On the second day of the NIFFF Extended program, the focus pivoted from VFX—showcased with "The Last of Us" and "3 Body Problem"—to practical SFX miniature making with Simon Weisse and it was fascinating!
So, first, who is Simon Weisse? He's a master of miniature making, best known for his work with Wes Anderson, including "The Grand Budapest Hotel", the Roald Dahl shorts and "Asteroid City". Through time, Weisse has carved a unique niche in the industry. He began his career in the late 80s, working for movies like Event Horizon and V for Vendetta, to mention a few. But with the advent of CGI. Things changed.
“Twenty years ago, I thought my career was over, that’s why I started making props. But since 'The Grand Budapest Hotel', I’ve never had more work!”, he told.
This resurgence doesn't mean he's abandoned prop work. In his studio, for "Asteroid City", the team handled both miniatures and functional props.
They created meteorites in various sizes, as well as jetpacks and guns. Among the miniatures was the UFO ingeniously assembled from everyday kitchen utensils, and the train—a particularly memorable challenge since the model arrived in pieces from the States. "I was hoping it would be like assembling something from Ikea. With a manual! It was far from it, and we had to creatively find a way to piece it together!" he recalls with a laugh.
Now, let's clarify something about miniatures for cinema: these aren’t your average models you can build in your living room. Cinematic “miniatures” can be larger than a car! For instance, he was asked to create a 50-meter-long road for “The Wonderful Story of Henry Sugar”. It was so massive that he couldn’t find a place large enough to film it and had to use a greenhouse in Berlin. By the way, for those interested in seeing these works up close, the Museum of Cinema & Miniature in Lyon, France, houses many of his creations, including a forced perspective set from the short film "The Swan", directed by Anderson and Event Horizon's ship.
Unfortunately, miniature making remains a labor-intensive and resource-heavy process, often requiring strong support from directors and producers. "For this kind of project to be feasible, it needs the full backing of the director and sometimes even the producer. Without their support, it simply won't happen," explains Weisse. This is where filmmakers like Wes Anderson make a significant difference. For "The Grand Budapest Hotel", the director's enthusiasm for mini-effects led Weisse and his team to spend about two months in preparation and another three to four months building the maquettes—all for just a few days of shooting.
When asked about the skill set needed to be a miniature maker for movies, Weisse emphasized the meticulous nature of the work, which demands patience, passion, and a diverse skill set. His team in Berlin includes architects, carpenters, painters, and more, showcasing the range of talents required.
“You must not be afraid of getting your hands dirty”, Weisse advises, adding, “the 3D guy is also able to cut wood, you know?”
Finally, Weisse also addressed the ongoing debate between practical and digital effects, dismissing it as nonsensical. Often faced with "purists" who insist on one method over the other, Weisse, an enthusiast for new technologies, advocates for a synthesis of traditional and modern techniques.
“Combining these old techniques with new ones is truly an asset,” he stated.
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