“I feel incredibly, like, deferential to how talented these artists are and how quickly they have to work, obviously, like much quicker than probably should be given to them, in terms of like churning these things out,” Maslany told journalists. (Via Variety.) Most recently, “Thor: Love and Thunder” was the target of CGI criticisms, allegedly for its heavy reliance on the Volume, which is essentially a revamped green screen technology in which actors work against massive photorealistic backdrops. Even director Taika Waititi and Tessa Thompson were seen poking fun at their own CGI during a Vanity Fair clip.
Showrunner Gao said, “It’s terrible that a lot of artists feel rushed and feel that the workload is too massive. I mean, I think everybody on this panel stands in solidarity with all workers and is very pro-good working conditions.” Last month, VFX artist Dhruv Govil, who worked on films including “Guardians of the Galaxy” and “Spider-Man: Homecoming,” tweeted that working on Marvel shows is “what pushed me to leave the VFX industry. They’re a horrible client, and I’ve seen way too many colleagues break down after being overworked, while Marvel tightens the purse strings.” Director Coiro noted that “we’re not behind the scenes on these long nights and days,” but “if they’re feeling pressure we stand with them and we listen to them.” The trio was asked how they feel about the “finished product,” especially given the negative initial reaction to Maslany’s green, 6-foot-7-inch giant She-Hulk and the “incredible crush” some Marvel artists might be feeling. “I do think that we have to like be super conscious of how the work conditions aren’t always optimal and that they’ve made these amazing strides in this industry,” Maslany said. “I watch it, and it doesn’t look like a cutscene from a video game. I can see the character’s thoughts. I feel very in awe of what they do.” Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
