Resident Evil Damnation: The DNA of Damnation (2012) Movie Script

- Scene marker, take 4-S.
- Action.
It is a true sequel
to the previous Degeneration.
Fans wanted to see
what happens next.
So we have Leon as the hero
once again, after a few years.
We aimed for the highest-quality CGI.
I think this story is a big turning point.
This is the first time
in the Resident Evil universe...
...that creatures are used in war.
Creatures fight against
other creatures...
...and this is really great to watch.
It's cool, entertaining...
...and it also gets quite emotional.
Moving into position.
The story takes place after
...between Degeneration
and Resident Evil 6.
It is set in a small Eastern European
country going through a civil war.
This is a war
and things are different.
No one can do anything without backup
from the American government.
Not even you.
Well, then I guess
my only option is to...
...lose my American
citizenship for a while.
What's fun to watch is how...
...the hero overcomes tough situations.
The director really wanted to make
sure Leon went through rough times.
When the producer asked me
what I wanted to do...
...I said I wanted Leon to go...
...on a "tour of hell."
Don't say a word.
Leon is all on his own, alone.
In a situation similar to those
in the games.
Leon ends up in a country
he's never been to.
Initially, he gets to talk to Hunnigan...
...but then is cut off from all ties.
He goes around
and gets dragged into trouble.
All we could refer to as an example
at the time regarding Leon...
...was Resident Evil 4.
I aimed for a RE4-ish Leon
and increased the level of...
...human touch from Degeneration.
He's cool but also has
this sort of cuteness.
He shows his real self...
...when he gets in touch with a woman.
Good day, Madam President.
I have been sent here by the BSAA.
My name is Ada Wong.
The games these days
feature Leon and Ada.
In Degeneration, we had Claire,
just like in Resident Evil 2.
Fans asked for Ada, so we made it
our mission to include Ada.
Looking for someone?
She is very mysterious. She was
even when we were making the film.
A mysterious woman.
Also strong and smart.
It's been a long time, Leon.
Leon and Ada did not appear
in Resident Evil 5.
But they obviously lived their lives
during that time.
They might have had
some sort of contact.
Maybe, maybe not.
By the way...
...when are we going to carry on...
...from where we left off that night?
Any time but now.
You're angry with me, aren't you?
They might have had
this conversation.
One night, maybe a romantic one.
Maybe they had some free time
to spend together.
I imagined all this
while writing the lines.
- I have to go and get it.
- Go and get it?
We need somebody
to take over for Ataman.
I wanted to make this a buddy film.
And the name of the character
pretty much remains "Buddy."
Paired him up with Leon...
...I wanted him to be a mirror to Leon.
As far as I am concerned...
...there is no difference between
this and using B.O.W.s.
If you want to keep this
from happening again...
...put down your gun.
Leon wants to stop
the proliferation of B.O.W.s.
That's what motivates him.
And Buddy confronts
this principle strongly.
The two are enemies
pretty much all the way.
But they start to understand
each other towards the end.
Wanna go grab a few beers?
Are you buying?
You'll have to go without me.
I don't think a friendship
really develops.
Placed in the same circumstances...
...they just start to understand
each other a bit.
So this is what you're here for.
Are you satisfied?
When we created this country
called the Eastern Slav Republic...
...we wanted someone on
the opposite side of Buddy...
...showing us how...
...complicated things are.
That is Svetlana.
What will you gain by killing me?
Have you thought this through?
Who will lead the country
once you gain independence?
She is not necessary the ultimate evil.
She has her visions...
...but her methods are wrong.
I thought you guys hated America.
Sure, we hate it.
But things made in America?
Now that's different.
While being a former Soviet state...
...Eastern Slav must have been
influenced by the West...
...particularly the American culture.
We knew the story was
going to end up being dark... we wanted to include
a funny character.
He is my favourite in this film.
We are pursuing the highest quality...
...using the most
cutting-edge technology.
Since the game is visually realistic...
...we are going for realistic
characters and backgrounds.
It is more realistic than Degeneration.
We try to make the emotion show
even more, along with a lot of action.
