(ropeofsilicon.com)
Over at Jim Sturgess Online they had a chance to speak with Jim Sturgess about several of his upcoming projects including the highly anticipated Cloud Atlas in which he will play multiple characters for directors Andy and Lana Wachowski (The Matrix) and Tom Tykwer (Lola rennt).
Previously, I previewed some quotes from Hugh Grant, Halle Berry and Ben Whishaw who co-star alongside Sturgess in the film, but this interview with Sturgess goes a bit deeper and it appears Sturgess will be one of the few actors to get a role in all six parts of the film with many speculating at least one of those roles being that of Adam Ewing, a character whose part in the story bookends the novel from which it's based.
The film is based on the novel by David Mitchell in which we meet a reluctant voyager crossing the Pacific in 1850; a disinherited composer living a precarious livelihood in between-the-wars Belgium; a high-minded journalist in Governor Reagan's California; a vanity publisher fleeing his gangland creditors; a genetically modified "dinery server" on death-row; and Zachry, a young Pacific Islander witnessing the nightfall of science and civilization. Also among the cast are Tom Hanks, Hugo Weaving, Susan Sarandon, Jim Broadbent, Keith David and James D'Arcy.
I've included Sturgess's comments relating to Cloud Atlas directly below and you can read the full interview right here where he also discusses Upside Down with Kirsten Dunset and Ashes.
Upside Down and Cloud Atlas, are both films that use green screen and CGI. What made working this way a challenge?
JS: You'd be surprised to hear that there really wasn't as much green screen as you'd think in either of those films. What tends to happen is that they build these incredible sets and there's normally a bit of green screen outside the window so that the animator can enhance and further the world outside. In that respect it really isn't that different. There's usually enough around you to help with your belief.
The time when a lot of green screen is used is when there's some big stunt or something like that. I remember in Upside Down having to do a scene with Kirsten [Dunst] surrounded entirely by green standing on a green box holding onto a green rope whilst pretending that people were shooting at us. Of course it makes it that bit harder when there really is nothing to react to but you just have to focus on the person you're working with and go with your imagination! It's very childlike and you just have to hope that some talented artist is gonna digitally create something impressive behind you!
Infact a lot of my experience in Cloud Atlas was quite the opposite. We filmed a lot on a ship that sailed through the ocean and when you're far out to sea like that and all dressed in period costume there really isn't much to tell you that you aren't living in the 19th century!
Cloud Atlas will hit theaters this year, but a firm release date hasn't been established yet though an October date has been discussed for some time.
Full article: http://www.ropeofsilicon.com/jim-sturgess-talks-about- working-on-the-wachowskis- cloud-atlas/
Hollywood Churning Out Effects-Laden Bible Epics
(jam.canoe.ca) Over the next year or two, expect to see several Bible epics on the big screen.
Director Darren Aronofsky is making a new, more muscular version of the story of Noah and his Ark; this Noah will star Russell Crowe as the old man in a boat and Liam Neeson is said to be taking some unspecified role (unicorn?) in the action.
Much has been made lately of news that Steven Spielberg may direct a Moses story called Gods And Kings for Warner Bros. His version of Moses will be a new, more muscular, testosterone-soaked take on the tale; comparisons to Braveheart are already being made and insiders say the film is to have the gritty reality of Saving Private Ryan. Saving Private Ryan had gritty reality? We must have been buying popcorn at the time.
In similar news, a new version of Goliath is on its way, which will star Taylor Lautner and Dwayne Johnson in the Biblical throw-down. This version of the David vs. Goliath tussle will be a more muscular, testosterone-soaked, action-packed, effects-laden, adventurous version of the original. The story is being described as a cross between 300 and The Terminator. Scott Derrickson will direct.
If you’re allowed to count stories from the Apocrypha, the books nixed from the Bible by Jewish sages, then make way for Mel Gibson’s movie about Judah Maccabee, the hero of Hanukkah. (It’s actually one of two planned films on The Hammer, so get ready.)
The biopic, to be written by Joe Eszterhas and possibly directed by Gibson, will celebrate the Jewish leader in a more muscular, testosterone-soaked, action-packed, effects-laden, adventurous, male-oriented, macho, head-bashing version of how Judah and the Jews, though outnumbered, ripped the lungs out of those Zeus-worshipping guys and left that magic lightsaber burning in the temple for eight days and nights!!!
It’s being compared to Godzilla vs. Mothra.
Sadly, because of Mel Gibson’s unfortunate, alcohol-fuelled anti-Semitic rants of the past, the Judah Maccabee movie is already creating controversy.
