(sciencefiction.com)
With rights to the ‘Terminator’ franchise to return to James Cameron in 2016, the production company that currently owns those rights, Annapurna Pictures, is frantically trying to get their sequel, ‘Terminator 5’ produced. But it looks like we may see an animated version of the metal cyborg too. You see, Hannover House has already moved forward and will be actively developing the CG animated sequel to the original movie ‘Terminator’ called ‘Terminator 3000.’
When Hannover House CEO, Eric Parkinson, first announced this project in 2010, he had stated that the PG-13 aimed film would center on Sarah Conner, Kyle Reese, and the Terminator from the original film. Soon after he was slapped with a cease and desist order and everyone thought the project had fizzled out. The rights then went to Annapurna Films and not much was heard after.
Now, thanks to The Arnold Fans site, who tracked down Parkinson, we have more news as to what has become of this project.
Parkinson has confirmed that the movie is still in the works and hopes to team up with Annapurna Films to get it released. So far, ‘Terminator 3000’ is just a spec and needs the approval and license of Annapurna Pictures to proceed since they own the rights.
“We have a good outline. We have a great story, and we potentially don’t want to turn it into a script now, because there’s going to be some creative input and we don’t want to paint ourselves into a corner and say, no, we envision it a different way. But we’ve got a pretty good framework for what we think will work. Who knows if this concept fits their overall plan for the franchise? Personally, I think it’s kicks-ass and would be a boost to the Terminator brand by introducing a new generation of viewers.”
Although there has been speculation as to the use of the aging Arnold Schwarzenegger working on ‘Terminator 5,’ Parkinson has a way around how not to age the cyborg in his film.
“What we have in mind is something very similar to what Cameron utilized in Avatar in that we would use motion capture to create the base files of the bulk performers, including The Terminator. But yeah, it would be more of a 3D style motion capture proposed to live actors.”
The idea would be to create a computer image of Schwarzenegger “at his peak” and have him voice the role of the T-800. Parkinson actually broached the subject to Schwarzenegger at a convention who was open to this project as long as Annapurna was on board. “We’re excited about it,” says Parkinson, “and we think it makes perfect sense and with all due respect to Arnold, I think this would be another great and quick way for him to get another movie out with just a short time in a recording studio.”
So where in the development process is Hannover House with bring ‘Terminator 3000’ to life?
“It’s in the time being in the hands of Megan Ellison and her Annapurna Productions, whether or not they want to proceed. We reached out to them, communicated with her council and expressed our outline with the basic story structure with the proposed principal creative team and how it can be financed and how Annapurna Productions can make a lot of money with upfront licensing. But there are issues at play that I am not privy to. I think that most people are aware of how long this ticking bomb that this Terminator licensing exists before it goes back to James Cameron.”
Producer Megan Ellison of Annapurna Pictures has not commented on this issue but just last month did tweet about the company’s sequel, ‘Terminator 5’ and what the movie would be rated:
Megan Ellison tweet Terminator 5
So I guess the ball is in Annapurna’s court and we’ll just have to wait and see if ‘Terminator 3000’ will actually get made. I do hope the T-800 does revert back to being a baddie in this version as Schwarzenegger played an excellent bad guy.
2012 Oscar Prediction: Best Animated Feature
(filmschoolrejects.com)The Best Animated Feature category first appeared in 2001 (Shrek was the winner), and a cartoon has taken home the prize every year since. Crazy right? And while the Pixar juggernaut has won this category four years running their decision to focus on profit with Cars 2 instead of quality has cost them the nomination. Their absence has left the field wide open, and for only the third time in the past decade there are five nominees vying for the award.
Unlike some Academy Award categories, this year’s nominees for Best Animated Feature actually managed to include the year’s best animated feature. Even better? It’s going to win.
The nominees are listed below with my predicted winner in red…
A Cat In Paris
Why It Was Nominated: Because some members of the Academy mistook this for Woody Allen’s latest joint.
Why It Might Win: This is the second animated feature from France to receive a nomination in as many years, and it’s encouraging to see a film community remain dedicated to the hand-drawn style. The film has fun with the artwork as well as it eschews realism in favor of a more stylistic approach. And in a world where Hollywood digitally erases guns from supposed kids films it’s nice to see an animated feature unafraid to include gun play alongside its child in jeopardy plot.
Why It Might Not Win: A running time of just over an hour makes it the shortest of the nominees, and a relatively simplistic story makes it equally as slight. Even more telling though is the fact that in the decade that this category has existed only one hand-drawn film has won (Spirited Away in 2002).
Chico & Rita
Why It Was Nominated: Because animated nipples rarely get the recognition they deserve.
Why It Might Win: Most animated films are squarely aimed at younger viewers, but this Spanish film is a fully formed romantic drama that just happens to be animated. The two lead characters face difficult decisions in life and love, and the story moves them through treacherous terrain both emotional and geographic. The film has also received some heavy acclaim for its jazz-filled soundtrack and score that helps bring the times and cultures to life.
