(The British Academy of Film and Television Arts) The British Academy of Film and Television Arts announced their 2011 Orange British Academy Film Awards (BAFTA) Nominations with Michel Hazanavicius' The Artist leading the pack with 12 nominations, followed by the adaptation of John Le Carré's Tinker, Tailor, Soldier, Spy with 11, Martin Scorsese's Hugo with 9, and My Week with Marilyn with 6.
Alexander Payne's The Descendants, Nicolas Refn's Drive and Tate Taylor's The Help join The Artist and Tinker, Taylor, Soldier, Spy in the Best Film category, though neither Payne nor Taylor received nominations in the directing category, replaced by Scorsese and Lynne Ramsay for We Need to Talk about Kevin.
SPECIAL VISUAL EFFECTS
THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN Joe Letteri
HARRY POTTER AND THE DEATHLY HALLOWS – PART 2 Tim Burke, John Richardson, Greg Butler, David Vickery
HUGO Rob Legato, Ben Grossman, Joss Williams
RISE OF THE PLANET OF THE APES Joe Letteri, Dan Lemmon, R. Christopher White
WAR HORSE Ben Morris, Neil Corbould
ANIMATED FILM
THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN Steven Spielberg
ARTHUR CHRISTMAS Sarah Smith
RANGO Gore Verbinski
Full nominations: http://www.comingsoon.net/
Weta in Spotlight Again After Golden Globes Win
(radionz.co.nz) Weta Digital is in the spotlight again after The Adventures of Tintin won the best animated feature film award at the Golden Globes in Los Angeles.
The movie, directed by Steven Spielberg and produced by New Zealander Sir Peter Jackson, uses the Wellington based company's designs and digital work to bring comic book characters by Herge to life.
It is the first film in a proposed trilogy about Tintin, a young Belgian reporter.
The award was presented to Spielberg in Beverly Hills on Sunday.
''A lot of good animated films were nominated and you just never know,'' Weta senior visual effects supervisor Joe Letteri told Radio New Zealand's Summer Report.
''I thought it (Tintin) deserved it and I'm glad it won.''
Letteri has already won four Oscars for his work on Avatar, the Lord of the Rings trilogy and King Kong.
New San Rafael FX Company, 32Ten, Rises
(Variety) Name of the new outfit comes from the location: 3210 Kerner Blvd. in San Rafael, Calif. Address was previously home to Kerner Optical, and before that was the longtime location of Industrial Light & Magic. ILM left the location when it spun off its model shop and moved its digital vfx operation to a new HQ in San Francisco's Presidio.
Tim Partridge, who was most recently at Kerner Optical overseeing practical effects and 3D, will be president of the new entity. He said the entity is "completely employee owned, and the intention is to keep it that way."
Greg Maloney is chief operating officer. Greg Beaumont is head of the camera engineering department. Head of IT is Scott Smith. Geoff Heron ("Terminator Salvation") is practical f/x supervisor.
They are the only permanent staff right now; company will ramp up staff as it gets work, but Partidge told Variety "I need to keep it lean and mean. I'm going to keep the overhead to a minimum while employing as many people as possible.
The core facility for 32Ten Studios is a soundstage 81 feet wide by 83 feet deep, with a giant greenscreen. Company is already in talks to provide practical effects on two projects. Unlike its predecessor, Kerner Optical, it will offer digital visual effects as well as practical f/x and model/minature f/x.
Kerner Optical began as ILM's original models and miniatures shop, the unit that created the effects for the original Star Wars pictures and other classic titles before computer graphics took over most f/x work.
After ILM spun it off, Kerner tried a series of high-tech initiatives, but it failed last year amid recriminations among its current and former owners -- who included a convicted pyramid scheme operator -- and accusations of mismanagement and criminality. (Daily Variety, Sept. 30, 2011)
Company will bid for commercials, features, television, new media and any other available work.
"It is all about the community," said Partridge. "I've been up in that area now for two years and got to know the workers who do this stuff. And there really is a sense of Northern California in the film industry. It lacks a hub and I'm hoping we can become that hub, attracting other companies to that complex.
