(shocktillyoudrop.com)
As we enter a new era of Frankenstein films, filmmakers are seeking out new ways of visually re-interpreting the classic Frankenstein monster. We know that the upcoming I, Frankenstein is going for a more practical approach, with star Aaron Eckhart donning prosthetics.
Shawn (Real Steel) Levy has something else in mind for Frankenstein, which he is developing at Fox and is written by Chronicle's Max Landis.
In an interview with Collider, Levy revealed:
"My whole approach with Frankenstein is based on a mo-cap SimulCam playback. I'll go to Europe, shoot the movie, do scenes with the real actors and I'll be able to see the motion-captured monster in real time due to SimulCam. It’s not a dude with scars on his face. It’s not just kind of latex and a costume; it will be a motion-capture performance of the monster, and I can give away maybe not too much by saying there’s more than one monster in our version."
Hmm, we like the sound of "more than one monster"!
Levy voiced his concerns about I, Frankenstein, stating that another Frank project is forcing him to raise the bar and "cast the hell out of" his film to make it worthwhile for the studio. He did confirm there are concerns over the film's budget (as previously reported), but he's ready to "rock" the script.
Levy's Frankenstein focuses on the relationship between Victor Frankenstein and Igor and is said to be a wild take on the Mary Shelley tale.
Andrew Stanton Outlining ‘John Carter’ Sequel
(slashfilm.com) The first major interview with John Carter director Andrew Stanton has landed and, fittingly, it’s with Harry Knowles from Ain’t It Cool News. Knowles himself produced the property with four different directors over seven years before Paramount lost the rights and Stanton scooped them up. So he’s got a pretty good grasp on the material. His interview with the filmmaker gets incredibly geeky and detailed about the movie itself but is also very forward looking to the second, and even third, books in the series by Edgar Rice Burroughs: The Gods of Mars and The Warlords of Mars. (Stanton also revealed he’s developing a new short at Pixar with Up director Pete Docter).
Stanton spoke in depth about his fears about tackling those stories, but also revealed that he’s begun the adaptation process and thought long and hard about what story elements, characters and major plot points will appear in the films. If they end up happening at all.
First up, Stanton spoke about how he had to remove some elements from the first book, A Princess of Mars, and save it for later films.
What we basically did is we mapped out a trilogy and we took all the cool elements and all of the cool characters, all the cool creatures, and sort of made a grocery list. We said, “We don’t have the time to put all of the things that are mentioned in the first book or in any of these books all in one movie and we don’t want to short change anything, so if we can make them much more grounded and integral to the story some of these things may be worth waiting for later while some of these other things may be worth putting in early,” so you get Matai early, but the air plants will be later.
Later Knowles asks what things Stanton can’t wait to include in the sequels:
I can’t wait to see the goddess ISSUS herself and the plant men. I can’t wait… We kind of held back on really going full bore with air ships, because I knew what we were going to do in film two and I didn’t want it to feel redundant from film one, so I had to find that balance of “How much is just enough” to enjoy what you were seeing, but want a little bit more, “because we are going to give you more in the second one” and then more of… What I geek out on is just the character relationships and I feel like Carter and Dejah’s marriage is just getting started at the end of this movie and I really get to delve into a married couple’s first year of being together on this adventure in the second one and also delve deeper into what’s really going on with the Therns. It just feels like a great second season of a TV show that’s about to come up for me and I get to really delve deeper into all of the characters and the relationships. So that’s really juicy stuff for me.
Stanton, an Oscar-winning Pixar alum, thinks about a lot of things based on colors and was asked about the color scheme of the next two films:
Well I think it’s going to get a lot darker before it gets a lot brighter. (Laughs) It really does have a chart that works like EMPIRE to RETURN, but it’s fitting and my whole goal was that by the end of this whole thing he would earn the title “Warlord of Mars” and that’s where we are headed with it. So the color will just… We go underground and then we go back topside by the time we are in the third one.
This first film took several years and Stanton was asked if he would want to direct the next film. Or possibly films:
Full article: http://www.slashfilm.com/andrew-stanton-outlining-john- carter-sequel-directing/#more- 121207
Effects Industry Petition: Create a U.S. VFX Trade Org
(change.org)
Greetings,
The visual effects industry is in need of dire change. In order to facilitate this change, we propose a petition of all VFX workers, to come forward with one clear agenda: to create a trade organization that will protect our rights.
We are, or know of, United States citizens being forced to work abroad for U.S. based companies that illegally profit off of foreign subsidies.