Why It Might Not Win: The film’s adult nature may actually work against it for Academy members who feel animation should remain a family-friendly medium. And then there’s the same problem faced by the French film above in that only one hand-drawn film has won this category since 2001, and it was in 2002.
Kung Fu Panda 2
Why It Was Nominated: Because the Academy loves Angelina Jolie beyond all reason. Oh, wait, that’s the Hollywood Foreign Press.
Why It Might Win: Dreamworks recently entered into a major deal with China to build an animation studio in their country that will go by the name Oriental Dreamworks. This is a true fact. Also true in a far less true way? As part of the deal the Chinese government has guaranteed the studio an Oscar win, and the nation’s deep pockets can fund a whole lot of bribes. And that, in a nutshell, is the only way Kung Fu Panda 2 walks away with this award.
Why It Might Not Win: As good and polished as the animation and fight choreography are, the film’s biggest drawback (well, second biggest after Jack Black) is the lack of anything compelling in the narrative. The story is far too simple in design and execution to move it past its intended goal of being a summer blockbuster.
Puss In Boots
Why It Was Nominated: Because the annual slot guaranteed to Pixar was faced with the reality that is Cars 2.
Why It Might Win: See Kung Fu Panda 2 above, but all joking aside the Academy likes box office hits, and Dreamworks’ two animated releases of 2011 grossed a combined billion dollars worldwide. In addition to their box office take both movies feature some fantastic CGI animation, legitimate laughs and fun, talented voice casts.
Why It Might Not Win: That quality animation gets lost amidst the mediocre, volume-based storytelling. And while we can all agree that Antonio Banderas has a sexy voice, the character of Puss is not leading man material. The dashing, saucer-eyed cat worked in the Shrek films as a minor player, but the joke wears a bit thin at feature length. And if nothing else, the film’s chances are halved because the pussy vote is being split this year.
Rango
Why It Was Nominated: Because eating strawberry Pop-Tarts with Kim Novak is a heaven we can all agree on.
Why It Might Win: Not only is Rango the year’s best animated film, but it’s also one of the best movies of 2011 period. The animation is absolutely stunning, and the film’s design allows for the occasional seamless integration into live footage that works beautifully. Gore Verbinski‘s direction and John Logan‘s script keep things engaging, exciting and smart as it tells a fun story filled with homages to pop culture icons as diverse as The Man With No Name and Hunter S. Thompson. Johnny Depp‘s excessive quirk has grown tiresome in live action, but he finds a perfectly suited home for it here.
Why It Might Not Win: At $123 million domestic this was the lowest grossing of the three US nominees, and whether they admit it or not popularity sometimes plays a role in the Academy’s decisions. The film is also a bit challenging for some viewers who don’t appreciate or get the in-jokes, inferences and storytelling genius at play here. It’s far less of a children’s film than Puss In Boots or Kung Fu Panda 2.
Johnny Depp To Hunt Monsters As ‘The Night Stalker’
(geeksofdoom.com)With the Tim Burton-directed Dark Shadows being released in May Johnny Depp is currently preparing to dive back into the world of cinematic adaptations of 1970′s cult horror television. The Oscar-nominated star of Ed Wood, Donnie Brasco, and the Pirates of the Caribbean series has signed on to star in The Night Stalker, a film based on the early 70′s series Kolchak: The Night Stalker for Disney. Even more interesting is that the movie will be directed by none other than Edgar Wright, the British television and movie writer/director whose impressive resume boasts such titles as Spaced, Shaun of the Dead, Hot Fuzz, and Scott Pilgrim Vs. the World.
A writer has not been chosen yet, but Wright will oversee the script’s development alongside Depp and his producing partner Christi Dembrowski. Depp has desired to make a film version of The Night Stalker since first setting the project up at Disney last summer. The studio will be pushing Wright and company to tone down the movie’s potentially horrific content with the intention of getting a PG-13 rating.
The original series starred the late Darren McGavin, best known for playing Ralphie’s cantankerous father in the Yuletide perennial A Christmas Story and Adam Sandler’s cantankerous father in Billy Madison, as Carl Kolchak, a resourceful newspaper reporter whose pursuit of a juicy story lead him to encounters with monsters, extraterrestrials, and all other manners of otherworldly phenomenon. McGavin first played the character in the 1972 made-for-TV movie The Night Stalker, which pitted the intrepid journalist against a vampire stalking the streets of Las Vegas. The film was produced by the late television impresario Dan Curtis and adapted by legendary author Richard Matheson (I Am Legend) from the novel The Kolchak Tapes by Jeff Rice. The Night Stalker was the highest-rated movie made for TV at the time so a sequel titled The Night Strangler aired the following year. The success of both movies led to the creation of a weekly series, Kolchak: The Night Stalker, but the show was plagued by poor writing and cheap (even by the standards of 1970′s television) special effects and lasted only one season. Despite its abbreviated run the show would have a great influence on future genre television hits like The X-Files and Buffy the Vampire Slayer.
A new take on The Night Stalker premiered in the fall of 2005 starring Stuart Townsend (Queen of the Damned) and Gabrielle Union (Bad Boys II), but also didn’t survive beyond its first season.