Website: http://www.32ten.com/
New Mexico Film Office Announces Start of The Lone Ranger
(State of New Mexico , On Location Vacations) Governor Susana Martinez and the New Mexico Film Office announced that principal photography will start on Gore Verbinski's The Lone Ranger in February and will run through August:
Governor Susana Martinez and the New Mexico Film Office announced today that Walt Disney Pictures and Jerry Bruckheimer Films' The Lone Ranger, directed by Gore Verbinski and starring Johnny Depp, will begin principal photography in New Mexico in February 2012, with production planned in and around Albuquerque, Santa Fe, Shiprock and other locations around the state through the middle of August 2012.
"The Lone Ranger is proof that New Mexico’s film industry is alive and well," said Governor Martinez. "This administration is committed to fostering productive relationships with film studios so we can continue to offer our talented workforce and breathtaking backdrops for major productions. As we continue to build upon our reputation as a premier film production center, we are pleased to welcome The Lone Ranger to our state."
State and local officials have been working with the Walt Disney Studios for over a year to bring the project to New Mexico.
"We couldn't be happier to bring The Lone Ranger production to New Mexico. The state's world-class crews, local talent and spectacular locations will be critical in helping us take this iconic story and legendary characters to new heights," said Jerry Bruckheimer, Producer.
"I'd like to thank Governor Martinez, the New Mexico Film Office, and the people of New Mexico for welcoming The Lone Ranger to your state."
"We welcome The Lone Ranger to Albuquerque," said Albuquerque Mayor Richard J. Berry.
Armie Hammer, Ruth Wilson, Dwight Yoakam, Helena Bonham Carter, James Badge Dale, Barry Pepper, Tom Wilkinson and James Frain will co-star in the adaptation that is scheduled to hit theaters on May 31, 2013.
Pixar’s Awards Hopes May Lie With its Short Film, Not ‘Cars 2’
(latimesblogs.latimes.com)
That doesn't bode well for the John Lasseter-directed sequel to the 2006 film about race car Lightning McQueen (Owen Wilson) and the friends he makes in the little burg of Radiator Springs, given that the Golden Globe winner for animated feature has been repeated at the Academy Awards for the past four years (with all Pixar films).
If the trend holds, that means “Tintin” will take home Oscar gold.
“Sequels, I think, have a harder time [winning awards]," Lasseter told 24 Frames on the red carpet at the Golden Globes on Sunday. "But every sequel at Pixar is something totally different, and it’s as good or better than the original.”
That certainly was true with “Toy Story 3,” which last year earned an Oscar and a Golden Globe for animated feature, in addition to a best picture Oscar nomination. But “Cars 2” — which has a Rotten Tomatoes rating of just 39% fresh — hasn’t won over audiences and critics as easily as the 2010 threequel.
This time around, Pixar's best Oscar hopes might lie in the animated shorts category, where its seven-minute film “La Luna” has made the shortlist. (Nominations will be announced Jan. 24.) Lasseter said when the short’s director, Enrico Casarosa, pitched him the idea for the mystical coming-of-age story, “It had this magic to it. I knew it would be so special.”
“We love making short films at Pixar,” he added. “They're these labors of love, these artists’ little visions, and they’re these beautiful little things. It’s not corporate filmmaking. It’s an artist really bringing something to life at Pixar.”
Casarosa felt similarly about Pixar shorts, as he told 24 Frames last month that the “La Luna” production “felt like a small studio inside a bigger one.”
“La Luna” qualified for Oscar consideration during its festival run and will screen in front of Pixar’s 2012 feature film “Brave,” which hits theaters June 22.
The animation studio chose “La Luna” over its two 2011 shorts featuring “Toy Story” characters to submit for academy consideration. But that doesn’t mean Pixar has outgrown Buzz and Woody — Lasseter told 24 Frames that more shorts with the beloved characters are on the horizon.
“We got some more in the works. We love those characters. We just want to keep bringing them to life,” he said.
James Cameron's Visual Effects Supervisor Circling A Tornado Thriller
(cinemablend.com)
Still, if you are going to go ahead with a weather-related spectacle, you best hire a visual-effects wizard like Quale to make the wind and rain as believable (and terrifying) as possible. Vulture says Quale’s close to signing on for Category 6, a “found footage” thriller in the format of Matt Reeves’ Cloverfield. The story would follow a group of high-school teenagers who document the tornado that blasts their town.
This isn’t Quale’s first full-fledged directing gig. He helmed last summer’s Final Destination 5, which actually generated buzz for its creative kills and translated positive momentum into $42M in domestic box office ticket sales.
