"We had to shoot this in different layers on top of the blood that's getting thrown around," Shifflett explains. "There are some live-action monsters to composite in there and some CG monsters that are thrown in as well that have to interact with them. But trying to organize all of that and work with the video assist group to help us combine the elements and to make sure the timing worked was a logistical nightmare. At first it didn't seem a problem because computers do big boxes pretty well. It turns out that when you cram that many objects into a box it isn't so easy. And you have to build a brain for this elevator using Massive to operate it so each cube has its own thought process and moves in different directions. To give it life was more complicated. How do we pack the monsters in? How many are CG and how many are plates that we shoot against a green screen and make sure that we highlight the right creature as we pull through this crazy system?"

To give it life was complicated.

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Bill Desowitz is former senior editor of AWN and VFXWorld. He's the owner of the Immersed in Movies blog (www.billdesowitz.com), a regular contributor to Thompson on Hollywood at Indiewire and author of the upcoming James Bond Unmasked (Spies), which chronicles the 50-year evolution of 007 on screen and features interviews with all six actors.