Nobody seems to mind that Eszterhas - the man responsible for Showgirls, Basic Instinct and Sliver - is the writer here.
32TEN Studios Announces Launch of Pre-College Summer Film Program
(shootonline.com)San Rafael, CA , March 26, 2012 | SHOOT Publicity Wire | --- 32TEN Studios, a stage rental and practical effects house headquartered at a historic soundstage location in Marin, CA, has launched a "Pre-College Summer Film Program." This new series of educational, hands-on gatherings has been carefully designed to help teach the art and craft behind the disciplines of film production and post production to the next generation of young filmmakers.
Concurrently, 32TEN Studios has named Vince De Quattro as Director of Artist Development. De Quattro will spearhead the new Pre-College Summer Film Program. The announcements were made today by Tim Partridge, President/CEO, 32TEN Studios.
The Pre-College Summer Film Program will be a two-week immersion into all aspects of digital filmmaking, held on the historic 32TEN Studios stage, as well as within the studio's new CG facility and state-of-the-art theatre. This series will take place between June 15-August 15, and will be comprised of four sessions of two weeks each, with 20 students in each two-week group. For a list of upcoming Summer Camp offerings, please click here.
Targeted to high school students aged 15-18 who are based in No. California, the program seeks participants with a passion for filmmaking who may be looking to apply to colleges with film or animation programs after graduating high school. These young filmmakers will collaborate to create a short film while learning from industry experts about the various roles available within the trade of film and feature animation production. Together with the support of their parents, who will be invited into discussions with the studio's industry experts, students will be able to explore the best educational opportunities that are available today within the world of film study.
Regarding the naming of Vince De Quattro to spearhead the Pre-College Summer Film Program, Mr. Partridge said, "Vince's clear vision and true passion for training and artist development made him the ideal choice to produce our summer camp series. Prior to his work as an educator, Vince spent many years working in visual effects for some of the top VFX companies in the world, so he knows exactly what it takes to succeed within that unique environment. Our goal is to make 32TEN Studios a center of learning within the Bay Area film community, and a major aspect of fulfilling this goal is to encourage, educate and train the next generation of young filmmakers. What better place to learn all of the intricacies of this unique art form than at the same site where the modern-day visual effects industry was literally born?"
Said Mr. De Quattro, "The modern entertainment industry requires that filmmakers maintain an appreciation of the story-telling form, while blending story and concept with technology, all within a collaborative environment. By immersing a select number of young people, if even just for a few weeks, within a highly creative support structure, we will teach them how to find the best information, make the best connections, and develop the best ideas in regard to creative storytelling. Our Summer Film Program will offer these kids a massive head start in choosing the best college, university or trade school for their early careers in the entertainment industry."
"We have access to dozens of the industry legends who have worked in the great facilities based in the Bay Area to meet with our Summer Film Program participants," De Quattro adds. "Many of these people have worked for ILM, Tippett Studios, Image Movers Digital, The Orphange, Colossal Pictures, Wildbrain Studios, and other renowned production companies. These experts will share their stories and processes with our summer camp students, while also providing guidance to them in their quest to become the next generation of noted Bay Area visionaries."
32TEN Studios provides its services to producers of major motion pictures, independent films, TV programs, commercials, industrials, web content and multi-media projects. 32TEN Studios is located at 3210 Kerner Blvd., San Rafael, CA, 94901. The phone is (800) 717 3210, and the website is: www.32ten.com . For more information, please send inquiries to contact@32ten.com.
Zooey Deschanel Enters The Sci-fi Time Continuum
(Variety)First announced earlier this year, Love Actually and Pirate Radio director Richard Curtis is venturing into science fiction with his own time-travel script, About Time. Now, Variety reports that Zooey Deschanel and Domhnall Gleeson are interested in starring.
Curtis' recent writing credits include Steven Spielberg's War Horse and -- in what could be considered a time travel crash course -- the 2010 "Doctor Who" episode, "Vincent and the Doctor," which guest-starred Curtis regular Bill Nighy.
Deschanel, who has starred in films like Yes Man and (500) Days of Summer, is currently appearing on television on the series "New Girl." Gleeson, meanwhile, is best known for his role as Bill Weasley in both parts of Harry Potter and the Deathly Hallows.