But it’s his tutelage under James Cameron on Avatar and Titanic that makes him an interesting choice to manage an effects-driven disaster picture. I’m not sure I need it to be a “found footage” picture. That genre seems to be on its last legs creatively, and we still have a handful of pictures on the slate for that format (including a fourth Paranormal Activity film and the superhero picture Chronicle). But adding a few flying cows and luring Twister legend Bill Paxton for a cameo will go a long way toward changing my mind about this developing project. “The extreme! IT'S THE EXTREME!”
Macedonian CGI Company Works on Hollywood Project
(emg.rs) "Sid The Super Movie" - an animated film produced by the Jim Henson company - is the latest project and achievement to be added in the CV of Macedonia's computer graphics (CG) company, FX3X. The film is expected to be premiered this summer.
FX3X has entirely taken over the production of animated scenes to be featured in the upcoming project of the company bearing the name of the creator of world-famous "The Muppet Show".
FX3X CEO Kristijan Danilovski has said that "Sid The Super Movie" is the biggest animation project of the company and the biggest of its kind in Macedonia ever. It is one of the several movies due to be created by the company and premiered in 2012 - the year that marks 15 years since the establishment of FX3X.
"This is so far the biggest animation project that is being worked on in Macedonia, more complex than the previous one 'Holly and Hal:An Uplifting Christmas Adventure'. It has allowed us to improve our work and the size of our team. The trust gained by the Jim Henson company is a recognition of company's quality and confidentiality," Danilovski has said.
Special preparations took place in August 2011 in Hollywood with the Jim Henson company prior to establishing collaboration.
FX3X has been selected among companies from China, India and Europe for its quality, effective work and knowledge of modern animation technologies.
FX3X's 15th jubilee could be a vital milestone if "Transformers: Dark of the Moon" is shortlisted for an Oscar for visual effect by the US Film Academy, because some of its visual effects were developed by the company. FX3X has also worked on "Sherlock Holmes: A Game of Shadows", which is being screened in cinemas worldwide.
The Macedonian company made its Hollywood breakthrough in 2004 after being hired for Martin Scorsese's "The Aviator". Other successful projects included the TV show "The Path to 9/11" - for which FX3X earned an Emmy nomination - and "The Golden Compass".
In 2011, the company was proclaimed an European champion in entrepreneurship.
Fox Has Shot "Deadpool" Test Footage
(darkhorizons.com)
“They’ve got a great director on the movie, they’ve got a great script. I may or may have not seen some sort of test of footage that would blow your mind if you saw it and go holy crap and that’s Deadpool in costume. Katana swords, guns, shooting people’s faces off and making me laugh" says Liefield about the project which still has Ryan Reynolds attached to reprise the role and Tim Miller slated to direct.
Liefield goes on to say "I may or may not have seen something that looks just like that. And you’ve got what would amount to the first R-rated X-Men movie. Because that script is R-rated… They may or may not have wanted to shoot eight minutes to see how it would play. And all I can tell you, it’s close. It’s closer that it’s even been to going, or going Naaah, that’s too scary a proposition to make an R-rated Deadpool movie."
Framestore Delivers Equine Digital Doubles for War Horse
(btlnews.com) Spielberg remained adamantly opposed to the use of digital horses until the tank-jump sequence. The shot as captured in camera simply wasn’t working, a fact remarked on a couple of times by Spielberg during reviews.
Ben Morris, Framestore’s VFX supervisor put his Framestore team on it, and soon presented Spielberg with a new CG steed. Impressed, the director asked where the footage had come from and Morris finally revealed its digital lineage. With a shot that finally worked, Spielberg okayed it.
A digital horse was also used for a shot in a sequence that follows the tank jump, where Joey runs alongside a trench before attempting to leap over it, dropping short and crashing into the sandbagged side of the trench and collapsing down into it. The leap and crash were impossible to safely stunt with a real horse. Tank-jump and trench-jump sequences were animated by Stuart Ellis and Laurent Benhamo respectively, working under animation supervisor Kevin Spruce, and both spent much preparation time researching their horses in books, on film and even with a visit to the stage version.
“Horses are a very pleasurable thing to animate,” said Ellis, “They move beautifully, they always look good. But in cycle animation, there’s often a tendency to over-exaggerate the up and down of the character and to not really communicate the weight, they’re just too bouncy. We nailed that, I think, and also what we managed with the head – the pushing forward and out as they gallop – was great.”