Depp has Gore Verbinski’s The Lone Ranger up next and Wright is currently developing The World’s End, the final installment of the “Blood and Ice Cream” trilogy he created with Simon Pegg that included Shaun of the Dead and Hot Fuzz, and is still attached to writing and directing a movie based on the Marvel Comics superhero Ant-Man for Disney.
Whenever Depp and Wright finally get together to make The Night Stalker, it will definitely be a movie to watch out for. Wright has consistently proven to be a director of hilarious and visually dynamic films that rewards multiple viewings and Depp can still be a fantastic actor when he has a great director and material to work with. He just played a cynical journalist in The Rum Diary and his rare book dealer character in Roman Polanski’s 2000 supernatural thriller The Ninth Gate shares a few integral personality traits with Carl Kolchak. This could a match made in Hell.
Peter Jackson Takes a Stand: Saving Jobs in New Zealand from Labor Union Looting
(overmanwarrior.wordpress.com)Sometimes the best way to see something clearly is to back up so you can put it in focus. It also helps to not view the world exclusively through one particular specialization of which one makes a living. Living life should be a constant adventure of always learning and expanding ones viewpoint, and not relegating a perception to just those within the field of one’s occupation. This is the role of philosophy and story tellers, people I enjoy spending time around more than any other, because they often see the bigger picture of things, excel in this skill and do society great justice when they share the fruits of their labor.
This is also why I have been spending some time talking about the new film The Hobbit by Peter Jackson, because stories like this are much bigger than the small issues that surround us on a daily basis, so in placing our energy onto such projects metaphors of our own reality can be analyzed. So let me share with you dear reader a clip from the video blog of The Hobbit hosted by Peter Jackson before we plunge into a bit of darkness in our discussion today. When watching this clip it reminded me of two things—first I am happy to see that Jackson is filming The Hobbit, for the first time in 48 frames a second and in 3D. I had the privilege of working with Real D 3D a few years ago on the development of a new camera system they were testing for the 3D market which is very similar to the version seen in this clip, so it excites me greatly to see this kind of technology being utilized to the furthest extent of artistic interpretation. Second—for the reasons that have held up The Hobbit as a production and almost prevented it from being filmed in New Zealand are the same that I will probably never get the chance to do work in Hollywood again, because of my stances against unions in my written work.
The dark story of making The Hobbit is one that has held the project up for years and is yet another story about how labor unions are corrosive organizations. And its statements like that which have blacklisted me from any future work within the Hollywood community. I made this choice consciously knowing that I will instead shift my attention in these middle years of my life to writing novels instead. So I am happy to let my whip work and other entertainment talents drift into the nature of that independent task of authorship. Because there is no going back now, I’ve said too much.
But what I said needed to be said. It’s the things that Peter Jackson doesn’t want, or need to say. It’s the things that the distributors at Warner Brothers can’t talk about even if their opinions are harsh on the matter privately. This is because a subtle harness is placed upon the entertainment industry and that harness is the exact same gag that exists on public education, and is preventing the open learning and creativity of millions of children from realizing their full potential. It is that of the labor unions.
During Lord of the Rings, the production could be said to be very successful because Peter Jackson as a director is extremely personable, grounded, and fantastic at multitasking. He kept his set fun which allowed for a bonding to occur between his technical staff and his actors which showed up on-screen in a tremendous way. It is unlikely that Lord of the Rings would have been such a great production if Jackson had not been the director, or if the entire film had not been shot in New Zealand.
My wife and I made serious plans to move to New Zealand in the early years of our marriage and live on a sailboat. So I understand the appeal of a country that as of now prides itself on rugged individuality. When one thinks of New Zealand government of any kind does not come to mind, just big open fields, mountains, horses and–sheep. But the one great thing that I’ll say about New Zealand that the film industry can’t say is that one of the reasons Lord of the Rings went together so impressively, and all members of the crew got along unusually well, and communication worked at all levels was the absence of a labor union in New Zealand involving the actors and technical unions. Before Lord of the Rings came out there were only a few major films to come out of New Zealand, The Man from Snowy River films, and the George Lucas spectacle Willow. So the labor unions didn’t protest too intensely when New Line Cinema aligned with Wingnut films to produce a massive three film adaptation to the Tolkien classic, the unions didn’t pay much attention. Jackson wisely shot the films back-to-back while Fellowship of the Ring was still in post production and had not yet hit theaters. The Lord of the Rings films were able to be made outside of the chaos of the usual Hollywood production without a lot of union influence in an almost campfire style production where everyone bonded on the set.
However, success breeds the looters, and after multiple Academy Awards the Media, Entertainment and Arts Alliance union from Australia decided it wanted to move over into the New Zealand market because they feared that such high-profile big budget films in the future would go to New Zealand instead of Australia where the Star Wars films were shot over similar concerns. These big productions could not be done in the United States, because there is too much hassle these days over labor disputes, so film companies run from unions out of necessity, and in this case New Zealand is the last far-flung corner of the globe without one of these labor unions controlling the industry, so The Hobbit will be the last of its kind. The unions took action against The Hobbit production joining with the Screen Actors Guild and four other international unions to boycott the production.
