In some cases, the actors who were supporting Morgan’s reporter, or Cricket Brown’s darkly-channeling prophet, couldn’t even be on the same continent: Cary Elwes, William Sadler, and Diogo Morgado all play clerics caught up in benefiting from, or seeking to disprove, the apparent revelations. “Raoul and the Temperimental team were all crunching numbers, and coming up with storyboards,” Grasmere said, when the production “came back with information that some actors weren’t going to be able to travel.” We went in thinking we were doing traditional effects,” and suddenly, they were doing something wholly unprecedented.
Bolognini adds “that was the challenge right there. Getting shut down ten days before they’d planned to wrap, they had to “learn what the rules of engagement were going to be,” if the production was going to be salvaged, Grasmere recounts. We didn’t get to a lot of crowd stuff,” including scenes toward the end where they “needed crowds to run together, to panic together.” VFX shot from “The Unholy.” Courtesy Temprimental/Screen Gems “Some scenes were half done,” Grasmere says, “some not at all. There was going to be a mix of location work, in the Lovecraftian countryside of the Bay State, along with scenes that were going to be done on set, but that incoming storm changed all that. They’d already planned for what was assumed to be a “traditional” amount of FX work for a genre production, especially one with an increasing number of otherworldly visits as the story progresses. The film was the first directorial effort from writer Evan Spiliotopoulos, who also adapted the script from James Herbert’s book Shrine. Jeffrey Dean Morgan’s washed-up news photographer initially refuses to believe, then realizes there is indeed something beyond normal human understanding afoot a thing that may extract a harrowing price for its seeming beneficence.
UNHOLY MOVIE TIMES SERIES
Unholy’s story concerns various layers of reality and history being finally revealed, or unleashed, when a seeming visit from the Virgin Mary sparks a series of miracles in a small Massachusetts town a mute, hearing-impaired girl suddenly talks (and becomes the spectral visitor’s main spokesperson), those confined to wheelchairs can walk, and more.
The roiling storm metaphor was a suitably visual one, belonging to Robert Grasmere, who serves as creative supervisor for Culver City-based visual effects house Temperimental, where he works with Raoul Yorke Bolognini, company founder and executive producer, who was also the VFX producer for the film. In this case, it also applies to the almost all-virtual workaround to finish the recent Screen Gems horror release The Unholy, a project started in those more innocent times when people stood closer than six feet together, including on film sets, went around unmasked, and sometimes even breathed on each other. “In the early innings, as the pandemic was ramping up, it was like looking out at the ocean and you see a storm coming, and you’re not sure you can get to shore before the storm gets there.” That’s an observation that might describe most of the past year certainly, it’s politics, work and school life, and of course healthcare delivery.
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