To create cinematic illusions, you need conjurors. In this series of spotlight interviews, we ask movie magicians what makes them tick.
Sara Bennett is co-founder of Milk, where she also works as a visual effects supervisor. Ask her to name some personal favorites from her filmography and she’ll tell you: Ex Machina, Adrift, Harry Potter, and Snow White and the Huntsman.
CINEFEX: How did you get started in the business, Sara?
SARA BENNETT: I originally trained as a makeup artist as I was very keen to get into horror makeup. I moved to London to pursue this career and went to work for a special effects company; that’s where I first heard about visual effects. I was intrigued, so I applied for jobs as a runner and that’s how I got started. My first proper work on a film was doing roto work on Babe: Pig In The City.
CINEFEX: What aspect of your job makes you grin from ear to ear?
SARA BENNETT: Without doubt the people I work with. This job can sometimes be stressful, with antisocial hours, so working with good company and funny people helps.
CINEFEX: And what makes you sob uncontrollably?
SARA BENNETT: Working on shots for months that suddenly get cut out of the show.
CINEFEX: What’s the most challenging task you’ve ever faced?
SARA BENNETT: I think our most recent work on Adrift. We had to create a CG ocean and storm with one huge continuous shot that starts off out on the stormy sea, then continues into a capsizing boat cabin, before exiting back out underwater! It was some of the most technically challenging work we had to do, and the time we had to get it done in made it hugely challenging. But we were very happy with the end result.
Watch a breakdown video showcasing Milk’s work on Adrift:
CINEFEX: And what’s the weirdest task?
SARA BENNETT: After winning a major award, I was asked to help sell a brand of leggings by wearing them while holding the award. I politely declined!
CINEFEX: What changes have you observed in your field over the years?
SARA BENNETT: Technology has moved on so quickly. The things we can do now compared to just a few years ago are really exciting. Photoreal digital humans were impossible not so long ago, and then we see the incredible work MPC did with Sean Young in Blade Runner: 2049 and the photoreal Hugh Jackman in Logan.
CINEFEX: And what changes would you like to see?
SARA BENNETT: There is a tendency to rely more and more on visual effects. But I think it is important to balance that with shooting in camera wherever possible – or shooting real elements – and using visual effects to help tell the story only when necessary.
CINEFEX: What advice would you give to someone starting out in the business?
SARA BENNETT: Go into a company with passion and enthusiasm to learn new things. Be open to anything, as you never know what doors will open for you. What you started out wanting to do may be completely different to what you end up doing.
CINEFEX: If you were to host a mini-festival of your three favorite effects movies, what would you put on the bill, and why?
SARA BENNETT: The Matrix – I remember going to see this for the first time, with no knowledge of what it was. I came out of the cinema grinning! The bullet time effect was something we had never seen before and it still gets talked about today.
Terminator 2: Judgment Day – When I go to the cinema, I want to be entertained and come out with a smile on my face. The T-2000 chrome man was a great effect, achieved before we started using motion capture.
An American Werewolf in London – Films like this that use prosthetic makeup are the reason I got into visual effects in the first place. The werewolf transformation was awesome and horrific. It was amazing for its time and brilliantly done.
CINEFEX: What’s your favorite movie theater snack?
SARA BENNETT: Salt and sweet mixed popcorn.
CINEFEX: Sara, thanks for your time!