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* Creator/MeganFox insisted on doing her own stunts in ''Film/JonahHex'', only using a stunt double for one scene which would've been too dangerous for her to do by herself.
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* For ''Film/{{Seconds}}'', Frankenheimer actually shot the plane sequence inside a real airplane that flew from Los Angeles to Washington and back.
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* For ''Film/{{Seconds}}'', ''Film/Seconds1966'', Frankenheimer actually shot the plane sequence inside a real airplane that flew from Los Angeles to Washington and back.
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** Jackson's attitude towards the effort and detail that he insisted on putting into the films is summed up by this anecdote he tells:
--->I gave a little speech to the design crew very early on. This is a little bit weird, but it was the only way I could really express myself. I said, "Look, we've been given the job of making ''The Lord of the Rings''. From this point on, I want to think that ''Lord of the Rings'' is real, that it was actually history, that these events happened. And more than that, I want us to imagine that we've been lucky enough to be able to go on location and shoot our movie where the real events happened. Those characters did exist and they wore costumes, and I want the costumes to be totally accurate to what the real people wore. Hobbiton still exists. It's overgrown with weeds and it's been rundown and neglected for the last three or four hundred years, but we're gonna go back in there and clean it up. We're the luckiest film crew in the world; we're able to shoot in the real locations that these real events actually took place in."
--->I gave a little speech to the design crew very early on. This is a little bit weird, but it was the only way I could really express myself. I said, "Look, we've been given the job of making ''The Lord of the Rings''. From this point on, I want to think that ''Lord of the Rings'' is real, that it was actually history, that these events happened. And more than that, I want us to imagine that we've been lucky enough to be able to go on location and shoot our movie where the real events happened. Those characters did exist and they wore costumes, and I want the costumes to be totally accurate to what the real people wore. Hobbiton still exists. It's overgrown with weeds and it's been rundown and neglected for the last three or four hundred years, but we're gonna go back in there and clean it up. We're the luckiest film crew in the world; we're able to shoot in the real locations that these real events actually took place in."
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* The story behind the making of "Uganda's first action movie" ''Film/WhoKilledCaptainAlex'' is considered the stuff of legend: it was made by creators from the slums of Nateete on [[NoBudget a practically nonexistent budget]] (from anywhere as low as $200 to ''$85'' USD), with props, film equipment, and even the computer it was being made on being assembled from leftover parts and scrap metal, and the filmmaking process involved working through the Ugandan heat, martial law, and general chaos of scrambling together an action movie from what available resources they had. No one was expecting the film to make it very far past their neighborhood, [[SleeperHit let alone to become a viral hit on YouTube]] -- everyone went through all the hardships to make the film simply because they loved Hollywood action movies and ''really'' wanted to make one of their own.
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* In ''Film/TheBourneLegacy'', Creator/JeremyRenner actually entered glacier water with little protection.
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* While making ''Film/CityOfEmber'', a set nearly as big as a small town was constructed to stand in for Ember. It was so big, most of the cast needed a map to get around.
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* For ''Film/TheApartment'', Creator/BillyWilder created memo pads and stationery with Sheldrake's name on them, even though no one but Fred [=MacMurray=] ever saw them.
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* For ''Film/TheBabadook'', Jennifer Kent was keen on a Victorian terrace-style house being constructed for the film to help make it feel universal. As those are uncommon in Adelaide, where they were filming, one was built specifically for the production. What's more is that she wanted InCameraEffects to create the Babadook, and none of the film's colour scheme was altered in post-production.
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* ''Film/TheLighthouse'':
** To give the movie its old-fashioned look, Robert Eggers shot it not only in black-and-white film but also in 1.19:1 aspect ratio, which old movies such as ''Film/{{M}}'' were filmed in back in the '20s and '30s. He also used vintage Bausch & Lomb Baltar lenses from the '30s[[note]]Baltar lenses are incredibly rare these days, even moreso for those in working condition.[[/note]] and had custom short pass filters installed in the film cameras to emulate vintage [[https://en.wikipedia.org/wiki/Orthochromasia#Orthochromatic_photography orthochromatic photography]]. This limited the amount of light that the film in the cameras received and required more elaborate lighting setups.