You can read an article about this mess here:
http://news.sky.com/home/showbiz-news/article/15772110
Peter Jackson in an effort to save his home country of New Zealand the thousands upon thousands of jobs The Hobbit would bring to craftsman and film personnel refused to buckle under the union pressure and called the union what it was, a bully looking for money, membership and power. He threatened to take the production of The Hobbit and its $300 million budget to Europe in order to make the film. You can read that article here:
http://news.sky.com/home/showbiz-news/article/15745443
Thankfully the whole situation settled as thousands of New Zealanders protested to keep The Hobbit production in New Zealand, so the unions backed off socially, and Jackson was able to go and make the film the way he likes to make them. For me personally it is very nice to see Peter walking around on his sets casually without all the egotistical authority that so many of his predecessors displayed. It’s Jackson’s directorial style to be very open, fair and forthcoming in his dealings with his cast and crew. Jackson is certainly a director who would suffer from too much outside control on his projects which is what the Media, Entertainment and Arts Alliance union was trying to do. They saw Jackson’s success and they wanted to loot off his back, off his creations, and his relationships so they could get a piece of the pie for themselves.
This is what teachers unions have done to our schools. It’s no different in any respect. A school cannot pick up and move like Jackson threatened to settle a union dispute. A community has a school and it’s fixed in place. So if a union infests it with their looting tendency, the community is forced to deal with the extortion measures they employ.
The Disney Company deals with the unions by tossing more money at the problem which is why the Pirate films are so expensive. Disney has the advantage of generating a tremendous amount of money through their subsidiary companies, so they can play that game. They are too big to fly under the radar like Jackson does today, or Spielberg and Lucas used to. Notice that as Spielberg became bigger and more successful over the years, that his films seemed to become more and more bogged down. He still makes pretty good films, but nothing like his final year as a master filmmaker in 1993 with the release of Jurassic Park and Schindler’s List. I know people get angry with Spielberg and Tim Burton (who I think is a fantastic director) for sucking up to the Obama administration now, and the Clinton administration’s back in the 90’s, but at the heart of that evil is a desire for creative people to make their movies as a wall of opposition known as the entertainment unions stand in the way. The union influence shows up in the final product and it does rob the production of some magic. The audience can tell the difference and it does affect Hollywood’s bottom line. They respond by making more comedies, and easy productions that aren’t overly complicated and can be shot around Los Angeles or Las Vegas–easy set ups. The creative minds behind the movies attempt to keep the protesting communists who run the labor unions at bay with appeasement. Disney throws money at unions to advance a project which works, but prevents smaller film makers from being able to compete on equal footing, because the unions hold all producers to the same standard as a company like Disney. Unless the filmmaker makes the film out of the country like Jackson has, they find themselves encumbered needlessly both creatively and financially.
As I see the previews and clips coming in from The Hobbit I am starting to get excited, because such films—stories of such depth are rare for all the reasons described, and are true treasures of our culture. I desire a world where people can speak and do business with each other without the looters standing in the way trying to make easy money for themselves. And yes, my comments here about the education unions have blacklisted me in entertainment which will go on forever. But I have other talents and I’ll use them to tell the story of how human beings get themselves into these fixes. It’s a difficult thing to balance out the need to make a living and then to make a living that is honest and true. Because the chances are, even if you are a wealthy film maker, if your love is to make movies you still need the industry system to make them, so you do your best to shut your mouth and put up with the parts you don’t like. You give money to the Obama administrations as a payoff to a mobster thug and hope they leave you alone politically. And the same holds true for the teaching profession. Or any profession that is controlled by labor unions, it’s hard to come out and speak against it, and to call it what it is, because the system is designed to exclude any voice of dissention. But I will do it, because I’ve already started the process, so I might as well see it through. And in the meantime, I will cheer with much vigor the upcoming film The Hobbit for all these reasons and more. Great stories are so few and far between, and I’m so excited about this one that I may just go get in line for it right now.
Source; http://overmanwarrior.wordpress.com/2012/02/21/ peter-jackson-takes-a-stand- saving-jobs-in-new-zealand- from-labor-union-looting/
Skyfall to Be the First IMAX James Bond Movie
(comingsoon.net) Today, it was announced by the IMAX Corporation, EON Productions, MGM Studios and Sony Pictures that the next James Bond movie Skyfall, directed by Sam Mendes, will be released in IMAX theaters both domestically and internationally, making it the first time a Bond movie has received the IMAX treatment.
With the success of Brad Bird's Mission: Impossible - Ghost Protocol, which was partially filmed using IMAX cameras, under their belt and a number of other potential hits ahead--The Hunger Games and The Dark Knight Rises for instance--it may not be that surprising that EON and Sony decided to follow suit. It is interesting to note that the movie will be released a week earlier in international markets than in the United States where it's still set for a November 9 release.
Here is the full press release:
IMAX Corporation, Albert R. Broccoli's EON Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment today announced that the long-awaited next chapter in the famed James Bond franchise, SKYFALL, will be released in IMAX® theatres simultaneously with the film's international release on Oct. 26, and its domestic release on Nov. 9, 2012. This is the first IMAX installment of the iconic Bond film franchise.
