“The highlight was just being totally dwarfed by the challenge and trying to figure it out,” reveals Emmy-nominated cinematographer Gregory Middleton (“Game of Thrones”) about working on the spectacular Marvel Studios six-part limited series “Moon Knight,” on which he served as director of photography for four episodes alongside fellow D.P. Andrew Droz Palermo (“The Green Knight”), who lensed two installments. “Every script was like a giant travelogue and there were no easy scenes,” he declares, adding for our recent webchat that “the most exciting thing for me in the end was doing episode five and trying to figure out the twinning aspect and helping Oscar craft this performance.” Watch our exclusive video interview above.
“Moon Knight” was created by Jeremy Slater, based on the Marvel comics featuring the character of the same name. Slater’s vision as head writer was then shepherded during production by Egyptian helmer Mohamed Diab...
“Moon Knight” was created by Jeremy Slater, based on the Marvel comics featuring the character of the same name. Slater’s vision as head writer was then shepherded during production by Egyptian helmer Mohamed Diab...
- 6/16/2022
- by Rob Licuria
- Gold Derby
[Editor’s Note: This is the second of two parts analyzing the sci-fi craft contenders. Click here to read part one.]
It’s been a great season for large-scale, character-driven, socially relevant sci-fi dramas: Marvel/Disney+’s time-jumping “Loki” and mind-bending “Moon Knight;” Isaac Asimov’s legendary “Foundation” (Apple TV+); the sequel to Nicolas Roeg’s cult classic, “The Man Who Fell to Earth” (Showtime); the latest Star Trek” and “Star Wars” spin-offs, “Strange New Worlds” (Paramount+) and “The Book of Boba Fett” (Lucasfilm/Disney+); and the return of the blockbuster “Stranger Things” (Netflix).
But as you break the shows down in terms of their Emmy crafts potential and how they stack up against one other, four big questions emerge:
1. Can “Loki” and “Moon Knight” Pull a “WandaVision”?
What they offer: After the wild retro TV antics of “WandaVision,” Marvel followed up this season with two trippier shows: “Loki,” in which the titular Norse God of Mischief (Tom Hiddleston) teamed up with detective Mobius (Owen Wilson) to capture dangerous time criminals,...
It’s been a great season for large-scale, character-driven, socially relevant sci-fi dramas: Marvel/Disney+’s time-jumping “Loki” and mind-bending “Moon Knight;” Isaac Asimov’s legendary “Foundation” (Apple TV+); the sequel to Nicolas Roeg’s cult classic, “The Man Who Fell to Earth” (Showtime); the latest Star Trek” and “Star Wars” spin-offs, “Strange New Worlds” (Paramount+) and “The Book of Boba Fett” (Lucasfilm/Disney+); and the return of the blockbuster “Stranger Things” (Netflix).
But as you break the shows down in terms of their Emmy crafts potential and how they stack up against one other, four big questions emerge:
1. Can “Loki” and “Moon Knight” Pull a “WandaVision”?
What they offer: After the wild retro TV antics of “WandaVision,” Marvel followed up this season with two trippier shows: “Loki,” in which the titular Norse God of Mischief (Tom Hiddleston) teamed up with detective Mobius (Owen Wilson) to capture dangerous time criminals,...
- 6/15/2022
- by Bill Desowitz
- Indiewire
“They really do respect and collaborate and include the visual effects team as part of the creative process,” reveals Oscar-nominated visual effects supervisor Sean Faden (“Mulan”) about the upside of working on a high-profile Marvel Studios project. For our recent webchat, he adds that “it really felt like we were along for the ride the entire time and we were giving our ideas, and sometimes they were bad ones and sometimes they were good ones, but there was always a back and forth and we would kind of all reach the final look of things together.” Watch our exclusive video interview above.
“Moon Knight” was created by Jeremy Slater, based on the Marvel comics featuring the character of the same name. Slater’s vision as head writer was then shepherded during production by Egyptian helmer Mohamed Diab (who directed four of the six episodes) with collaborators Aaron Moorhead and Justin Benson...