** The lighthouse as shown in the movie is an actual functional 70-foot lighthouse that was specifically constructed for the movie.
** To give the movie its old-fashioned look, Robert Eggers shot it not only in black-and-white film but also in 1.19:1 aspect ratio, which old movies such as ''Film/{{M}}'' were filmed in back in the '20s and '30s. He also used vintage Bausch & Lomb Baltar lenses from the '30s[[note]]Baltar lenses are incredibly rare these days, even moreso for those in working condition.[[/note]] and had custom short pass filters installed in the film cameras to emulate vintage [[https://en.wikipedia.org/wiki/Orthochromasia#Orthochromatic_photography orthochromatic photography]]. This limited the amount of light that the film in the cameras received and required more elaborate lighting setups.
** The lighthouse as shown in the movie is an actual functional 70-foot lighthouse that was specifically constructed for the movie.
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* For ''Film/TheShallows'', the special effects crew went to great effort to create an accurate female shark. WordOfGod said the shark had to be female, because they are naturally more protective and "carry great scars from mating". They even joked they knew how much the shark weighed, and every story behind the scars on her body.
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* ''Film/SkyCaptainAndTheWorldOfTomorrow'' was the culmination of a life's work, and was filmed ''twice''--the first time, so that the actors could see how it would look like with the CG in place before they filmed the "real" version.
** Creator/JudeLaw had said that it was his dream as an actor to work alongside Sir Creator/LaurenceOlivier. A pity he had been dead for 15 years. Instead, the director dug up ''decades-old'' test footage of Olivier, and spent God only knows how long piecing together sound clips in order to give Olivier a posthumous "cameo" as BigBad Dr. Totenkopf.
** Creator/JudeLaw had said that it was his dream as an actor to work alongside Sir Creator/LaurenceOlivier. A pity he had been dead for 15 years. Instead, the director dug up ''decades-old'' test footage of Olivier, and spent God only knows how long piecing together sound clips in order to give Olivier a posthumous "cameo" as BigBad Dr. Totenkopf.
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** Creator/JudeLaw had said that it was his dream as an actor to work alongside Sir Creator/LaurenceOlivier. A pity he had been dead for 15 years. Instead, the director dug up ''decades-old'' test footage of Olivier, and spent God only knows how long piecing together sound clips in order to give Olivier a posthumous "cameo" as BigBad Dr. Totenkopf.
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* The creator of the film ''Film/SkyCaptaionAndTheWorldOfTomorrow'' spent years developing software to achieve a film with ''this specific look,'' and then pitched a film around it.
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* The creator of ''Film/SkyCaptainAndTheWorldOfTomorrow'' was the film ''Film/SkyCaptaionAndTheWorldOfTomorrow'' culmination of a life's work, and was filmed ''twice''--the first time, so that the actors could see how it would look like with the CG in place before they filmed the "real" version.
** Creator/JudeLaw had said that it was his dream as an actor to work alongside Sir Creator/LaurenceOlivier. A pity he had been dead for 15 years. Instead, the director dug up ''decades-old'' test footage of Olivier, and spentyears developing software God only knows how long piecing together sound clips in order to achieve give Olivier a film with ''this specific look,'' and then pitched a film around it.
posthumous "cameo" as BigBad Dr. Totenkopf.
** Creator/JudeLaw had said that it was his dream as an actor to work alongside Sir Creator/LaurenceOlivier. A pity he had been dead for 15 years. Instead, the director dug up ''decades-old'' test footage of Olivier, and spent
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* ''Film/TransformersFilmSeries'':
** The movies exist [[MerchandiseDriven to sell toys]], [[ProductPlacement GM vehicles, and many other products]], but Creator/MichaelBay didn't want to do it at first. Yes, Mr. Flash Cuts & Explosions had to be talked into doing this. Bay explained that the only thing that made him even bother to consider the job is that you don't just ignore an offer from Creator/StevenSpielberg. Once he went through "Transformers School" at Hasbro, he had a wave of inspiration that was about showing something no one has ever attempted to do before. Once convinced, he made sure the CGI was some of the most detailed ever made. Industrial Light & Magic actually said they hadn't done work this groundbreaking since ''Franchise/JurassicPark''.
