Dune trilogy shot in Benalmádena that doesn’t appear due


This is a Dune fan trilogy filmed in Benalmádena that doesn’t exist due to copyright issues.

Since last Friday, Dune, the new film adaptation of Frank Herbert’s novel directed by Denis Villeneuve, has hit theaters and is a huge global success, hitting number one in Spanish theaters during its first weekend.

To copyright issues.As reported by El Español, some time ago (circa 1999), he started a fan film project to adapt the novel Dune, starting its shooting in Benalmádena in 2003.

This fan project is done on a non-profit basis, with many volunteers to capture Herbert’s work out of a pure love of art. And of course, from the pictures that have been preserved, it can be seen that they are very indulgent for fans of the Dune film, having various models, storyboards, and other production designs.

However, despite the hours spent on the project, the Dune fan film was left deaf to copyright issues. Although original authorship was determined every time, it was rejected.

What’s more, they even sent the trailer for the film to the Herbert Limited Partnership, an organization that owns and manages the Frank Herbert estate and is run by his son Brian Herbert. But they got a statement from the author’s heirs to pull back the trailer they uploaded on YouTube.

read more





Although the media contacted those responsible for Dune fan films, they chose not to make any statements, as the novel’s copyright owners expressly forbid them from using the Dune franchise.

What do you think about this Dune fan movie that couldn’t go forward due to copyright issues?

“For me, ‘Dune’ is a psychological thriller, adventure, war film, adult film. It’s even a love story,” commented Villeneuve, who was finally able to fulfill his lifelong dream of bringing important works to life with his complex mythology. “There’s a reason that book has stayed on my shelf, beside my bed, for years.”

Set thousands of years in the future, “Dune” tells the story of Paul Atreides, a young man driven by destiny into an intergalactic power struggle. The son of the beloved ruler, Duke Leto and the powerful priestess Lady Jessica, Paul will be given the ultimate test: to conquer his fears when fate — and powerful invisible forces — pull him irresistibly to the sands of the remote planet Arrakis.

Arrakis—home to the original human civilization called the Fremen and known to these natives as the Dune—has been fiercely contested for generations. Humanity struggles for control of the Spices, a rare, high-value natural resource, expanding the minds on which space travel, knowledge, trade, and human existence depend. But those who wish to harvest the Spices must survive the planet’s inhospitable heat, hurricane-force sandstorms, and the dreaded monolithic sandworm with the kind of homage usually reserved for gods.

their own remote planet.

To capture Villeneuve’s singular vision, his creative team—led by director of photography Greig Fraser and production designer Patrice Vermette—worked to capture as much of it on camera as possible. That meant leaving the green screen and creating the director’s ideal Dune on Earth, on the Origo Studios soundstage and backlot in Budapest, Hungary and on location in Jordan, with about a week in Abu Dhabi before completion.

The rest we will shoot in 2:35 format. In order to maintain the visual impact of IMAX on the audience, it is also beneficial to step away from it from time to time. We also decided that the desert scene would be filmed with a handheld camera, but the rest of the world would be more like a tableau, so that’s how we approached it.”

Denis wanted Arrakis to be harsh and isolated, unfriendly to outsiders. So, we try to never create langit goes blue. There’s a lot of desert photography where there’s yellow sand and blue skies, and we move away from that and head towards drifting white sand and sky.”

Fraser said they also had extensive initial conversations about whether to shoot digitally or on film. “The film is a beautiful format with a stunning undeniable quality, and analog and has a certain sense of humanity and warmth to it,” he recounts. “But, in this case, we felt shooting in Alexa gave us the warmth and humanity that the story needs, but without the nostalgia you get from movies.”

Among the sets built at Origo Studios is the interior on planet Caladan, where the film begins. This includes a large library where Lady Jessica and Reverend Mother Mohiam discuss Paul’s future and where the Atreides live. They’ve also built a steam bath in Geidi Prime, where Baron Harkonnen is when we first meet him. Several exterior scenes, including the landing of the ornithopter at Arrakis, were also filmed in the backlot there. A team of about 1,000 people became the expert crew.

Vermette designed the Caladan color palette to be hazy autumn greens, grays and blues, giving the impression of constant rain and humidity. Castle Caladan is built into a mountain that represents House Atreides’ complete synchronicity with nature. The mottled hue gives way to browns, ochers, and arid reds as the story turns to Arrakis. Giedi Prime, meanwhile, is home to the plastic material industry.