Getting More Immersed with Indiewire


  The Penske Media purchase of Indiewire has resulted in an expansion of my role as crafts and awards season contributor.  Beginning this week, I begin Emmy coverage of below-the-line contenders along with my usual Oscar season crafts reporting, working closely

Immersed in Blu-ray: Hitchcock and Bogart


The WB Archive Collection gets Hitch and Bogie on Blu-ray and they've never looked better for home viewing. In Kent Jones' indispensable doc, Hitchcock/Truffaut, he reminds us that Truffaut was on a mission to correct misconceptions about Hitch as a lightweight

Immersed in Books: Farber on Film


For the first time, the complete writings of film critic Manny Farber is available from Library of America, edited by Robert Polito (Savage Art: A Biography of Jim Thompson). Manny Farber (1917-2008) was the first modernist film critic to write like a modernist.

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VES Taking Awards Submissions

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Events, Movies, performance capture, previs, Production Design, Tech, TV, VES, VFX, Videogames, Virtual Production | Leave a comment

 

 

The Visual Effects Society is currently accepting submissions for the 13th Annual VES Awards (Feb. 4, 2015) at the Beverly Hilton Hotel.

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Christian Bale Talks Moses in Exodus: Gods and Kings

Posted on by Bill Desowitz in Below the Line, Cinematography, Costume, Editing, Movies, Music, Oscar, previs, Production Design, Sound, Tech, Trailers, VFX, Virtual Production | Leave a comment

While Christian Bale admitted that you can’t out-Heston Charlton Heston in playing the all-consuming Moses, the real question was if Ridley Scott can out-Gladiator Gladiator with Exodus: Gods and Kings (Dec. 12). After glimpsing about a half-hour of powerful footage that left us wanting more on Tuesday, the answer is definitely yes (watch the new trailer below). Read more

Baxter Talks Cutting Gone Girl Solo with Fincher

Posted on by Bill Desowitz in Below the Line, Editing, Movies, Oscar, previs, Tech, Trailers, VFX, Virtual Production | Leave a comment

Two-time Oscar-winning editor Kirk Baxter (The Girl with the Dragon Tattoo, The Social Network) enjoyed the narrative complexities and satirical fun of Gone Girl. Gillian Flynn’s adaption of her bestselling thriller is like a Punch and Judy act for Ben Affleck and Rosamund Pike, which David Fincher likens to Fight Club for marriage. The editorial trick was creating a language for three different storylines that was easy to follow and compelling — while getting out of the first act as quickly as possible for this 149-minute thrill ride. Read more

Academy Tech Council Adds 4 New Members

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Cinematography, Editing, Movies, Music, Oscar, previs, Tech, VFX, Virtual Production | Leave a comment

John Bailey, Gale Anne Hurd, John Knoll (pictured above, courtesy of sfgate.com), and Michael Tronick have joined the Science and Technology Council of the Academy of Motion Picture Arts and Sciences, bringing the Council’s 2014–2015 membership roster to 25. Read more

Laika/Focus Reteam for Three More Features

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Books, Cinematography, Clips, Costume, Editing, Movies, Music, Oscar, previs, Production Design, Sound, stop-motion, Tech, VFX, Virtual Production | Leave a comment

Laika and Focus Features have renewed their distribution pact, with Focus distributing the next three stop-motion features domestically, and Universal Pictures International handling overseas. This is good news given the regime change at Focus and excellent box office start for The Boxtrolls, the Oscar contender which grossed $17.3 million last weekend, the biggest debut yet for Laika. Read more

Trailering Inside Out from Pixar

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Cinematography, Editing, Movies, Music, Oscar, previs, Production Design, Tech, Trailers, VFX, Virtual Production | Leave a comment

Pixar may be out of the Oscar race this year, but the first teaser for Pete Docter’s Inside Out (June 19, 2005) is a further proof that it’s the one to beat next season. Read more

Trailering More Intense Interstellar

Posted on by Bill Desowitz in Below the Line, Cinematography, Costume, Editing, Movies, Music, Oscar, previs, Production Design, Tech, Trailers, VFX, Virtual Production | Leave a comment

The new trailer for Interstellar  looks more intense and awe-inspiring. See it early Nov. 5 on film in 70mm IMAX, 70mm and 35mm and Nov. 7 in 4K and IMAX digital (The Chinese is being touted as the optimal experience). Read more

Composer Marianelli Waltzes Through The Boxtrolls

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Clips, Movies, Music, previs, stop-motion, Tech, VFX, Virtual Production | Leave a comment

Oscar-winning composer Dario Marianelli (Atonement) didn’t hesitate to work on the Victorian steampunk madness of The Boxtrolls. He loves the way the animators at Laika conjure “the surreal, the dark, the grotesque, and the comedic.” Read more

Knight Talks Laika and The Boxtrolls

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Clips, Movies, previs, stop-motion, Tech, VFX, Virtual Production | Leave a comment

When Laika first began nine years ago, its first two acquisitions wereCoraline and Here Be Monsters!. However, because of the tremendous scope and free-flowing narrative of Alan Snow’s 550-page steampunk opus, it’s taken a lot longer for The Boxtrolls to come together. And while it’s received Laika’s most mixed reviews, it’s surely the riskiest and, arguably, the most brilliant of Laika’s trio of films, which I discuss with CEO/producer/lead artist Travis Knight (view exclusive video below). Read more

Directors Stacchi and Annable Talk The Boxtrolls

Posted on by Bill Desowitz in 3-D, Animation, Below the Line, Cinematography, Clips, Movies, previs, stop-motion, Tech, VFX, Virtual Production | Leave a comment

The Boxtrolls represents Laika’s most elaborate, action-packed stop-motion movie yet. It’s a feast for the eyes — more Hammer than gothic — and the two biggest challenges were the frantic waltz sequence and the Mecha-Drill mayhem. But overall, as director Graham Annable admits, “The growth and maturity of Laika, combined with the Victorian steampunk look, made for such a rich, ornate, detailed setting. It just pushed everybody’s skills to the max.” Read more