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‘Dune: Part Two’ Director Denis Villeneuve Breaks Down a Scene | Vanity Fair

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‘Dune: Part Two’ director Denis Villeneuve breaks down the glorious scene where Paul Atreides (Timothée Chalamet) uses the thumper for the first time to draw a sandworm out from beneath the surface as Chani (Zendaya), Stilgar (Javier Bardem) and the Fremen look on. Denis explains how he built the “most important” scene of the film over the course of 44 days, with the use of various sunlight levels and blending of visual effects to make it feel edgy and real.

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25 Comments

25 Comments

  1. @dahnnyroman4050

    March 18, 2024 at 3:33 pm

    Who else has been mispronouncing his name this whole time?

  2. @FlamingoFuzz

    March 18, 2024 at 3:33 pm

    bros literally a genius

  3. @babyhols777

    March 18, 2024 at 3:34 pm

    THANKU VF FOR ALL THIS DUNE 2 CONTENTTT

  4. @demondynastie96

    March 18, 2024 at 3:34 pm

    I just thought he’d been rearing a lot of sandtrout in his backgarden ????????

  5. @olafsigursons

    March 18, 2024 at 3:34 pm

    I’ve never watched a movie more than once in theater. I will go watch it for the third time on Friday. For some reason this movie resonnate deep in me.

  6. @babyhols777

    March 18, 2024 at 3:35 pm

    The sandworm scene is so different in the book. He just likes climbs on the worm. Him n stilgar are up there chatting. Then they hop off

  7. @KillerTacos54

    March 18, 2024 at 3:35 pm

    I’m so glad you chose this scene!

  8. @babyhols777

    March 18, 2024 at 3:36 pm

    I didnt even know what chanis friend was called she didnt do much

  9. @kikon78

    March 18, 2024 at 3:37 pm

    What an amazing moment to be alive! Thank You Denis you gave an Experience!

  10. @everettenjeze6276

    March 18, 2024 at 3:37 pm

    Denis is truly second to Nolan

  11. @babyhols777

    March 18, 2024 at 3:37 pm

    Dune 3 will be sooo different to the book

  12. @sharwinsahasrabudhe6830

    March 18, 2024 at 3:38 pm

    lol people were crying woke abut the movie being white man’s wet dream and d.v. just says i wanted to bring more feminity in the tribe. perfect way to gender swap character unlike marvel.

  13. @eren__morwen5947

    March 18, 2024 at 3:39 pm

    One of the greatest movies ever made

  14. @tiniestgremlin

    March 18, 2024 at 3:40 pm

    “he’s about to miss his uber technically” denis we love you lmao

  15. @Krazy6ix

    March 18, 2024 at 3:40 pm

    Mahdi

  16. @A-G-A-G

    March 18, 2024 at 3:40 pm

    Wish he had discussed the lady margot scene

  17. @grantcooper1140

    March 18, 2024 at 3:41 pm

    Can we please get a series of him breaking down EVERY scene? thanks

  18. @Ample17

    March 18, 2024 at 3:42 pm

    The complexity that is AAA movie making… It’s fascinating. Almost as fascinating as hearing his brilliant thoughts laid out. Amazing job sir, I salute You.

  19. @babyhols777

    March 18, 2024 at 3:46 pm

    I STILL duno how they did the worm scene it sounds sooo confusing

  20. @790Piper

    March 18, 2024 at 3:47 pm

    Honestly a true cinema epic- I was utterly blown away!❤

  21. @mudder5

    March 18, 2024 at 3:47 pm

    and he nailed it

  22. @kiwanozukai1180

    March 18, 2024 at 3:48 pm

    yakuubian ape

  23. @andrescespedes5121

    March 18, 2024 at 3:48 pm

    Lisan al Gaib…!!

  24. @KnarfStein

    March 18, 2024 at 3:50 pm

    As ex-Emperor Shaddam IV says, “I need more. MORE!”

  25. @hinchy2230

    March 18, 2024 at 3:51 pm

    “he’s about to miss his Uber..” ????????

