that". Dafoe also had to do dialogue in Thark, developed for the film by Paul Frommer, who had developed the Na'vi language for Avatar. He had worked before with Stanton on Finding Nemo, where he had come to like him. Dafoe found it pleasantly surprising that, given Stanton's background in animation, he refused to rely on the effects. "He really felt like he had to have the movie, so when we started these scenes, there was no 'oh, the CGI will do that' or 'they'll do that in post," he said, which kept the film character-driven. Filming Principal photography began at Longcross Studios, London, in January 2010 and ended in Kanab, Utah, in July. Other locations in Utah included Lake Powell and Grand, Wayne, and Kane counties. Cinematographer Dan Mindel believed that the entire movie should have been shot in the Four Corners region of the southwestern U.S., the only place on Earth he felt could convincingly pass for Mars. "A lot of the studio work that we had done was so compromised because of the choice of studio, the size of the stages, the fact that it was all inside when it should have been outside, all that kind of stuff." Mindel had taken the job in order to learn how to make a movie with many effects shots. He worked with more restraint than he had been used to. Normally he kept the camera rolling even after the director said "Cut!", a lesson he learned from Jackie Chan while making Shanghai Noon. However, for John Carter, Stanton had planned the shots in such great detail before filming began as to leave little room for improvisation. Stanton went for a different look for the movie's costuming than that which had been planned by Robert Rodriguez when he was attached to the project several years earlier. Rodriguez had planned to turn the design of costumes and sets over to illustrator Frank Frazetta, whose art for the books is considered iconic, but was unable to take the film due to his resignation from the Directors Guild of America. Stanton felt that Frazetta's look was "very sexist and it's very male, fanboy dominated". While conceding the sex appeal at the heart of the characters, he believed they still had to seem realistic. "I want anything, whether it’s a fish or a robot or a toy or a human being, I want them