe three days when we were walking around on solid ground,” Peyton recounts in the press notes. Between point A and point B lies a state that's more or less falling into the sea. San Andreas centers on Ray (Dwayne Johnson), a search and rescue pilot who, along with his estranged wife Emma (Carla Gugino), must make their way from Los Angeles to San Francisco to save their only daughter. This has something to do with the films that they grew up on- Indiana Jones, Jaws, and Star Wars to name a few-all of which utilized practical effects to great, well, effect. Abrams, Joss Whedon and for San Andreas, Brad Peyton, try to work in as many practical effects as possible. It’s interesting that many of today’s current crop of directors who make massive films that rely on CGI, including Christopher Nolan, J.J. The film may be about a natural disaster, but it's creation was a precise dance between practical effects, special effects, and visual effects.
CAST OF SAN ANDREAS QUAKE MOVIE MOVIE
Yet you’d be surprised how much of San Andreaswas shot in camera, using practical stunts and a lot of old fashioned movie magic (and a whole lot of chutzpah from the stunt professionals). When your film is about the San Andreas fault giving way and a magnitude 9-plus earthquake turning California into so many dominoes and sinkholes, decimating cities and their historic landmarks, you’re going to need some serious CGI.
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