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Immersed in Movies: 'The Hunger Games' Futuristic Control Room

Photo of Bill Desowitz By Bill Desowitz | Thompson on Hollywood March 30, 2012 at 5:59PM

Without a doubt, the most fascinating design aspect of "The Hunger Games" is the futuristic control room, where the gamemakers not only keep tabs on all the Tributes but also stack the deck against Katniss whenever possible.

"We came up a bunch of concept designs and I passed those on to Hybride because what I wanted to do prior to actually shooting the control room was to create animation that had some information about the performances of the actors," Duggal says. "So Hybride created these animations that allowed us to inform the actors even though we didn't know what the content was going to be at that time. And when we got into post, Gary had some very specific ideas about what the graphic content on those desktops should look like, so they worked with us in creating those holograms and their functionality. We went through the whole movie with them and what's happening in the story and during the games."

Hybride used a combination of 3D and 2D and turned the main hologram into a 3D model that represents the arena; then using the mesh from that in Flame they created some 2.5D effects. The concept is that the graphics are made up of data that's organic and alive, which then comes alive in the arena in the form of the fire or the mutts.

Judging by the phenomenal success of "The Hunger Games," it's a good bet that Duggal will be back to work on the two sequels adapted from Suzanne Collins' popular Scholastic book trilogy: "Catching Fire" and "Mockingjay."

This article is related to: Box Office, Box Office, Franchises, Features, Interviews

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Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.