In SKYFALL, Bond's loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost.
SKYFALL marks the return of Daniel Craig as Ian Fleming's James Bond 007, as well as Judi Dench reprising her role as M. The film also stars franchise newcomers Ralph Fiennes, Javier Bardem and Naomie Harris. The film is directed by Sam Mendes from a screenplay written by Neal Purvis & Robert Wade and John Logan. Michael G. Wilson and Barbara Broccoli are producers.
Disney's Yeti Film Moves Forward
(Variety , The Hollywood Reporter) Plot details are few, but variety is reporting that Sony Pictures has acquired a new script from Transformers: Revenge of the Fallen and Transformers: Dark of the Moon writer Ehren Kruger.
Titled Invertigo, the script was go-written with Bradley Cramp and will be produced by Neal Mortiz with Kruger and Daniel Bobker executive producing.
UPDATE: The Hollywood Reporter now has word that Kruger is also involved in Walt Disney Pictures' upcoming mountain adventure project, formerly known as The Hill. Announced last year, the film was to have been based on Disneyland's Matterhorn ride, though the trade notes that the scope has since been widened.
Jason Dean Hall was formerly attached as the project's screenwriter and newcomer Brian Beletic is still slated to direct.
Recreating Randy: Visual Effects Studio Makes Life-Like Model Of Randy Couture
(cagetoday.com)Talk about going Hollywood, former UFC champion Randy Couture spends time with the Academy-Award winning Creature and Special Effects Make-Up Studio, Amalgamated Dynamics to make a life-like model of the MMA legends jugular.
VIDEO - Take a look: http://www.cagetoday.com/recreating-randy-visual- effects-studio-makes-life- like-model-of-randy-couture/
Barry Sonnenfeld & Rick Baker Talk "Men in Black 3" Problems
(screenrant.com) Though Men in Black 3 was plagued with all sorts of production problems – reshoots, rewrites, Alec Baldwin dropping out, etc. – the trailer was surprisingly entertaining and effective. Of course, amazing trailers have given way to terrible films, once or twice (or, you know, countless times).
Director Barry Sonnenfeld and makeup artist Rick Baker recently talked about some of those production problems - and were surprisingly candid about the ordeal.
In an interview with Empire magazine, with regard to screenplay problems, Sonnenfeld said:
“We knew starting the movie that we didn’t have a finished second or third act. Was it responsible? The answer is, if this movie does as well as I think it will, it was genius. If it’s a total failure, then it was a really stupid idea.”
Just so we’re all clear – he is saying that they only had the first third of the screenplay for Men in Black 3 finished when they started shooting, right? It’s entirely possible, of course, that MIB3 could turn out to be excellent; the best of the series, even! (Stranger things have occurred.) Still, it’s hard to argue, at this juncture, that the filmmakers cared more about the quality of this film at the outset than they did about piles of cash.
Aliens in Men in Black 3
On the topic of not really having a screenplay, makeup artist Rick Baker said:
“It was a crazy production. We had a writer actually on the soundstage writing the words moments before the guys had to say them. I don’t think that’s any way to make a movie. [...] But I’ve seen a rough cut and I was actually shocked at how good it was!”
Not exactly a ringing endorsement either. Let’s say, hypothetically, that Baker expected the film to be the worst film of all time. In that context, being shocked about its eventual quality wouldn’t mean much, would it?
Still, Barry Sonnenfeld is feeling pretty confident about MIB3, or at least expressing sentiments along those lines:
“My mood is in a really happy place. [Francois] Truffaut once said that that a movie is as bad as it will ever be on the day you’re done filming, and what he loved about post-production is that you get to make it better again. I feel the same way: once you’re done with the horrible mess of shooting a movie, it only goes uphill.”
Josh Brolin as Agent K in Men in Black 3
(WARNING: MAJOR SPOILERS AHEAD)
As for a potential Men in Black 4, Rick Baker said:
“At least we’ve got Josh Brolin now to carry on with Tommy’s part…”
Does that mean young Agent K will be coming back to the future with Agent J? And will old Agent K be – gulp – wiped out of existence?
Industry Conference To Break Down Hugo Visual Effects
(awn.com) Four weeks before spring arrives, FMX gives an exciting glimpse of the promising line-up it has put together. This year, FMX features a great special on Martin Scorsese's 3D adventure Hugo that has been nominated for eleven Academy Awards. In addition, it offers VFX presentations covering the successful TV series Game of Thrones and Bones. Once again, FMX proves itself a unique and international meeting point for the merging of film and digital entertainment: In 2012, FMX places a heightened emphasis on innovative games such as Mass Effect 3 and The Witcher 2 as well as technical developments, financing issues and novel distribution channels.
Martin Scorsese goes 3D: Hugo
FMX dedicates two presentations to Martin Scorsese's first 3D animation feature Hugo that has been nominated for eleven Academy Awards including "Best Visual Effects."