“The big challenges were the necessity of absolute reality, and the level of detail that this entailed,” said Benhamo. “Nostril flare, vein pulse, skin slide – it all had to be spot on. With such a small number of shots to develop, our animation, modeling and rigging departments – working under the film’s overall CG supervisor, Mike Mulholland – were able to work very closely together throughout the project, and I think that shows.” The animation team used both Maya and Houdini to get their horses up and running.
Watch ILM on the Making of Rango’s Characters
(cgchannel.com)
That tidbit is just one of a number of nuggets of information revealed in a new ‘Behind the Magic’ video discussing the movie’s character development process, and featuring VFX supervisor Tim Alexander and model supervisor Geoff Campbell.
Aside from the interviews, it’s well worth watching for the glimpses of the gorgeous 2D character reference art – and, at just four minutes, fits easily into a coffee break.
VIDEO - Take a look: http://www.cgchannel.com/2012/
Motion-Capture Wizard: The Dragon Smaug "Will be Extraordinary"
(mtv.com)
When Serkis took some time to chat with MTV News' Josh Horowitz, he refused to give any clue what the legendary dragon Smaug might look like on the big screen. "I can't give any secrets away, none of those trade secrets," Serkis said. "I can't say that because actually it's still under wraps."
In "The Hobbit," Serkis reprises the role that made him a capture-performance all-star: Gollum. Additionally, he will step behind the camera as the director of the films' second unit.
An iconic character in J.R.R. Tolkien's mythological world, Smaug is the impetus for all of the action in Peter Jackson's upcoming "Lord of the Rings" prequel, "The Hobbit: An Unexpected Journey." Such a revered character is bound to come with a high level of security.
Serkis suggested that there might be more to his own secrecy than just avoiding spoilers. According to the actor, Weta Workshop is still working on the creature's look. "It's still a very secret character that is very closely safeguarded, and it's still in the design process," he said.
The little we do know about Smaug is more than enough to get us excited. Benedict Cumberbatch will voice Smaug in "The Hobbit" before going where no man has gone before as the villain in J.J. Abrams' next "Star Trek."
Serkis said that with Cumberbatch as Smaug, audiences certainly have something to look forward to. "With an actor like Benedict Cumberbatch playing him, it will be extraordinary," he said.
George Lucas Sees 'Red Tails' Sequels
(movieswithbutter.com)
Don't expect Lucas to be involved in the sequels though. When asked if he'll "oversee" the sequels, he answered no.
That's not such a bad thing, really. Lucas is better as a producer and as an ideas guy anyway. The fact that he didn't direct Red Tails himself, a movie he poured either $58 million or $93 million of his own money in, speaks volume about the respect he has for the material (he did do the reshoots though). And Lucas is a busy guy. He has company to run and lots of projects in development like Indiana Jones 5.
Nearing the age of 70, the window to see another movie directed by him is getting smaller though. It's not a matter of can he, but will he. Does he still have it in him to spend years working on just one movie?
If he does make a movie in the future, don't expect it to entertain you. He said having finished up Star Wars, he will now only make movies for himself and not "have to worry about entertaining people."
Red Tails is directed by Anthony Hemingway and stars Cuba Gooding Jr., Terrence Howard and Ne-Yo. As mentioned above, the movie will be out in theaters on January 20, 2012.
Watch Andy Serkis in 'Rise of the Planet of the Apes' Without VFX
(firstshowing.net)
And if that wasn't enough, James Franco, who shares the screen with Serkis in the film, recently wrote a piece about why the motion capture actor deserves to be honored. To begin with, Franco states flatly, "Andy Serkis is the undisputed master of the newest kind of acting called performance capture,' and it is time that Serkis gets credit for the innovative artist that he is." But the more important point he makes is that motion capture performances aren't much different than those done by actors with heavy amounts of prosthetic make-up which also help bring a character to life. Franco explains and elaborates how important it was for him to have Serkis acting opposite him on set, and also how the visual effects should not overshadow a truly great performance:
""For years computer technology forced actors to act opposite tennis balls if a movie wanted to have CG creatures, but now the process has come full circle so that actors playing CG creatures can perform in practical sets, just like the 'human' actors. In acting school I was taught to work off my co-stars, not to act but react and that was how I would achieve unexpected results, not by planning a performance, but by allowing it to arise from the dynamic between actors, and on The Rise of the Planet of the Apes that’s exactly what I was able to do opposite Andy as Caesar. And Andy got to do the same because every gesture, every facial expression, every sound he made was captured, his performance was captured.