FX Behind The Scenes Images From ‘The Avengers’
(slashfilm.com)I’m hesitant to call the images in this post “Joss Whedon Porn” but I think I just did. Marvel has just released six images from behind the scenes of The Avengers, several featuring Joss Whedon interacting on set with stars such as Samuel L. Jackson, Mark Ruffalo and Chris Hemsworth. There’s even one of the writer/director himself, just hanging out with Captain America’s shield. The photographer knew what he was doing.
But that’s not all. You get a kick ass shot of Jeremy Renner‘s Hawkeye and even that cool Iron Man image. I can almost not believe this film premieres in two weeks and opens on May 4.
Thanks to Marvel for these images.
Take a look: http://www.slashfilm.com/check-scenes-images-the- avengers/
Axing Film Tax Credit Kills Saskatchewan Stop-Motion Animation Studio
(cbc.ca) A company that had been considering opening an animation studio in Dundurn, Sask., says they can't make a go of it without the province's film employment tax credit, a program that is soon to end.
The idea for an animation studio came from KarmaFilm, which was in Dundurn to make a vampire-based movie, Rufus.
The Saskatoon-based company proposed using the local curling rink for stop-motion animation projects.
However, Anand Ramayya of KarmaFilm told CBC News the studio won't work without provincial tax credit money.
"Basically without the tax credit we won't be able to function in the province at all," Ramayya said. "So we'll have to pull the project and we'll have to move elsewhere."
The mayor of Dundurn, Per Vinding, said the town was keen on the idea, especially the $2 million worth of economic activity associated with it.
"We'd like to see that go ahead," Vinding said. "They've come out and looked at it. They think they can make it work, and we think we can make it work. I think it's just a good thing for us."
However, Ramayya said the business model does not work without the employment tax credit.
"For the town of Dundurn, that means that this series — that could have been $2 million a year — with the production happening right in their home town and right in Saskatchewan, will just evaporate," he said.
Vinding said he remains hopeful the project could yet move ahead, noting that just a few weeks ago he would never have predicted the town would be the location for filming a vampire movie.
"To go from a vampire movie to an animation project, that's about as diverse as you can get," he said.
Vinding said the future of the film tax credit will be discussed at an upcoming meeting of town council.
Adobe Drops 32-Bit Mac Support With Photoshop CS6
(reviews.cnet.com)Last Wednesday Adobe announced the availability of the public beta for the Photoshop component of its upcoming Creative Suite 6 image manipulation and design software, which users can try before the suite is officially released later this year.
While past versions of Adobe's products have offered a decent spectrum of support for existing operating system and computing environments, new features and development directions in the program suite have had Adobe making some adjustments to the platforms that will support the new software.
Adobe Photoshop CS6 puts a major effort toward performance enhancements, primarily with the implementation of the new Adobe Mercury Graphics Engine, but in addition offering optimized and new 3D handling, quantitative analysis, and video manipulation options to the program suite.
To make the most of these features, Adobe built them using 64-bit code optimized for multicore systems, which therefore means the suite will run best on a fully 64-bit native Intel and AMD systems (all of which are multicore); however, Adobe is making Photoshop CS6 availabe in 32-bit versions for Windows XP machines, though some features will be limited on these systems. While these options are available for Windows systems, on Mac OS X Adobe is dropping 32-bit support altogether, and is opting to only make 64-bit code available to Mac users.
This means that even though the Windows version will run on older Core Duo processors that were available in the first Intel-based Mac systems, the OS X version will not. In addition, any 32-bit plug-ins and other compatibility options for the program will no longer work, and will require updating to run properly with the software.
Wrath Of The Titans Director Discusses Doing CG Right
(cinemablend.com)It ain’t easy getting work in this industry, especially a film like Wrath of the Titans, but boy did director Jonathan Liebesman take on, well, a monster. While Clash of the Titans went on to make a killing at the box office, $493.2 million worldwide, many moviegoers weren’t particularly happy with the experience. In a way, not only is Liebesman responsible for making his own movie good, but also for making up for the last one a bit.
Sam Worthington is back as Perseus, who is now a father. With the gods’ power waning, Zeus (Liam Neeson), Hades (Ralph Fiennes) and Poseidon (Danny Huston) are unable to maintain control of the Titans and, led by their once banished father Kronos, they threaten humanity yet again. Perseus has no choice, but to leave his son and quaint life as a fisherman behind to go head to head with some of the most vicious monsters of the underworld.
Kronos, Chimeras, Cyclopes, explosions an ever-changing labyrinth, some of the most prominent actors in the business, an extra dimension and more – forget the franchise’s past; Liebesman had his hands full regardless. Now, in honor of Wrath of the Titans’ March 30th release, Liebesman took the time to sit down and run through the entire process from the preparation needed to do 3D right to the steps to making the real world elements blend with those digitally created and much more. Check it all out in the interview below.