Hugo features elaborate VFX that were created primarily by Pixomondo. FMX is proud to present Hugo's leading Visual Effects Supervisor Rob Legato as a main speaker at this year's event. Together with Ben Grossmann (Pixomondo) he talks about the challenges involved in making Hugo.
Then, Matthew Gratzner (New Deal Studios) joins Grossmann to dissect the impressive train sequence in a second presentation.
While New Deal Studios created the train as a model both in the computer and on set before the crash was filmed, Pixomondo created further visual effects, which involved, amongst others, texturing the train and turning it into a digital model.
17th Conference on Animation, Effects, Games and Transmedia
May 8-11, Stuttgart, Germany
Nicolas Cage on ‘Ghost Rider VFX: “I personally don’t think there’s very much CGI."
(movienight.mtv.ca)Out this week is the wild hell of a ride, ‘Ghost Rider: 3d Spirit of Vengeance‘ starring the one and only Nicolas Cage. The film is the sequel to the 2007 box-office “hit”, ‘Ghost Rider‘. The movie’s synopsis is simple, yet amazing: “As Johnny Blaze hides out in Eastern Europe, he is called upon to stop the devil, who is trying to take human form.”
MTV’s Movie Night had the opportunity to sit down and talk with Nicolas Cage about action, CGI and being a bad-ass. First up we asked him if it was important for him to play the role of Ghost Rider even though you can’t see his face.
“It was very important to the directors,” he says. “[I didn't have any hesitations] because I immediately saw the wisdom in the idea. I knew what body language I could put into my own movements would translate even though there’s a bit of CGI with the skull and the fire, it’s predominantly me, and I think that 90% of communication is not verbal, you can say so much with a look, or how you move your head, how you walk – and, I thought about it, and I said yes. I asked if I could wear a mask, so I wouldn’t feel ridiculous on the set, so I would feel that I really was this character. I would paint my face to look like a voodoo [doll] and wore contacts and didn’t say a word to anybody, and I could see the fear in the people around me.”
One of the main concerns some fans have is that the film may use too much CGI technology, something Nick says couldn’t be further from the truth.
“I personally don’t think there’s very much CGI, because we’re all out there doing it. What you see, predominantly, is what was really happening, we were really blowing stuff up, and going through fight-sequences, we had the chain, we were out there in Turkey in the desert, and that comes through.”
‘Ghost Rider: 3d Spirit of Vengeance‘ is in theaters everywhere now.
Over 2000 CGI Shots & Effects To Be Conjured For "Dorothy and the Witches of Oz"
(monstersandcritics.com)The Witches of Oz is a fantasy/comedy that follows the exploits of Dorothy Gale, now a successful children's book author, as she moves from Kansas to New York City. Dorothy quickly realizes that the dreams on which she based her books were actually childhood memories, and that the wonders of Oz are very, very real. When the Wicked Witch of the West appears in Times Square, Dorothy must find inner
The Witches of Oz is a fantasy/comedy that follows the exploits of Dorothy Gale, now a successful children's book author, as she moves from Kansas to New York City. Dorothy quickly realizes that the dreams on which she based her books were actually childhood memories, and that the wonders of Oz are very, very real. When the Wicked Witch of the West appears in Times Square, Dorothy must find inner ...more
The family fun adventure Dorothy and the Witches of Oz is now playing in select cities and is an entertaining from start to finish.
Inspired by the writings of L. Frank Baum, the film was written and directed by Leigh Scott and stars Christopher Lloyd, Lance Henriksen, Billy Boyd, Paulie Rojas, Eliza Swenson, Barry Ratcliffe, Sasha Jackson, Mia Sara, Jeffery Combs, Ethan Embry, Sean Astin and Noel Thurman.
Dorothy and The Witches of Oz follows the exploits of the grown Dorothy Gale, now a successful children's book author. As she moves from Kansas to present day New York City, Dorothy quickly learns that her popular books are based on repressed childhood memories, and that the wonders of Oz are very, very real.
When the Wicked Witch of the West shows up in Times Square, Dorothy must find the inner courage to stop her.
With over 2000 CGI shots and effects, spectacular costumes, and pitch perfect actors, the theatrical version of this film is exciting, creative, energetic, family friendly, and simply a fun modern version of America’s fairytale.
M&C was lucky enough to catch Leigh Scott for a few questions about his trip down the yellow brick road, and what fans can expect next.
Full article: http://www.monstersandcritics.com/movies/features/article_ 1692482.php/Director-Leigh- Scott-talks-Dorothy-and-the- Witches-of-Oz
VFX Artist Recreates Original Star Trek: The Motion Picture Commercials
(trekmovie.com) Our old friend visual effects artist, and super Trekkie, Daren Dochterman is up to his old tricks again. This time has has lovingly recreated the original commercials for Star Trek: The Motion Picture, but now in HD. Check them out below.
VIDEO - Take a look: http://www.youtube.com/watch?feature=player_embedded&v= zEzFPp4YMmI
The Oscars’ Performance Capture Problem
(wired.com) Is it live or is it Memorex? Caesar is a digitally created chimp based on the performance capture of Andy Serkis. With James Franco in "Rise of the Planet of the Apes." (Image: Weta Digital/20th Century Fox)
When you see Sunday’s Oscar telecast, note two glaring omissions.
