Three years later, the sequel’s narrative finds our newlyweds pretty much where we left them. Shrek’s world shimmers magically on the screen, an intricately crafted pseudo-photo reality that skews real life without losing its fragile, delicate nuances–sunlight piercing a drop of dew, cool mist drifting slowly through an early morning wood.
Thanks to the help of computers systems as much as five times faster than those used on the original film, along with the gift of a massive budget and a “room to breathe” shooting schedule, what the team behind Shrek 2 has achieved is nothing short of marvelous. “We thought the velvet would take 2 weeks to render,” he sighs, “but in the end it took three months.”ĭespite such difficulties, however, all the hard work, precision and diligence appears well worth it. The animated-hair request set off a chain of events that resulted in three months of intensive labor and a custom-made software program with the curious moniker “Wig System Program.” According to Adamson, “long hair” proved to be a nearly insurmountable challenge, but other visual obstacles included “folds on clothing and velvet.”Īt the mere sound of the word “velvet,” the director literally cringes.
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