How do you go about blending the real people with all your digital monsters?
If you want effects to work, they have to interact with the world and the characters as much as possible, so what you’ll do is set charges on trees that’ll blow a tree up and then the animator has something to interact with and it’s always gonna look real. With the Chimera running through a village, you’re blowing up walls and stuff. And also, Sam is excellent at creating things. There’s a shot where the labyrinth is coming apart and reconfiguring, and Sam’s looking all over the place and that’s giving everyone cues to do things. If the actor’s not giving you that, it’ll never seem real. It’s a lot of how you light a scene. I like hard sunlight on CGI because it blows out the highlights. When you design a creature, make sure the textures you’re picking for them are textures that computers render well. That’s why Transformers looks so good, because steel and plastic is very easy to render with CGI whereas flesh and biological stuff is difficult. So it’s just a lot of making decisions to make your life easier.
Speaking of that labyrinth scene, you’ve got one shot during the reconfiguration where it looks like a piece of the set legitimately slid under Sam’s feet. Is that practical at all?
That’s CG. That’s all CG. That was what blew me away. You want to know the one which really blew me away was where Bill Nighy is doing that thing with the door [mimics motions of Nighy grabbing portions of the door], the door isn’t there and I was like, ‘Holy shit.’ That, to me, blew me away when I started seeing those dailies. He’s just doing this to green blocks and they rendered it so photo-realistically, I was like, holy shit, I should have made like a door monster or something. [Laughs]
How was it working with guys like Bill, Liam and Ralph? You’ve had great casts before, but these guys are some really heavy hitters.
Fantastic. These guys are incredible and you feel stupid directing them because they’ve been directed by like geniuses in genius movies and you feel not worthy and stupid, like you’re gonna fuck their career up.
Was there ever an awkward moment, like maybe the first day you were directing them, and you just didn’t know how to do it?
There’s always awkward moments, but, as the director, you must always pretend you know. Even when they go, ‘That’s a stupid idea,’ you’re like, ‘It’s a joke guys. Calm down. Did you think I’d really ask you to do that?’
Does that trick work on a set with hundreds of crewmembers and extras?
Always. Always works. ‘Guys I was just joking. Come on! We don’t have to do this,’ you know? [Laughs]
What’s the hope from here with this movie? I assume if all goes to plan, there’ll be round three.
I hope it makes some money!
Is there any option in your agreement to return?
No option in my agreement, but I hope it makes a lot of money and they want to keep going. That’s up to them, not to me.
Base FX Impact Chinese Movie Sector
(chinadaily.com.cn)Christopher Bremble keeps a very busy schedule every day, from holding meetings to negotiating with his clients. His decision to start a visual effects company in China six years ago proved quite right, as can be seen from the number of deals China's flourishing film industry has brought his company.
Established in 2006, Base FX is a visual effects company located in Beijing's Sanlitun area. Bremble, its chief executive officer, comes from the United States and used to work in Hollywood, while 95 percent of its team is Chinese.
Base FX impact Chinese movie sector
A visual effect by artist Matthew Albanese using spices, cotton wool and grout. Domestic movie directors and investors are now attaching increasing importance to visual effects and are willing to pay more for them. [Photo/China Daily]
The studio is currently working on 14 film projects, among which six are domestic productions.
"We are always trying to increase the portion of Chinese films, because I want to localize my company," said Bremble. The proportion of domestic films among its film clients has grown close to 50 percent from about 20 percent when it was set up.
As a visual effects provider which has worked with Chinese directors including Zhang Yimou, Chen Kaige and Gordan Chan, Base FX has witnessed the change in the Chinese movie industry's investment in post-production.
"The budget for visual effects is going up 30 to 40 percent each year, while the demand for it is increasing 50 percent, making it difficult to satisfy the hunger," said Bremble.
Directors always want a lot while the producers say there is a limited budget, so Bremble's job is to use all the available resources in a cost-effective way.
"Domestic investment in this field generally varies from hundreds of thousands of yuan to millions of yuan," said Xie Ning, vice-president of Base FX.
The cost of visual effects in Chinese movies takes up just 5 to 10 percent of the total budget, far less than that in Hollywood productions, where it usually ranges between 15 and 30 percent, sometimes even rising to 80 percent, as it did for the blockbuster Transformers.