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Inside the 2026 Met Exhibition: Costume Art | Vogue

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“Fashion is very much an art form not in spite of the body, but because of it,” says Andrew Bolton, OBE, curator in charge of the Costume Institute. And this year’s exhibition, “Costume Art,” seeks not just to address this tantalizingly complex issue, but to explore it in all its many facets. The central thesis is as simple as it is thrilling: pair existing artworks with corresponding garments or accessories and let your synapses fire. The very layout of the show—broken into sections that move from Biblical nudity to the au courant idea of body diversity to the ways in which we’ve long used clothes not merely to adorn but to subvert and distort the body—indicates just how richly drawn this subject is and why it’s mesmerized artists since time immemorial.

Sinéad Burke, CEO of Tilting the Lens, emphasizes how this exhibit highlights bodies that have traditionally been overlooked, and as someone with a physical disability, she is among those featured. Her body has been memorialized in the exhibition as a custom mannequin, alongside model and musician Aariana Rose Philip, transforming their presence into a lasting part of the narrative around representation, fashion, and identity.

Additionally, this exhibition will be the first in the costume department’s new home, the Conde M. Nast Galleries. Once relegated to a modest 4,500-square-foot space in the museum’s basement, the department will now take flight in a grand, 12,000-square-foot display room on the ground floor, just off the central Great Hall. It is, says Max Hollein, the museum’s director, a symbol of how important clothing has become to The Met’s mission in exploring the many facets of art in the modern age. “We collect paintings, sculptures, textiles, arms and armor, but especially all the fashion,” he says. “And we want to make sure that it’s understood that fashion is a fantastic form of art.”

Featuring testimonials from Misty Copeland, Alex Consani, Gwendoline Christie, Aimee Mullins, Sinéad Burke, Aariana Rose Philip and more.

Director: Nina Ljeti
Directors of Photography: Michael Lopez, Henry Gill
Editor: Evan Allan

Senior Producer: Bety Dereje
Producer: Rashida Josiah
Associate Producers: Anisa Kennar, Justine Ramirez, Lea Donenberg
Camera Operator: Chanthila Phaophanit 
Assistant Camera: Kahdeem Prosper Jefferson, Gordan Wong
Gaffers: Billy Voermann, Mary Kalecinska
Swing: Alex Frischman
Audio: Mariya Chulichkova, Joanna Hunt 
Set Designers: Ilana Portney, Dana Keren
Production Assistants: Quinton Johnson, Myles Haywood
Runners: Edie Chesters, Rachel Ademidun

Groomer for Andrew Bolton: Shin Arima
Makeup Artist for Sinéad Burke and Alex Consani: Ai Yokomizo
Hairstylist for Sinéad Burke and Alex Consani: Sonny Molina
Makeup Artist for Misty Copeland: Victor Henao
Hairstylist for Misty Copeland: Nai’vasha Grace
Makeup Artist for Aariana Philip: Meadow Soleil Cloud
Makeup Artist for Gwendoline Christie: Daniel Kolaric
Hairstylist for Gwendoline Christie: Joe Kelly
Hair & Makeup Artist for Aimee Mullins: Stèfan Jemeel

Production Coordinator: Tanía Jones
Production Manager: Kristen Helmick
Senior Production Manager: Venita Singh-Warner
Line Producer: Natasha Soto-Albors

Assistant Editors: Andy Morell, Fynn Lithgow
Senior Motion Graphics Designer: Samuel Fuller
Post Production Coordinator: Holly Frew
Supervising Editor: Kameron Key
Post Production Supervisor: Alexa Deutsch

Entertainment Director: Sergio Kletnoy
Global Talent Casting Directors: Ignacio Murillo, Morgan Senesi
Executive Producer: Rahel Gebreyes
Senior Director, Digital Video: Romy van den Broeke
Senior Director, Programming: Linda Gittleson
VP, Video Programming: Thespena Guatieri

Florist: London Blooming Haus
Photography By Paul Westlake
Images Courtesy of The Metropolitan Museum of Art

Special Thanks: The Metropolitan Museum of Art

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JENNIE and Dakota Johnson Embrace on the Red Carpet

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Blackpink’s JENNIE hugs Dakota Johnson on the Time 100 red carpet.

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Is Carey Mulligan a good work wife?

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‘Beef’ Season 2 stars, Oscar Isaac and Carey Mulligan, takes a lie detector test

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