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He has an unbelievable ability to present characters and not allow the narrative to get muddled in anyway. And I think in 10 years time we’ll be like, “We got to work with him first.” WP: Definitely. He just has both sides of the coin, which again is so rare. He was in control and he gained our respect straight away.
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Is he going to know how to talk to us as actors?” And we ticked every box and we waited and waited for the day to come where he’d crack and he just never did. Is he going to be able to handle it? Is he going to lose his cool? He comes from a background of special effects. We were all kinda like, “He’s a young guy. I’ve been so fortunate to work with really incredible first-time directors that just do things differently and aren’t afraid to rock the boat a bit with producers. SF: What was it like working with Wes, who is making his directorial debut with The Maze Runner ? KS: I get a buzz working with first-time directors. It felt kinda rare, which was kinda sad, but it was special. I met some great characters that were there, and I love that kind of side of it. It felt like they were a part of it as well. So I think it was special to get to see that and get to see all the locals building it all in a day.
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That’s what we dreamt what movie sets would look like, and maybe in 20 years time it won’t be like that. It’s so exciting it’s like being a kid again. There was a huge amount of crew there for months and months before we got there.I think that’s probably going to become rarer and rarer to see things that humans have built for the movies. KS: I think it’s really special to see that level of craftsmanship. So yeah, CGI was just added to parts that were already there. We had to know that the visual effects, though there were many, weren’t going to shroud the acting experience or in anyway contend with our performances. And that was really great for us, really comforting as actors. He didn’t want us to be acting against blue screen for the entire time. That was something Wes was really keen to create for us. It meant we always had something to react off for a more naturalistic performance I think.
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We see it’s big and they functioned, opening and closing. The walls were extended in CGI and so too were the walls surrounding the Maze. A lot of what we see, pretty much all we see, in The Glade is there actually. SF: Can you talk about the sets of the film, especially the Map Room? WP: Yeah, the map room is phenomenal and one of my favorite features of The Glade. I think it’s one of the most interesting places I’ve been in America. It meant our jobs were easier in a way because you can’t fake that. That was actually all part of the challenge in shooting. It was the end of May beginning of July so it was the kinda hot period. I think it was like 108 degrees close to 110 one day. Shakefire (SF): How was it filming in the South? Will Poulter (WP): It was great.