** Devastator is likely ILM's greatest accomplishment to date. The scenes with him had such a massive level of detail that rendering him took the ILM equipment to its limits. "Took the ILM equipment to its limits" as in smoking and melting one of the motherboards. Also prior series just made a blur of motion between the transformations, sort of "cheating" the process. Here no two transformations are identical (same basic components go to the right place but how it does that changes) and each one is appropriate to the scene, sometimes done in slow motion for dramatic effect.
** Bay insists on doing as many shots for real as possible, instead of doing everything in CGI. He rarely uses a blue screen. That really was the Hoover Dam, that was a real bus splitting in half, those are the real pyramids, that was a real sand explosion, there is a real life-size Bumblebee prop, the entire city of Chicago represents itself, etc.
** Bay had to be coaxed into making the third one in 3D, because he said it was "gimmicky". ''Seriously''. And when the decision was made, Bay refused to work with anyone but the best. The best being the crew behind the 3D in ''Film/{{Avatar}}''.
** The movies exist [[MerchandiseDriven to sell toys]], [[ProductPlacement GM vehicles, and many other products]], but Creator/MichaelBay didn't want to do it at first. Yes, Mr. Flash Cuts & Explosions had to be talked into doing this. Bay explained that the only thing that made him even bother to consider the job is that you don't just ignore an offer from Creator/StevenSpielberg. Once he went through "Transformers School" at Hasbro, he had a wave of inspiration that was about showing something no one has ever attempted to do before. Once convinced, he made sure the CGI was some of the most detailed ever made. Industrial Light & Magic actually said they hadn't done work this groundbreaking since ''Franchise/JurassicPark''.
** Devastator is likely ILM's greatest accomplishment to date. The scenes with him had such a massive level of detail that rendering him took the ILM equipment to its limits. "Took the ILM equipment to its limits" as in smoking and melting one of the motherboards. Also prior series just made a blur of motion between the transformations, sort of "cheating" the process. Here no two transformations are identical (same basic components go to the right place but how it does that changes) and each one is appropriate to the scene, sometimes done in slow motion for dramatic effect.
** Bay insists on doing as many shots for real as possible, instead of doing everything in CGI. He rarely uses a blue screen. That really was the Hoover Dam, that was a real bus splitting in half, those are the real pyramids, that was a real sand explosion, there is a real life-size Bumblebee prop, the entire city of Chicago represents itself, etc.
** Bay had to be coaxed into making the third one in 3D, because he said it was "gimmicky". ''Seriously''. And when the decision was made, Bay refused to work with anyone but the best. The best being the crew behind the 3D in ''Film/{{Avatar}}''.
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* ''Film/{{Tenet}}'':
** The inverted fight scenes were achieved with minimal special effects. Creator/JohnDavidWashington trained extensively alongside the stunt team to prepare and figure out how to fight in ''reverse'' so that the inverted party in each sequence would be seen pulling back their hits.
** Nolan insisted on shooting on film with IMAX cameras. In shots with inverted causality, turning the footage backwards would have been trivial if it had been shot on digital, but shooting on film forwards and then reprinting the footage to run backwards would have lowered the image quality, so Nolan re-engineered the IMAX cameras so that they could feed film backwards.
** The inverted fight scenes were achieved with minimal special effects. Creator/JohnDavidWashington trained extensively alongside the stunt team to prepare and figure out how to fight in ''reverse'' so that the inverted party in each sequence would be seen pulling back their hits.
** Nolan insisted on shooting on film with IMAX cameras. In shots with inverted causality, turning the footage backwards would have been trivial if it had been shot on digital, but shooting on film forwards and then reprinting the footage to run backwards would have lowered the image quality, so Nolan re-engineered the IMAX cameras so that they could feed film backwards.