One: The Adventures of Tintin was not nominated in the Best Animated Feature category.
Two: How did Andy Serkis not nab a Best Actor nomination for his performance as the super-intelligent chimp Caesar in Rise of Planet of the Apes?
In a word (or two): performance capture, also called motion capture.
Ever since the Lord of the Rings films, it seems the Academy doesn’t quite know what to do with this technology, which translates an actor’s movements into the digital realm. Is it animation? Special effects? Trickery? Do performances have to be “live” to qualify as acting? And what exactly defines animation?
Adding to this controversy — and causing trouble for the Academy of Motion Picture Arts and Sciences — is this inconvenient truth of how actors work today. Actors are appearing as digitized selves not only in TV and movies, but they are “acting” as video game characters (either by providing voice work or having their body movements captured). Should voice work for a cartoon or video game be Oscar-worthy? Does the Academy need to consider video games as a sub-set of film? Or, perhaps, consider them a kind of TV? Other award-bestowing groups like the Screen Actors Guild and Golden Globes look at television performances. Why not have a category called “motion capture,” too?
At least the Golden Globes did give Tintin an award for best animated film. Meanwhile, Oscar won’t, and not because the film didn’t quality for the Best Animated Feature category. Oscar rules state that to qualify, “a significant number of the major characters must be animated, and animation must figure in no less than 75 percent of the picture’s running time.” Three motion-capture movies were OKed — Tintin, Mars Needs Moms, and Happy Feet Two — as well the live action/animation hybrid Alvin and the Chipmunks: Chipwrecked. (The other hybrid, The Smurfs, was disqualified, but no great loss there.)
But looking at Tintin, clearly it’s as good as if not a superior film to the cartoons that were nominated: Kung Fu Panda 2, Puss In Boots, Rango, A Cat in Paris, and Chico & Rita. So why did the Academy snub the Peter Jackson-Steven Spielberg juggernaut? I’d argue that most voters in the animation category probably find something intrinsically fake or cheap about motion capture-generated cartoons, that they’re a short cut compared to old-school, animate-each-frame-of-movement cartoons.
It’s an ironic shift in perception, because only a decade or two ago, traditionalists protested against the wave of digital animation Pixar was pushing as not being “true” animation, compared to old-fashioned, drawn “cel” animation. Now what defines animation clearly encompasses digital 3-D cartoons. Animation enhanced by motion capture gets no respect.
Now, on to Rise of the Planet of the Apes. Andy Serkis faced the same respect problem when he played Gollum. (Serkis also played Tintin‘s Captain Haddock, but that performance was less noteworthy.) Everyone agreed his performance as Gollum was mesmerizing, but Oscar turned up its nose. Now, as Caesar the chimp, he’s as much an actor as James Franco, or even a better one. We don’t end up caring about Franco’s scientist Will Rodman. We care about Caesar. As Caesar, Serkis carries the film. To my mind, it doesn’t matter if we see part or all of Serkis’s “real” face or body, or if that performance isn’t “pure.” What matters is the performance.
Clearly, performance capture is redefining what is acting, just like, historically, other technologies have challenged our notion of acting and performance. Think how special makeup made the Tin Man “tin” in The Wizard of Oz. Or how prosthetics in The Elephant Man, The Mask or Mask enhanced performances. Or puppetry (Yoda) or costumes (Darth Vader or C-3PO). Here’s another example: as the serial killer Hannibal Lecter in The Silence of the Lambs, Anthony Hopkins won a 1991 Best Actor Academy Award. It was a role he largely played behind glass, and behind a mask. Isn’t that much like playing behind the “mask” of digital enhancement?
Digital performances are simply another step in film’s ongoing evolution. No need to panic, Academy. They deserve to be recognized. If it makes an Oscar more palatable, give them their own category: “Best Performance-Capture Performance by an Actor in a Leading Role.”
The only question is, when the Oscar is someday awarded for a motion capture performance — and some day, it will be — does the actor accept the award solo? Or, accompanying him or her on stage, should there also be the team of animators, artists and technicians who made the entire performance possible?
Luckily, the Academy has time to revise its rules and get a second chance: Serkis will be reprising his role as Caesar in a Rise of the Planet of the Apes sequel.
'Jurassic Park' and 'Avatar' Visual Effect Artist to Display Work at St. Cloud State
(kstp.com) An artist who has crafted visuals for filmmakers like James Cameron, Steven Spielberg, and George Lucas will be displaying his work in an upcoming show at St. Cloud State University.
TyRuben Ellingson is one of the most sought-after technical artists in the film industry. He was the Effects Art Director of “Jurassic Park” and “Star Wars: Special Edition” as well as the lead vehicle designer on “Avatar.” He’s also a St. Cloud State alumnus.
The show will offer a look into Ellingson’s personal work along with pieces from ceramic artist Stephen Plantenberg. Plantenberg is a St. Cloud State alumnus and participates regularly with the Johanna Kiln, the largest wood-fired kiln in North America.