This must be stopped!
By signing this petition, you agree that we need a trade organization for our industry that will lobby the U.S. government for change. We need protection from the U.S. conglomerates that illegally profit off of foreign tax incentives and subsidies, while we are forced to move abroad to work in an industry we love.
You agree that we need to create an organization that will lobby political action to enforce the WTO laws. Specifically the laws against foreign subsidies. You also agree that our elected officials need to do something about WTO violations that hurt our industry.
The only way for us to do this is through a grassroots movement. We must all come together as one voice, and take a stand, and tell our state and federal representatives so they can take action.
In order for our situation as artists to get better, we must force the issue.
By signing this petition, you are telling the world "I want a fair and balanced VFX industry, and a level playing field for all workers."
Will you join us?
----------------
Sincerely,
VFX Foundation
Sign the petition: http://www.change.org/petitions/the-president-of- the-united-states-create-a- vfx-trade-org-to-protect-vfx- workers
"Ghost Rider" Co-Director Brian Taylor Signs to "Twisted Metal"
(Deadline) Ghost Rider Spirit of Vengeance is mere days away from release, but clearly Sony Pictures and producers Avi and Ari Arad must be happy with the results because according to Deadline, they've signed a reported 7-figure deal with one of the film's co-directors, Brian Taylor, to write and direct a movie based on the hugely popular Twisted Metal video game.
A mainstay on various Sony PlayStation video game consoles since its introduction in 1995 and with a new version released for the PlayStation 3 today, the film will mimic the game's premise of an underground fight to the death among multiple combatants using armored cars tricked out with missiles, machine guns, mines and the like. The 2001 PlayStation 2 game "Twisted Metal: Black" is one of the biggest selling games in the series, having sold 15 million copies worldwide. Characters like the manipulative race organizer Calypso and popular contestants like the homicidal clown Needles Kane in his killer ice cream truck Sweet Tooth and the masked Doll Face are reported to be included in the story.
Taylor has teamed with his long-time partner Mark Neveldine to direct four movies going back to the original Crank in 2006 , followed by the sci-fi thriller Gamer, the sequel Crank: High Voltage and now Ghost Rider Spirit of Vengeance. A Twisted Metal movie would presumably be Taylor's solo directing debut.
Effects Artist Scores MONSTER MAN television Series
(collectorshype.com)Special Effects artist Cleve Hall will star in a realty based show on the Syfy Channel this March. The show is title Monster Man and follows Cleve and crew around his special effect shop as well as on various production sets. Originally from Florida Cleve Hall moved to Hollywood having worked on such films as Ghoulies, Re-Animator, Troll and Ed Wood. Also featured on Monster Man are Roy Knyrim who is the owner/boss of the shop. Cindy the co-owner, office coordinator and Roy’s right hand woman. Employee Johnny Saiko is a jack-of-all-trades. Talented Fabricator Hill Vinot whom screen credits include Iron Man II, Real Steel, The Last Samurai, Blade II, Nip / Tuck, Invasion.
Additional cast includes: Constance Hall the daughter of Cleve Hall, Cleve’s other daughter Elora and Sonia Maddox-Hall, Cleve’s ex-wife. Monster Man airs Wednesday’s at 10pm starting March 14. In addition to Monster Man Syfy also airs Hollywood Treasures a reality show about Profiles and History’s movie memorabilia auctions and Face Off a reality competition for and about Effects Make Up Artists.
VIDEO - Series Premier Trailer: http://www.youtube.com/watch?v=4__aJ-XVkhA&feature=player_ embedded
Oscars 2012 Predictions: Best Animated Feature Film
(mtv.com) The Academy Awards are fast approaching, and it's bound to be an animated show this year — if not a particularly "Adventure"-ous one.
For the first time in years, animation powerhouse Pixar has been shut out of the Oscar race for Best Animated Feature Film, leaving the field wide open for an unexpected newcomer to take the top prize. Two foreign flicks — "A Cat in Paris" and "Chico & Rita" — are in the mix, battling it out against popular favorites and proven franchise hits "Kung Fu Panda 2" and "Puss in Boots." But we expect that the Academy will skew toward the surreal this year, honoring the beautifully bizarre "Rango" with a shiny new golden statue.
Read on for our picks and wishes for Best Animated Feature Film.
