When you hear Duna, there are a few things that come to mind. Frem, spice, sand, And, of course, really big worms. The overwhelming, the wide -wide planets are synonymous with the world of Frank Herbert. And yet, the desert giants are a small element in "Duna: First". It's not up to "Duna: Part Two" that they really appear in style. From Equatorial Migration to Falling the Party of King Padishah in the last battle of Arakis, Sandworths make the second film "Duna" absolutely epic. And, especially there is one scene that defines not only the film, but the whole experience "Dina": the first time Paul Atries to discuss and drive a worm on its own.

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That sequence is relatively simple in books, as there is only so much dramatic visualization that you can do with the written word. In fact, the source material was rare enough that required the points to be connected and filled in some gaps to bring life to the screen. How does frem actually enter the worms? How do they get off? Director Denis Vilnev dug in some detail in an interview with ColiderHe explained the complexity of bringing the scene to life properly. Here's what he had to say:

"It was a journey. It is still one of my favorite scenes. It was one of my most important. If he said to me," Which scene would you do if there was no movie? “I would make that scene.

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Here's a question. How do you drive a worm? Even if you have read the books "Dune", there is a natural limit to what you can visualize from the descriptions and some missing information about basic things, as the characters get the worm in the first place. Vilnev was well acquainted with this because he planned the epic inaugural driving with sex worms and explained:

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"On the site as you read, it's" Paul drives the worm ", and you're like," good ". The book does not have a description of how gender can climb the worm, so I had to understand, invent it, create a technique that Freeman used on a worm. We will achieve that. "

Despite the strange, scientific desert landscape, the story of "Dina" is very rooted in a real representation of large houses sprayed in the distant achievements of the universe. This geopolitical reality has made an accurate display of something as exotic as desert worms that drive important to Vilnev.

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"I wanted to look like real, as dangerous as possible. I wanted to feel speed and wanted to feel the danger, and the technical approach I wanted to take was very complex and took a lot of time. So, it was quite a challenge to bring it to the screen."

The results speak for themselves. The scene is one of the best in the whole movie (which speaks a lot). The disbelief suspension is very real during the sequence, and the experience is the one sitting with the audience long after the film is over. There is an adventurous worm driver deep in all of us, and seeing such a visceral display on the screen brings that exciting imagination mercury. Here's to "Dunone: Three Part" to come here as soon as possible.