(READ)^ Stranger Things Worlds Turned Upside Down The Official Behind-the-Scenes Companion Full Pages

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Gina McIntyre is a veteran entertainment journalist who has covered movies, TV, and music for
the Los Angeles Times, The Hollywood Reporter, and Entertainment Weekly. She is the author of
Guillermo del Toroâ€s The Shape of Water: Creating a Fairy Tale for Troubled Times and The
Art of Ready Player One. Her writing has also appeared in Rolling Stone online. She lives with her
husband and daughter in Riverside, Illinois. Matt Duffer and Ross Duffer are film and television
writers, directors, and producers, as well as twin brothers. They are the creators of Stranger
Things, which has won five Emmys as well as awards from the Producers Guild of America and
the American Film Institute. Excerpt. © Reprinted by permission. All rights reserved. UP IN THE
AIR  Itâ€s one of the most eye-popping displays of Elevenâ€s amazing powers: as the
young heroes are pursued by Brenner and his “bad men― through the streets of Hawkins, the
gifted girl stares down a white van coming straight toward Mike and her and sends it soaring
overhead. The vehicle crashes to the street below, blocking the pursuers†path and allowing
the kids to escape. Special effects coordinator Caius Man explains how he helped Eleven make
the van fly:  “From our standpoint, it really wasnâ€t that supremely complicated. A flying
car is a flying car. There were some unusual aspects to that because of the unnatural way they
wanted it to fly, where it lifted sort of straight up and then tipped forward, so it took a little
engineering. But it worked when we did it.  “We actually physically fired a van. We towed
one down the street, and the van had in it two nitrogen cannons, two nitrogen sleeves that fired a
high-density plastic slug out of the bottom of them to push it up into the air. One was just hitting a
little harder than the other, which is what resulted in it going end over end the way it was supposed
to.  “We built a small test in our shop. Basically, we built a plywood van with a couple of
pneumatic cylinders, and we hopped it around the shop a bunch of times and were satisfied that it
was going to function. [The Duffers] wanted to see a full-size version of it to make sure that we
could get it sufficiently high [so that they] could composite the children on the bicycles underneath
it. What we did is, we shot it in the air, and then we had the kids ride down the street with the
camera in the same position. Then we just cropped the two images together. We didnâ€t shoot
the van over kids. That would be insane.  “We took it to a parking lot—a similar van, not
exactly the same van—to a parking lot at Screen Gems, at our studio, and shot it. It launched,
and everybody was excited. It landed exactly where I told them it was going to land, and pretty
much everything was as it should be. On the day, we pointed three cameras at it, and we had a
camera in the middle of the street that was aimed straight at it. It was the POV of the kids, and we