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[EPUB] Stranger Things: Worlds Turned Upside Down: The
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Description
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. Â
“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 fired it up over the camera. The first time we did it,
we had a mechanical flaw. Instead of jumping up in the air, the front
end jumped up and not the back, and it shark-attacked the camera in the
middle of the street and destroyed it. So that didnâ€t work as well as
we wouldâ€ve liked.“It turned out to be a mechanical failure in a
part that we replaced. The body shop fixed up the bumper in a couple of
days, and we shot it again two weeks later. It was flawless and
beautiful. As Shawn [Levy] described it, the gagâ€s so nice, we did it
twice.―