I don't say to myself:
"I must do this
because it is a CGI film."
I work on it as if it's a live-action film.
Living in Japan, we know
very little about Eastern Europe.
So we visited Eastern Europe to study
the architecture, the atmosphere.
I think we were able to reflect
in the film what we saw.
We have people in Eastern Europe
working on the film...
...and they have been really helpful.
Even a telephone pole over there
is different from that in Japan.
Such details have ended up
being very realistic.
While creating the imageboards...
...we discussed with
the Eastern Europe staff... make the details realistic
to improve the quality.
We created
a low-polygon-count town...
...before doing it in
a high polygon count.
Here the ground is flat.
Then we determine
how we want to show this...
...then create the imageboard...
...and finally work on it
with a high polygon count.
This is the honeycomb dome... CGI.
We place the camera inside...
...and the characters act inside this.
I think the personalities
of the CGI characters...
...stand out more than
in Degeneration.
Since the film is set
in Eastern Europe...
...we took 3D scans of people
from that area... use their bone
and muscle structure as references.
This is the image we got
from the director.
And this is the CGI that we created.
There are 100 cameras in
our huge motion-capture studio.
We can film a maximum
of 20 actors at once.
There are very few limitations.
Gathering 100 cameras' worth of data
to one PC could make the PC crash.
So we use two
and link them by time code.
This one is for 46 cameras
and this is for 54.
This is from the bottom,
this is from the top.
For Degeneration we used
4-million-pixel cameras.
This time, 16 million. That's four times.
And with the markers half the size...
...the accuracy is up to eight times
as much as last time.
Again, we got help from
our military advisor Mr. Mori.
We had him teach the actors
how to move professionally.
Push the gun against
your right shoulder...
...and press against the gun
with your right breast.
Like this.
Contact. Front.
Fifty feet. Assault!
Really better.
I think it will show up.
So you missed me?
Yeah. In your dreams.
You seeing what I'm seeing?
It's like a beehive.
So you missed me?
Yeah. In your dreams.
You seeing what I'm seeing?
It's like a beehive.
I have some more questions for you.
It's been a long time, Leon.
What are you doing here?
I was about to ask you the same thing.
Did you release the Plaga?
Don't make me laugh.
What are you doing here?
I was about to ask you the same thing.
Did you release the Plaga?
Don't make me laugh.
We also have a facial mocap studio.
So once an actor is done
with regular mocap...
...we have the actor go
do the facial mocap.
Don't shoot. Don't shoot.
My name is Ada Wong.
Great. Now I got
a cowardly lion to deal with.
- We got it down.
- Okay.
After doing the mocap,
we fix the camera work.
We determine the layout...
...what lines are to be said in a cut...
...and finalise the length of a cut.
When all this is fixed, we know
how each background will be seen.
We create the background accordingly,
tweak the lighting...
...and work on the facial expressions.
We did facial mocap
for Degeneration...
...but the data was not as fine
as desired.
We wanted to incorporate more...
...of the actors' facial expressions... loyally and realistically
as possible.
But we prefer to call ourselves... fighters.
Each actor has different ways
of showing expressions and nuances.
We construct rigs suiting
each actor individually.
The director wanted to exaggerate
some of the facial expressions.
We took that into consideration.
And we worked carefully with where
exactly the characters are looking.
That element is added here.
You people in the CIA
call us terrorists.
But we prefer to call ourselves... fighters.
With everything going for realism...
...we simulated
the movement of fabrics.
If not simulated properly...
...the fabric will not show wrinkles
when bent.
This deprives the film of realism.
We simulate all fabric motions
so that... really looks like the clothes
have been moved.
This is a joint.
Bone can be moved
with joints present.
The more natural the motion looks,
the better.
We hope people...
...find all of this natural.
We use the mocap data with...
...a software called MotionBuilder.
We add camera work...
...create each scene...
...and have the director
check the scene.
We use a lens just like
with a live-action film...
...and move it so that we can
make the film look photorealistic.
There is much more expression of
liquids, particularly blood, in this film.
Blood effects are the most difficult.