Then, what the Weta effects team did was to essentially “paint” the look of Caesar over Andy’s performance. This is not animation as much as it’s digital make-up.' There are plenty of Oscar winning performances that depended on prosthetic make-up to help create the characters: John Hurt’s in The Elephant Man, Nicole Kidman’s in The Hours, Sean Penn’s in Milk. Those actors depended on make-up artists to augment the look of their characters, but the performance underneath came solely from the actors. Well, that’s exactly the same position that Andy is in, his problem is that the digital 'make-up' is so convincing that it makes people forget that he provides the soul of Caesar. That soul, the thing that was so compelling about that film, came from Andy, and the way he rendered that soul is of equal importance, if not more important than the photo realistic surface of the character.
It's quite a compelling piece of writing (you can read it in its entirety at Deadline), and should convince any naysayers that Andy Serkis is indeed worthy of at least an Oscar nomination. Between that and the video above that shows Serkis pouring his heart and soul into the performance like any actor would who isn't covered in technology and later visual effects, I will be absolutely flabbergasted and disappointed in the Academy if a nomination does not come to fruition. Just like the Oscar campaign has said, the time is now to honor an actor like Andy Serkis for his revolutionary and awe-inspiring work.
VIDEO - Take a look: http://www.firstshowing.net/
The Adventures of Tintin Exposes Hollywood's Design Credit Dilemma
(variety) A heated dispute within the Art Directors Guild over a credit on "The Adventures of Tintin" has exposed a long-simmering debate over the title of production designer vs. art director while also raising questions about the changing role such artists play in a filmmaking process making ever greater use of digital tools.
On Jan. 3, when ADG released its nominees for excellence in production design in 2011, it recognized an individual for each film, TV show and commercial on the list -- except for "Tintin," one of the five nominees for fantasy film and now a Golden Globe winner. For the Steven Spielberg movie the potential honoree was designated as TBA because no production designer was on the film's credits. "We were looking for who was responsible but couldn't get that info," said ADG prexy Tom Walsh.
Following inquiries, the producers -- who include Spielberg, Peter Jackson and Kathleen Kennedy -- picked Kim Sinclair, referred to in the production notes as visual effects art director, as the person most responsible for the look of the film. As a result, Sinclair is the only art director on this year's ADG's noms list; the other 44 nominees are production designers.
At issue here is that a guild that in name is formed of art directors presents awards to its members for "production design," while the Academy often gives awards for "best achievement in art direction" to those same individuals.
"It's confusing to the industry and the audience that the Academy still chooses to award best art direction to the production designer, and it undermines the director and the producer when the production itself is not clear on the roles," said Alex McDowell, production designer on the upcoming "Man of Steel."
The quandary has historical roots. In film's early years, art directors designed a pic's overall look. Then, on "Gone with the Wind," David O. Selznick agreed to give his art director, William Cameron Menzies, the more all-encompassing title of production designer. Today, production designers are the acknowledged department heads to whom art directors, set decorators and others report.
The producers' designation of Sinclair rankled some guild members because "ADG takes the view that every film should have a production designer," said a person close to the guild.
McDowell added that animated films and those created via performance capture ("Tintin" falls in both categories) should also have a production designer. "The production designer's primary role does not change because of the methodology of the film," he said. "Animation and vfx films have all the same conditions as in-camera films; they're based on real physics, every surface needs to be designed and defined… and they require environments and characters that need to be defined and designed."
McDowell is not alone. "I can't imagine making an animated film without somebody in a production designer role," said Yarrow Cheyney, who had the credit of production designer on the animated "Despicable Me." "If they're fulfilling the role, their credit should reflect that."
Some production designers think their guild should do more to clarify the roles of its members. "Perhaps if ADG were completely clear in its categorization of the art department and its hierarchy, our union would be called the Production Designers Guild," said Scott Chambliss, production designer on "Cowboys and Aliens," who also got an ADG nom in the fantasy film category. "Then the guild would be much less likely to find itself in the baldly embarrassing position of its membership nominating a film for excellence in production design that had no officially designated production designer."
Such a move, added Chambliss, could spur the Academy to end the practice of "giving an award for best art direction to a production designer and a set decorator, but not to an art director."
