"Guillermo was all over almost every aspect of this film," says Jaeger with a laugh. "Some directors tell you, 'Let's just get it done.' And he'd come to a meeting and say (of a scene), 'Can we make this room feel like it's a hothouse filled with steam?' "
Del Toro readily admits he was like a kid in a toyshop. Although he put the project up for bid, he not-so-secretly hoped ILM would get the job.
"I come from an optical effects background, and I've always had immense respect for what these guys have done," says del Toro, whose surreal sensibilities are on display in movies such as 2006's Pan's Labyrinth. "Often, people working with effects are scolded, 'You care more about the effects than the characters.' But in this case, the effects are the characters."
The Mexican director says working with ILM was "a true partnership, much like the one a director might have with an actor or cinematographer." He pushed the team hard to nail digital effects such as speed of motion, camera angles and hyper-real Jaeger and Kaiju surface details, "from ripped skin to scarred metal plates."