The exhibit will be up at the Atwood Gallery from March 31 through April 26. For more information, call 320-308-2205 or visit stcloudstate.edu/upb.
VIEW THE WALT DISNEY FAMILY MUSEUM INTERIOR
(samlanddisney.blogspot.com)One of the great things about The Walt Disney Family Museum is you are not bothered by people constantly taking flash pictures while you are trying to enjoy the various exhibits. However, one of the frustrating things is the inability to take photos of the beautiful interior. There is nothing quite like visiting the place and I strongly urge you to do so. If you cannot make it, you can order a splendid book online at waltdisney.org that will give you a sense of the place. So here I present, courtesy of the fine folks at the Museum, a selection of interior shots.
Photos - Take a look: http://samlanddisney.blogspot.com/2012/01/walt-disney- family-museum-interior.html
Bill Nighy Nasty Non-Human For "I, Frankenstein"?
(denofgeek.com) Actor Bill Nighy has revealed some tidbits of information regarding his character in next year's apocalyptic monster movie I, Frankenstein.
Nighy, no stranger to genre and fantasy films (Underworld, Pirates Of The Caribbean, Harry Potter), was interviewed on BBC Radio 2 and told Steve Wright that the story "Picks up where Frankenstein left off."
Nighy describes his character, unknown as of yet, as a "Nasty piece of work; one of the angels descended with Satan."
I, Frankenstein is based on the comic book of the same name from actor and writer Kevin Grevioux, also known for his role as Raze in the aforementioned Underworld movies. The comic book was released in 2009 and almost immediately optioned for the big screen treatment.
The production of I, Frankenstein hasn't been smooth, with original director, Patrick Tatopoulos (known for his design production on films such as Godzilla, Underworld, Dark City amongst many others), replaced by writer/director Stuart Beattie (Tomorrow, When The War Began, Australia, 30 Days Of Night).
On the cast front, I, Frankenstein boasts Aaron Eckhart (The Dark Knight), Miranda Otto (Lord Of The Rings) and Yvonne Strahovski (Sarah Walker from television's Chuck). Filming continues on the film in Australia, and it’s due for a February 2013 release in the US.
Wallace and Gromit's Nick Park Reveals First Animated Film - Shot at 13 & Featuring Characters Made From Mum's Sewing Kit
(thevideoanimationcompany.com)Loved by the nation, animated characters Wallace and Gromit have become household names.
Their creator, Nick Park, has received endless accolades for his four animated short films following the duo's hilarious escapades.
Here, he reveals the childhood influences that led to the birth of Wallace and Gromit and for the first time unveils his first ever animated film, Walter The Rat Goes Fishing.
It was the same routine every summer in the Sixties. As school broke up and the sun emerged, my family would depart our Lancashire home in an ancient Land Rover or beaten-up Ford van to go camping in North Wales.
Our spirits were high, but the journey was far from smooth. Inevitably we would break down, leaving me and my four siblings sitting at the roadside as our father Roger wrestled with whichever recalcitrant engine component had failed us.
For us, motor maintenance was as much part of a holiday as cloudy skies and ice-cream. Indeed, it was only in later life that we discovered most family getaways do not include compulsory vehicle repair.
VIDEO - Take a look: http://www.dailymail.co.uk/news/article-2091135/Wallace- Gromit-creator-Nick-Park- reveals-animated-film.html
The Price For a 30 Second Ad During the Academy Awards Increases To...
(ideaelevator.co)We're just a few days out from the Academy Awards so, naturally, there's ample buzz around the internet about what the celebs will be wearing on the red carpet, whether or not the "Best Picture" nominees deserve their accolades and, of course, Bill Crystal - whom many think is the best emcee to have ever graced the Oscar stage. The buzz that surprised me the most, however, was that the ad space for this year's Oscars sold much earlier than usual, and at a higher price.
The price for a 30 second ad during the Academy Awards increased from $1.5 million last year to $1.7 million this year (in 2008, pre-recession, 30 seconds during the Oscars went for $1.8 million). This is interesting because most of what you read about the Oscars is virtual "tomato chucking." People rant about the award show being over-hyped, way too long, dreadfully boring and need we mention last year's Anne Hathway/James Franco train wreck? Poking fun at the Oscars has become a sport, if you will, and the ratings are abysmal - having dipped more than 15% during the past five years. Regardless, companies in search of prime ad space continue to disregard the award show's decreasing popularity and drop the big bucks. But, if you think about it, this makes sense. After the Super Bowl, the Oscars is the only other "big night" on T.V. - millions of people gather together to sit in front of the television on the same day to watch the same thing, some people even throw parties, and hype about the Oscars begins well before the month of February.
This year, Hyundai takes the reins as the primary sponsor for the Academy Awards with a reported eight commercials to air during the show, joined by other big-buyers like Coca-Cola and JCPenney. A rep from Hyundai said that the Oscars is the perfect outlet to promote their snazzy new cars because they're looking to reach upper middle class females.
Who watches the Oscars? "An upscale audience that's 70% female." So, best of luck to those who purchased Oscar ad space!
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