65 while fox distribution chief chris aronson claimed

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[65] While Fox distribution chief Chris Aronson claimed that Fox supported Trank's version of the film, [66] Kebbell conversely stated, "I tell you, the honest truth is [Trank] did cut a great film that you'll never see. That is a shame. A much darker version, and you'll never see it." [67] Trank further disowned the film by removing it from his Instagram filmography. [68] After Stan Lee's death three years later, Trank lamented that he had "let him down", even though after the film's release, he had received a personal letter from Lee asking him if he was okay. [69] In 2020, Trank has admitted that much of the sequences he had planned had gone unfilmed, thus making a director's cut practically nonexistent. [32] Later that year, Kate Mara admitted that her experience working on the film was "horrible". While she did not go into great detail, she implied that much of her discomfort came from questionable directions stating, "I think that speaking up is something that I think that we all probably learn it [sic] over and over again... I don’t regret doing it at all, but do regret not having stood up for myself. I regret that for sure." [70] The film used the Los Angeles-based company OTOY for its visual effects. Moving Picture Company, Pixomondo, Rodeo FX and Weta Digital also created visual effects for the film. [71] [72] [73] Moving Pictures Company took on the visual effects for The Thing, rendering a fully digital character based on Jamie Bell's on-set performance and the Human Torch's fiery visual effects. Weta Digital handled Reed Richards' stretch effects. Pixomondo delivered Sue Storm's force-field and cloaking effects and augmented Doom's costume. James E. Price served as the over-all visual effects supervisor. [16] Kinberg stated that the film would be converted to 3D in post-production, [74] but those plans were canceled, with Trank stating that he wanted "the viewing experience of Fantastic Four to remain as pure as possible for the audience, which means in 2D". [75] A sequence showing The Thing performing a "dive-bomb" in the film was cut due to budget constraints. [76] The studio was caught off-guard by the first cut of the film for having a "morose tone". The ending had not been finalized and the studio hastily had to cobble together a new ending that was essentially composed of script pieces of the original draft, plus new ones that were being written on the day of reshoots. Much of Trank's suggestions were swiftly ignored. Stephen E. Rivkin was hired to edit the movie together with Trank referring to him as the "de facto director" for the new cut. Despite Trank's efforts by having two edits of the film, Rivkin's was ultimately chosen over his. [32] Post-production Music
In January 2015, Marco Beltrami was hired to compose the film's score. [77] Philip Glass was also hired to work on the score with Beltrami.

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