Who Will Win: "Rango" takes it home. "A Cat in Paris" and "Chico & Rita" cancel each other out, as do DreamWorks Animation's two offerings. That leaves the door open for the little chameleon that could, played to quirky perfection by seasoned veteran Johnny Depp. Reteaming with his former "Pirates of the Caribbean" captain Gore Verbinski, "Rango" stands out as one of the most original animated movies to hit theaters stateside in quite some time. It's fully deserving of its impending victory. Having said that...
Who Should Win: "The Adventures of Tintin." Clearly, it's not going to win — it's not even nominated! A travesty, I say. Peter Jackson and Steven Spielberg's adaptation of the adventure tales from Belgian cartoonist Georges Remi stands out as one of the greatest comic book films of 2011, and in my opinion, the best animated movie of the year. It deserves not just a nomination, but a win, for its fantastic score from John Williams, wonderfully inventive opening credits, astoundingly assembled action pieces and yet another all-star motion-capture grand slam from the incredible Andy Serkis. "Tintin" didn't win its Golden Globe award for nothing, folks. This movie should already be polishing its Oscar by now — there are no excuses for its exclusion from the race.
Motion Capture Animator Confirms God of War IV and Medal of Honor 2
(justpushstart.com)God of War IV and the next Medal of Honor have been unofficially revealed via David Thornfield, mo-cap animator.
Once again, LinkedIn is responsible for this leak of information. David has listed both of the previously mentioned titles on his account. Take a look.
Even though there isn’t a “2″ after Medal of Honor, one can assume that it is the inevitable follow-up to the reboot since the LinkedIn profile has placed it under the “November 2011 – Present (4 months)” section. Obviously, this is well after Medal of Honor’s 2010 release so it must be something new.
GDC and E3 2012 have the potential to be even bigger than past years with so many titles rumored to be in the works. Let’s hope we don’t have to wait too long to hear an official announcement.
No Green Light From "The Power of the Dark Crystal"
(slashfilm.com) There has been a good bit of talk over the years, especially in the past few turns of the calendar, about going back to the world inhabited by Gelflings and Skeksis: The Dark Crystal.
In 2005 or so The Power of the Dark Crystal was announced, and in 2010 the Henson Company said that the Spierig Brothers (Daybreakers) would direct the film, with production likely taking place in Australia. Now Moviehole has asked producers what’s up with development on the sequel, and the response was pretty simple: the site was told the film “may switch hands” and that a “little more time will be spent on getting it right.” Another source the site talked to said the Spierig Brothers were off the project as of last year.
Likely put the uncertainty down to indecision over whether the property is worth further development, from a financial standpoint.
What 'Star Wars' in 3D Means to George Lucas
(hollywoodreporter.com)For Lucas, it was never just about finding another way to exploit the same pictures that have already been in theaters several times (grossing more than $4.4 billion in worldwide box office since 1977) and on home video (where they have raked in more than $3.8 billion).
The biggest reason to do it, Lucas told The Hollywood Reporter recently, was to give a new generation an opportunity to see the movies on the big screen in a theater, the way he always intended.
“Star Wars is one of those films — old films — that was designed for the big screen,” he said. “It makes a big difference to see it on the big screen with the overwhelming sound, the picture and now 3D. We’ve had two generations be able to see it on the big screen and it was great. Now kids who have never seen it on the big screen, who have no idea how powerful it was — because all they had was DVD — have that chance.”
Whether there is still a huge market for movies widely available on video, cable and free TV for years will be clear Friday when Star Wars: Episode 1 — The Phantom Menace opens in more than 2,500 North American theaters in 3D and in selected countries around the world.
To sweeten the appeal, Lucasfilm and Fox have worked to make the rerelease an event. At all AMC theaters nationwide, fans who buy digital 3D tickets the first weekend will get a Hasbro Star Wars Fighter Pod toy (one per ticket while supplies last). At select AMC locations, there also will be special events including a Lego feature area, Darth Maul face-painting, costumed character appearances, pod-racer 3D glasses and demonstrations of an upcoming Xbox Kinect Star Wars game.
The plan, said Lucas, is to release one Star Wars movie each year for the next five years. While some believe Phantom Menace is one of the weaker movies in the series and a poor choice to kick off the rerelease, Lucas believes they should be seen in the order that he has assigned them (though they were made and released in a different order).
