Someone asked us what we’re going to do with all the props we’ve had built once the shoots are over. Hopefully, we’ll have someplace better to store them than the backlot of the studio… so nobody has to do this in 30 years’ time.
Of course, we can only hope Iron Sky will stand the test of time nearly as well as Alien. But we’ll be doing our darnedest to make it so.
Another good man going down… Tuesday was the last shooting day for Tilo Prückner, who portrayed – I might say – possibly the greatest mad Nazi doctor in the history of nazi doctors on big screen. It feels so strange that we’re wrapping our main cast members, and makes me feel sad, yet it’s also a sign that the shoot of this damn monster of a movie is very soon finished.
Tuesday we shot in just one set, but we shot at least 7 or 8 scenes, and in absolutely no kind of order – a closeup here, wide master there, a bit of stunt action and so on. It was a very, very complicated day for me, and I felt I almost lost the ball by the end of the shoot – I felt I was almost incapable of making a decision wether a take was good or not, my brain was just so overloaded with shots, bits and pieces of imaginary edit, required pickups and the clock was ticking…
Photo by Tarja Jakunaho
It was a hard day, but we survived that, too. And wrapped wonderful mr. Prückner – another great actor who I hope to be working again in the future.
The last shooting day of the second week of Iron Sky shoot in Australia took place – again – inside the studio. We shot a scene that takes place in the woods, and originally we had planned to shoot the scene on location, but as the weather in Brisbane became worse and worse, we had to pull back into the studio and re-dress our Moon surface as the woods. At first, I had some doubts if doing such a natural set in studio would make any sense, but when I saw the work the set dressers had done, my confidence was re-established. A beautiful little clearing was created for us, and it worked like a miracle for what we needed to shoot. We started out with one rather complicated stunt/wire action, we had some gun fires and couple of key scenes – a lot for one day, but we rushed it through and got what we needed.
High times against blue (Photo by Tarja Jakunaho)
Since we were shooting in a green environment, we had to change the green screen into blue screen, which was a nice change – felt like seeing the blue sky for a while…
After that, it was good to head back home for the weekend. During the weekend we had a cooking competition with the producers and the director – Tero Kaukomaa, San Fu Maltha, Mark Overett and me competed over who would create the best pasta sauce. My pasta – Pasta Götterdämmerung – won, and the party lasted ’till wee morning hours.
One of the locations of Iron Sky is the landing platform of the Schwarze Sonne. It’s a huge location – the place that’s located right in the middle of the Schwarze Sonne, under the huge dome where all of the ships stop by for repairs, loading or departures. You’ve seen it on Iron Sky Teaser 2 – that’s the place where the Nazis march to the ships and leave. In the studio, the set is not as interesting – actually, it’s only a flat, gray surface against green screen with some props littered around. The reason for this is that the platform is just so huge that there’d be no possibility to build a set that size anywhere, and we don’t need only but a portion of it for the actual action – everything else will be added with CG, matte painting and movie magic in the background.
Having a break. (Photo by Tarja Jakunaho)
Shooting the scenes on the Hangar felt like doing Dogville – no sets, only a studio floor with few props, some markings on the floor, a shining black car and Udo Kier.