However, there are some exceptions in China, such as Feng Xiaogang's Aftershock in 2010, a blockbuster that took in 660 million yuan ($105 million) at the box office. Its visual effects cost 30 million yuan, accounting for more than 15 percent of the whole investment, said Wu Yan, general manager of Technicolor (Beijing) Visual Technology Co Ltd, a joint venture that took part in the film's visual effects production.
"In China, the film industry is still very much a star-based film industry, and the visual effect is just a tool, playing the supporting role," said Bremble.
"But in the West, it plays a primary role. Hollywood movies' ambitions are more global, and visual effects help to translate them to every market."
As the industry is just in the initial stage of development, the mechanism for undertaking the film visual effects business is different from that in Hollywood.
Since most Chinese directors and producers don't have much idea about this field, including how it works and the advantages of different visual effects studios, the modus operandi is that film producers outsource the total work to one company. In comparison, in Hollywood, film producers are in charge of the distribution of visual effects work, so they directly contact several studios, allocating specific work to specific visual effect providers, since they know exactly what their strengths are in terms of skills, according to Xie.
"For us, we would consider outsourcing part of the work to overseas studios on the condition that the budget allows this, and the technology required is more than we could afford," said Wu.
"The current problem for the industry is the shortage of professionals with experience in this field," Wu said.
He added that while the gap in technology can almost be ignored as it's not difficult to overcome, finding people with the skills to operate the equipment is what matters most.
Bremble and his team at Base FX have conducted lectures at Chinese universities and colleges over the past 18 months, including China Academy of Art, Huazhong University of Science and Technology and Northeastern University.
In the talks to students on animation, Bremble and his team sought to outline what Base FX does and the requirements of the industry.
"Getting young people excited about what we do and understand the industry, as well as training those who show potential to be creative professionals are the two major challenges facing us," Bremble said.
Although China's movie post-production market is not growing as fast as that of the whole industry, it is developing steadily as growing numbers of directors and producers want to add visual effects to their work, Wu said.
In terms of the prospects for making money in the field, both Xie from Base FX and Wu from Technicolor said that they currently just break even, as the profits they earn from projects are soon reinvested in the renewal of equipment and upgrading technology.
"I am rather positive about the industry's future in China, because, with the maturing of the market, investors will be willing to put more capital into visual effects," Wu said, "And then everything will be different."
"The Dark Knight Rises" Most Anticipated Superhero Movie of the Summer
(sfgate.com) Movie fans have named The Dark Knight Rises as the most anticipated superhero movie of the summer, according to a poll for games and entertainment site, IGN.com - one of the most visited websites for men aged 18-24.
Ahead of the biggest-ever blockbuster summer for superhero movies, more than half of the 53,000 fans polled picked the new Batman flick, as ensemble movie The Avengers came in second with 17,000 votes. The Amazing Spider-Man reboot took just 5,000 votes, less than 10% of the total.
Fans are also excited about the characters in the new Batman movie; when asked which they were most excited to see, Tom Hardy's Bane from The Dark Knight Rises was a clear favorite, pulling in more than half of the votes, followed by Anne Hathaway's Catwoman. Mark Ruffalo's Incredible Hulk and Rhys Ifan's Lizard rounded out the top choices.
Rounding off a perfect sweep for DC & Warner Bros, The Dark Knight Rises Director, Christopher Nolan was a clear pick for 'favorite Comic Book movie maker' capturing an incredible 80% of the vote, leaving The Avenger's Joss Whedon and The Amazing Spider-Man's Marc Webb in his wake.
"The appetite for Batman and The Dark Knight Rises is enormous, and the level of anticipation for this film could not be higher," said Chris Carle, Entertainment Editorial Director of IGN.com. "It's Nolan's last in the series, and the sequel to one of the highest grossing films of all-time, so the hype isn't unexpected."
Summer 2012 will be one for the fanboy books, with three of the most hotly anticipated comic book movies ever coming to the big screen. First, Marvel's ultimate team-up film arrives when The Avengers assemble on May 4. Then Spidey himself is reborn as The Amazing ASpiderman spins into theaters July 3. And finally, completes his Bat-trilogy when The Dark Knight Rises arrives on July 20.
George Lucas: Art-house Director?
(gointothestory.blcklst.com) A long time ago, in a galaxy that had never seen Star Wars, George Lucas was an art-house filmmaker. Now, through the wonders of cyberspace, you can watch most of his early shorts online.
VIDEO - Take a look: http://gointothestory.blcklst.com/2012/03/george-lucas-art- house-director.html
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