PHOTOS: 10 Billion Dollar Babies: Movies That Have Crossed the 10 Figure Mark
The studio handling the release for Lucasfilm agrees with his plan. “Star Wars has always been a communal experience, an experience that people want to share — not just across generations, but with their friends,” said Jim Gianopulos, co-chairman and co-CEO of 20th Century Fox. “There’s a whole generation that wasn’t born the last time we released the film theatrically. Those were huge successes at the time. Now we had the chance to do it again through the advent of 3D technology, to add a dimension so to speak, literally and figuratively, to that experience.”
Lucas said at first, he “wasn’t a giant fan of 3D. The process was very difficult, and it wasn’t something that I felt that much affection for. I just didn’t think the effect was worth it. It was all about the effects and putting everything right out there. The idea of going to a movie and having people stick things in your face just because of an effect or the trick of it wasn’t really that interesting to me.”
In 2005, Lucas joined fellow film directors including James Cameron and Robert Zemeckis for a presentation at the ShoWest movie exhibitor’s convention in Las Vegas to convince the people who own and run theaters to make the multimillion-dollar conversion from analog film projection to digital presentation.
To help make the point, Lucas oversaw the conversion of 10 minutes of one of the Star Wars movies to digital 3D. His point to theater owners was that 3D, which can bring in new audiences and justify higher ticket prices, is only possible after they make the switch to digital projection.
To his surprise, when he saw the 10 minutes on a theater screen, he said to himself, “ ‘Hey, this actually looks better. This is actually more interesting to me. The three-dimension is actually the better way of looking at things,’” he recalled. “So I got converted at that point.”
However, there was not yet an installed base of digital 3D in theaters and he didn’t feel the technology was fully developed yet. “The company that did the test for us wasn’t really up for primetime and doing the whole movie,” said Lucas. "We worked with them for years, and we worked with WETA and Peter Jackson to help do King Kong, but it wasn’t ready. We needed it to be really good.”
During the next couple of years, Lucasfilm’s special effects company Industrial Light & Magic moved into digital animated 3D production, which added to Lucas’s knowledge — yet he still wasn’t ready. Then he saw what Cameron had done with Avatar in 3D and had a revelation. “I realized that movies that have a lot of CG characters worked a lot better in 3D because the CG characters actually became real.”
VIDEO: 'Star Wars: The Phantom Menace' 3D Super Bowl Commercial
Lucas had been frustrated when he had to use puppet models, or even with CG in live action movies, because it never seemed quite real. As a result of what he saw with Avatar, Lucas went on to redo the character of Yoda for the Blu-ray rerelease of Phantom Menace in December; and that is the version of the movie that has been converted to 3D for theaters.
“We decided now is the time to do it,” said Lucas, “because we have lots and lots of CG characters (in Star Wars). That prompted us to go forward.”
Lucas has no qualms about making changes in his movies if he thinks it will make them better. Those changes have angered some fans of the films, who want them to be exactly the same each time they watch.
Lucas could do as he wished because he is not only director, producer and writer on most of the movies, but also wholly owns the company that holds the copyright on the movies. So he is both the financier and the creative director.
“All art is technology and it improves every year,” said Lucas. “Whether it is on stage or in music or in painting, there’s technological answers that happen. Just because movies are so technological, the technological advances become more obvious.”
Full article: http://www.hollywoodreporter.com/news/star-wars-3d-george- lucas-289377
"Teenage Mutant Ninja Turtles" Reboots With "Wrath of the Titans" Director
(Variety) First announced in 2010, Paramount, Nickelodeon and Platinum Dunes are teaming for a reboot of Teenage Mutant Ninja Turtles. Now, Variety reports that Jonathan Liebesman (upcoming Wrath of the Titans, Battle: Los Angeles) is in talks to direct.
Previously, Iron Man writers Art Marcum and Matt Holloway were assigned to draft the project with Mission: Impossible - Ghost Protocol's Josh Appelbaum and Andrew Nemec taking over last year. It is still unknown whether they performed a page one rewrite or if they updated the Marcum and Holloway draft.
The franchise, which began as a black and white comic book series in 1984, rose to tremendous popularity when it became an animated series in 1987. Following the first live-action film in 1990, the series spawned two live-action sequels, a live-action television series, a second animated series and a CGI feature film.
Details are few on the new version, but it will be produced by Platinum Dunes' Michael Bay, Brad Fuller and Andrew Form.
Shrek vs. Twilight: Should Investors Go With DreamWorks Anim or Lions Gate Entertainment ?