As for "Tintin," the trio that worked on its design -- vfx art director Sinclair and art directors Andrew Jones and Jeff Wisniewski -- previously collaborated on "Avatar" and imported many of the digital tools from Jim Cameron's opus to Spielberg's work. Many production designers think that in addition to updating its terminology, ADG needs to continue to educate its members on new technology because production design is now often part of a complicated process that includes previsualization and vfx, and the disciplines can't be separated from each other.
"The moral of this story is that these hybrid films reinvent the roles," Walsh said. "This year we put out a film for first ballot with TBD as designer. I assure you we won't go down that path again."
Elevation Talent Agency signed editor Matt Garner ("Butter"), line producer Susan Leber ("Margin Call") and makeup artist Emily Ansel ("Keep the Lights On").
Digital Domain Inc Rated Buy with Price Target $9
(gainerstoday.com)
Since then, Digital Domain Media Group Inc has lost 4.58% as of 01/13/2012's recent price of $5.84. If you would have followed this Maxim Group's recommendation on DDMG, you would have lost 4.57% of your investment in 8 days.
Don’t Forget About Make-Up
(tetonvalleynews.net)
Western culture seems obsessed with the technical aspects of visual entertainment.
The film and television industry would have viewers believe higher digital picture quality equates to a more pleasurable viewing experience.
Regardless of whether that’s true or not, the result is 3D movies, massive HD televisions, and people buying cell phones based on video quality rather than cell reception.
We’ve become accustomed to the fantastic, even impossible realism brought to film by digital technology. We’ve begun to expect it.
The term “movie special effects” is now all but synonymous with CGI effects; despite the fact movie special effects long predate computers.
I count myself among those obsessed with visually spectacular digital special effects.
As nerdy as it sounds, I’ve long considered digital special effects to be one of the greatest advances of the last century. Films like “Avatar,” and “Transformers,” literally filled me with wonder.
An unintended consequence has been that I’ve become so accustomed to digital special effects I actually started to look at other types of special effects as cheap knockoff artwork.
Something happened the other day which made me rethink that stance.
I had the opportunity to interview Rayce Bird, a brilliant young artist from Shelley Idaho. Bird specializes in tattoo artistry and mask design. His artistic ability recently landed him on a rather unique reality show on the SyFy Network.
“Face Off,” which premiers this Wednesday, is a special effects contest.
There are no computers in “Face Off” though, as this show is all about CGI’s elder cousins “make-up” and “costumes.”
Bird explained the way outlandish characters are conceptualized and created. Make-up artists begin with sketches and plaster molds are made. The molds then create unique prosthetics, which are pasted onto an actor.
Only then does the body painting begin. It’s a process which can take days.
I watched a screening of the show’s season premiere and saw as Bird and his teammate’s recreated characters from “The Wonderful Wizard of Oz.”
I was impressed by the efforts of the cast, but eminently more impressed with the end results. The make-up artists created out of this world characters which looked as real and life-like as something I’d expect was made on a computer.
I’ll admit my faith in the supremacy of CGI was severally shaken.
“Face Off,” also proved to be one of the very few reality shows I found myself absolutely glued too. These contestants have a very unique gift, which people rarely get to see. That alone makes this show worth watching.
If that’s not reason enough, the premiere also gives viewers a sneak peek into the make-up artistry behind “The Hunger Games,” which looks absolutely amazing.
In all, I remain a strong proponent of CGI special effects; however, I shouldn’t have discounted the efforts and creativity of Hollywood’s make-up artists.
After all, filmmakers have been using make-up special effects to wow audiences for decades.
DreamWorks Animation (DWA) Downgraded by Goldman Sachs (GS) to “Sell”
(localizedusa.com)
Separately, analysts at Zacks Investment Research downgraded shares of DreamWorks Animation from a “neutral” rating to an “underperform” rating in a research note to investors on Wednesday, December 28th. Analysts at Wedbush reiterated a “neutral” rating on shares of DreamWorks Animation in a research note to investors on Wednesday, December 21st. Also, analysts at Piper Jaffray (NYSE: PJC) cut their price target on shares of DreamWorks Animation to $20.00 in a research note to investors on Monday, December 5th.
Practical Effects - War Horse Animatronic Joey Test Footage
VIDEO - Take a look: http://bsmbow.blogspot.com/
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