There are just so many effects:
Explosions, gunshots, etc.
We hope you enjoy watching them.
If a film is two hours long,
you don't want it to be tiring.
And you want to show 3D effectively.
First we focus on screen depth.
Then with characters in the forefront,
visual depth is enhanced.
But we must keep in mind that we want
things to jump out of the screen...
...towards the audience occasionally,
so that it does not get boring.
Easy to watch but dramatic
at the same time is what we go for.
We create a depth information
The blue is cuts focusing on depth.
Yellow is for average 3D cuts.
Red is when the focus
is toward the front...
...closer to the audience.
Here, the Licker comes forward.
We check here for the parallax...
...of the deepest part
of the background.
Then where the Licker points its claws.
We want this to stick out
from the screen.
We look at this percentage
for the parallax of the claws.
The construction is all based on
the fact that the film will be in 3D.
That is why the action sequences
work so well in 3D.
I don't want to change into... of those monsters!
Is how it goes.
Kamiya-san is really into military stuff.
He has a very loud voice.
Energetic all of the time.
- Okay.
- Yeah, yeah, you surprised.
Being a fan of weapons...
...he asked us to make
the sling move realistically.
- Oh, is that right?
- That's all.
He really keeps an eye
on the most delicate details.
Like the slightest
of character expressions.
I want an expression
with pain and chagrin mixed...
...with no voice coming out.
- All right, again.
- She's working on him.
I don't understand English at all... all I can really observe... whether or not the right emotion
is shown in the acting.
Since I don't check whether
the lines are said correctly...
...I focus on the expression
of emotions.
So it ends up being
directing in the purest form.
It should be a peaceful
and relaxing moment...
...but carrying this tension
of kill or be killed.
Imagine that the table comes flying
in this direction.
So we want you to keep the table
to that way.
So that-- Like that. Okay.
I try to act out each scene.
Showing them how I want it done... best since
I cannot speak English.
I learned this from my experience
on the previous film.
You are in the wall. So--
You understand? You understand.
- We have a wall here.
- Got it.
Got it.
Yes, like that.
All right.
He just has a sense of fun about him.
Whenever he starts to give direction,
he has a smile.
He gets really into it.
It's sort of a childlike quality.
So he's very kind to the actors,
and he's just fun to work with that way.
He's very focused
and knows what he wants.
It's amazing to watch him
explain scenes...
...because you can tell
he's got a very clear idea in his head...
...of what he wants and that makes it
more easy for us...
...when somebody is able to tell us
what they need and want.
- That looked pretty good. Was it okay?
- It even works out.
Very good. Great.
- Great.
- I think it went great.
Is that wrapping, then?
I started working on visual-effects
films such as monster films.
I think I am good at showing
monster-like motions.
This was the first time...
...I got to wear a mocap suit.
The Ganados are of human form... doing mocap for them
is no problem.
With Lickers that crawl on four feet...
...we do mocap.
However, since they show
nonhuman motions...
...our animation staff have to
work on the animation manually.
The Tyrants in our film are larger...
...than those in the games
and live-action films.
They morph into Super Tyrants...
...B.O.W.s that seem complete
as weapons.
Showing creatures fight
against each other... something new for Resident Evil.
We've never done it in our games...
...where it's mainly
the hero vs. creatures.
It's a new world in which you get
to see characters from the games...
...together with original characters
that appear only in this film.
Creature vs. creature
and Leon's vulnerability...
...are not seen in the games.
It's a must-see to engross yourself...
...even more
in the Resident Evil world.
The most enjoyable point
is that these...
...Resident Evil CGI films
are spin-offs of the game universe.
Being able to focus on enjoying...
...the story is the beauty of it.
Those whose first Resident Evil
experience is this film...
...can then play the video games
or watch Degeneration.
Damnation is only one part
of the vast universe.
I would be very happy if this film
serves as a first step...
...for your enjoying more
of Resident Evil.
I believe this film is entertaining
for anyone.
It's got horror elements.
It's got a lot of action.
It's got this emotional bond
of two guys.
There's just so much
in this film to enjoy.