(smallcapnetwork.com)To start with, DreamWorks Animation SKG (NASDAQ: DWA) is involved in the development and production of animated films such as Shrek and Megamind. On Tuesday, DreamWorks Animation SKG fell 2.45% to $18.32 (DWA has a 52 week trading range of $16.34 to $29.79 a share) for a market cap of $1.53 billion but its up over 10% since the start of the year. However, DreamWorks Animation SKG is also down 38% over the past year and is also down 33% over the past five years (DWA will also be reporting earnings on February 28th).
So what is the main concern about DreamWorks Animation SKG for investors and movie goers alike? DreamWorks Animation SKG’s last two films did ok when it came to worldwide sales but both were somewhat of a disappointment (at least for investors) domestically. This is a problem for DreamWorks Animation SKG as its distribution deal with Paramount means that it will keep around half of domestic box-office sales but only 20%-30% of international box-office sales. Moreover, the films in the pipeline for the next couple of years are relatively unknown franchises (except for a third Madagascar film) that could turn out to be big hits or equally big and expensive duds. Since DreamWorks Animation SKG does not have an extensive library of content to fall back on, a couple of duds can really hit them. Worst, DreamWorks Animation SKG is not the only studio out there producing animation films as competition is intensifying plus its getting more expensive to make these types of films. Hence, investors might want to stick to watching DreamWorks Animation SKG's movies rather than its stock.
Finally, Lions Gate Entertainment (NYSE: LGF) is a global entertainment company with two operating segments: Motion Pictures and Television Production. Its also considered to be the most commercially successful independent film and television distribution company in North America and its made a name for itself as the producer of films deemed controversial, such as Michael Moore’ documentary Fahrenheit 9/11 – the company’s highest grossing film. On Tuesday, Lions Gate Entertainment fell 0.70% to $11.34 (LGF has a 52 week trading range of $5.69 to $12.26 a share) for a market cap of $1.63 billion and the stock is up over 36% since the start of the year, 83% over the past year, 1.34% over the past five years and over 368% over the past 10 years.
For the last quarter, Lions Gate Entertainment announced that revenue had fallen due to not having any movies in wide release in theaters but the company did reduce its losses thanks to expense cuts. HOWEVER, Lions Gate Entertainment did acquire Summit Entertainment, the makers of “Twilight,” back in January while the first "Hunger Games" movie will be out in theaters next month. This means that Wall Street expects the company to have a good fiscal year. On the other hand, Lions Gate Entertainment also owns TV Guide (remember that magazine?), which its trying to sell but some analysts feel that the company will be lucky to get what it paid for from it – if even that.
The Bottom Line. At the end of the day, Lions Gate Entertainment (LGF) beats out DreamWorks Animation SKG (DWA) because it has or owns the most material to work with rather than a narrow genre of films or content – something that both studios and investors alike should consider as a make a break deal.
Pete Docter and Andrew Stanton Are Developing a Pixar Short Film
(slashfilm.com)Most of the information we have here is right in the headline, but just in case you’ve been wondering whether the live-action John Carter means that director Andrew Stanton has left Pixar for good, the answer is no.
The director is still doing some work at the storied animation house. While there isn’t a new feature development on the horizon, Stanton is working on a new short with another big Pixar talent.
Speaking to AICN, Stanton said,
Yeah. As a matter of fact I’m developing a short film with Pete Docter. There’s an idea that he and I have had for years that we are finally getting around to doing which is kind of funny. We are both way too busy, but we just love the idea of doing this one little project together and then I’ve been… I executive produce a lot of the films over there and so I spend a lot of… People keep thinking I’ve been away from there, but I actually have been on campus for the last year and a half just helping watch over other stuff, but I don’t have a feature film of my own that’s an animated Pixar film that’s coming up soon, no. That’s a ways away.
Stanton also gave a great follow-up statement that suggests he’s really not going anywhere, with respect to Pixar.
I think it’s more fear that they think you’re going to get a taste for it and then leave. I’ve been saying this since the beginning, I said “What am I crazy? I worked so hard to help with this environment of this sort of free range chicken of being able to make movies without anybody messing with you, why would I ever want to leave it?” I’ll leave… If I’m making a live action film I’ll leave to actually shoot on location, but anything I’m ever going to develop or work on that’s animated this is my home. I’ve spent twenty years trying to make this my home; I’m not about to leave it.
We know that Pete Docter is working on his own new feature, so this short might not be something we see for quite some time.
From the Experts: Can High-Tech Company “No-Poach” Agreements Be An Antitrust Violation?
