For one, it was labor-intensive and expensive. Rogue One's filmmakers defended their decision and denied that the precedent would open floodgates. Nevertheless, the CG performance stoked backlash from critics who not only decried the " digital indignity" of resurrecting an actor beyond his or her ability to give permission, but also worried about a slippery slope enabling the studio to bring back other deceased performers. The whole process was like "a super high-tech and labor-intensive version of doing makeup," chief creative officer at Industrial Light & Magic John Knoll told The New York Times. There were other challenges to hew closer to his performance, like imitating facial tics.
Then they began the laborious process to digitally layer Cushing's face on top, which required rigorous tinkering.įor example, Rogue One is lit differently than the franchise's next film, A New Hope, where Tarkin appears: Thus, a more accurate recreation of Cushing's face wouldn't mesh with how the other actors in the scene looked.
They chose Guy Henry, an actor of similar stature who could affect Cushing's vocal style, to film Tarkin's performances while wearing motion capture materials on his head. While the CG necromancy earned mixed reactions, the resulting animation is an incredible achievement requiring the Rogue One filmmakers to walk a tightrope of technical and ethical concerns.Īfter they decided that the character in question, Grand Moff Tarkin, would need to be included due to his connection to the Death Star superweapon, the filmmakers set an ambitious plan to recreate him after the original actor Peter Cushing passed away two decades ago. But it also spent time with numerous nods to the latter, including digitally resurrecting a character portrayed by an actor who passed away in 1994. Two weeks ago, Rogue One: A Star Wars Story debuted, a side tale devoted to bridging the gap between the prequels and original trilogy. Spoilers ahead for Rogue One: A Star Wars Story.
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