Industries that buy and sell products and services, such as video equipment, air cargo, or computer software, are the ones most commonly subject to scrutiny under the antitrust laws. The U.S. Department of Justice Antitrust Division’s investigation of high-tech companies’ hiring practices and the recent follow-on civil litigation offer a useful reminder that employment itself falls within the ambit of the antitrust laws as well.
In 2010, the DOJ launched investigations into alleged “no-poach” agreements among well-known high-tech companies—Apple Inc., Lucasfilm Ltd., Adobe Systems, Inc., Google Inc., Pixar, Intel Corporation, and Intuit, Inc. A private class action lawsuit filed last year in federal district court, In re High-Tech Employee Antitrust Litigation (2011), followed shortly after the government’s investigations. Though that case remains in the early stages of litigation, it nevertheless highlights some important practical considerations.
First, companies should be mindful of the antitrust laws when establishing employment policies and practices. Second, In re High-Tech Employee offers a stark reminder that private treble-damage litigation typically follows a government antitrust investigation. Third, the antitrust prohibition against interlocking directorates may provide fodder for the plaintiffs’ bar in certain instances. Note that there is a long history of non-compete provisions in employment agreements, and nothing in the DOJ investigations, consents, or private litigation alters that law or implies that non-competes that are reasonable as to time and geography are themselves inherently anticompetitive. What we are talking about here are not agreements between employers and employees, but agreements between competing employers.
Full Article: http://www.law.com/jsp/cc/PubArticleCC.jsp?id= 1202542240461
Transformers 3 VFX Breakdowns From Digital Domain
(digitaldomain.com)Returning to the Transformers franchise for a third time, Digital Domain developed, created and animated new characters including ‘Laserbeak,’ ‘Brains’ and an army of Decepticon soldiers called ‘protoforms,’ as well as the returning character, ‘Wheels.’ VFX supervisor Matthew Butler oversaw the global digital production of 350 shots created in Digital Domain’s Venice and Vancouver studios and a facility in Mumbai, India.
The work included notable set pieces, including a sequence where protoforms rise out of the Moon’s surface and mobilize for an assault on Earth, and a series featuring skydiving soldiers bailing out of helicopters and flying through the city skyline with Decepticon ships in pursuit. Digital Domain’s work required seamless integration of animated characters, digital environments and effects animation combined with photographic plates shot on location around the world. Through our Stereo Group, which handled 2D-to-3D conversion on complex shots that included CG stereo 3D elements and 2D backplates, Digital Domain also played a key role in creating high-quality stereo 3D by treating it as an integrated digital production process — all under the discerning eye of director Michael Bay.
VIDEOS - Take a look: http://digitaldomain.com/projects/20
NZ Hobbit Crew Booking Flood-Hit Hotels
(stuff.co.nz) Providing beds for The Hobbit crew in December has contributed to a 2.1 per cent increase in the number of guest nights in the Nelson region for December, despite record flooding and slips recorded in the same month.
Nelson Tasman Tourism chief executive Lynda Keene said it was the ninth consecutive growth in guest nights recorded in the commercial accommodation monitor, and the region was still tracking ahead of the national average.
"This is a good result in a month where we had the highest rainfall in the region in 50 years and floods impacted on the region's trading over what would normally be a busy two-week period (Dec 14 to Dec 28). The filming of The Hobbit in December has probably helped the result and is indicative of the importance film tourism can have to a region."
Muppet Makes Oscar Plea
(UKPA) Miss Piggy is campaigning for the Oscars to recognise pigs.
The Muppet diva backed up Steven Spielberg's comments in insisting that the American Academy of Motion Picture Arts and Sciences (AMPAS) should hand out awards to animals.
"For some reason, the Academy has refused to recognise pigs as actors! I can't believe it. I'm one other species, I guess," she said.
While she is holding out for an Oscar nomination for her screen performances, she admitted: "It's not going to happen until they recognise us, to start with."
Babe previously won the statuette for best visual effects in 1996.
Miss Piggy - who reunites with the other Muppets in The Muppets film - suggests she may boycott this year's ceremony, despite The Muppets winning a nomination for best original song.
"I don't know (if I will go). It's wonderful to be nominated in the Best Song category, even if it wasn't a song I sang. As for going to the Oscars, it's hard to feel right about going to an event like that where you're not really welcome," she added.
Her long-time partner Kermit The Frog admitted he has yet to receive his invite.
"I always have my tux on stand-by - it's clean - but frankly, I haven't been invited yet," says the frog.
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