“Moon Knight” was created by Jeremy Slater, based on the Marvel comics featuring the character of the same name. Slater’s vision as head writer was then shepherded during production by Egyptian helmer Mohamed Diab (who directed four of the six episodes) with collaborators Aaron Moorhead and Justin Benson...
- 6/11/2022
- by Rob Licuria
- Gold Derby
The fifth episode of “Moon Knight” has a lot to accomplish in the space of an hour. “Asylum” follows an example set by “WandaVision”: The penultimate chapter of a Marvel miniseries exploring a superhero’s past, finding them at their lowest, most vulnerable point. It’s a bit of delayed origin story with high stakes for the hero understanding and overcoming their limitations. But “Moon Knight” tells a trauma origin story thrice over: one for haunted mercenary Marc Spector (Oscar Isaac), another for addled museum worker Steven Grant (Oscar Isaac), and yet another for the masked-and-hooded crime fighter Moon Knight (still Oscar Isaac).
The show is doing all of this while drawing on Jeff Lemire’s “Lunatic” run from the “Moon Knight” comic, using a psych ward as the staging ground for visionsthat include Marc/Steven’s troubled childhood and a fight with vengeful sand spirits aboard the deck...
The show is doing all of this while drawing on Jeff Lemire’s “Lunatic” run from the “Moon Knight” comic, using a psych ward as the staging ground for visionsthat include Marc/Steven’s troubled childhood and a fight with vengeful sand spirits aboard the deck...
- 5/4/2022
- by Sarah Shachat
- Indiewire
"Moon Knight," Disney+'s latest Marvel series, left one big reveal for the very end of its sixth and final episode. A credits scene revealed what many fans had suspected during the show's run: that Moon Knight's dissociative identity disorder gave him another personality that Marc Spector and Steven Grant didn't know about.
During the credits, the show cuts to a scene of Arthur Harrow (Ethan Hawke) in a mental hospital, much like the one that Marc (Oscar Isaac) finds himself in during episodes four and five. A mysterious man speaking Spanish appears and wheels Harrow away. He whistles a song as they exit the hospital, and Harrow notices dead bodies around them.
The man takes Harrow outside Sienkiewicz Psychiatric Hospital (named for "Moon Knight" comics artist Bill Sienkiewicz) and puts him in a white limousine. Also in the back of the limo? The Egyptian god Khonshu (F. Murray Abraham...
During the credits, the show cuts to a scene of Arthur Harrow (Ethan Hawke) in a mental hospital, much like the one that Marc (Oscar Isaac) finds himself in during episodes four and five. A mysterious man speaking Spanish appears and wheels Harrow away. He whistles a song as they exit the hospital, and Harrow notices dead bodies around them.
The man takes Harrow outside Sienkiewicz Psychiatric Hospital (named for "Moon Knight" comics artist Bill Sienkiewicz) and puts him in a white limousine. Also in the back of the limo? The Egyptian god Khonshu (F. Murray Abraham...
- 5/4/2022
- by Victoria Edel
- Popsugar.com
‘Moon Knight’: Visualizing Marvel’s Mind-Bending Miniseries as a Battle Between the Two Oscar Isaacs
Love it or hate it, “Moon Knight” at least pushes Marvel’s Disney+ programming into ambitious psychological territory. The mind-bending story of Oscar Isaac battling Oscar Isaac — in the dueling roles of hardened mercenary Marc Spector/Moon Knight and sensitive museum gift shop worker Steven Grant/Mr. Knight — is a confounding rabbit hole of childhood trauma, dissociative identity disorder (Did), and Egyptian mythology. By comparison, “WandaVision” and “Loki” seem like a walk in the park.
But when it came to visualizing “Moon Knight” through the costume design of Meghan Kasperlik and the cinematography of Gregory Middleton (“Game of Thrones”) and Andrew Droz Palermo (“The Green Knight”), the great challenge and opportunity was to convey Did through two distinct POVs. It was almost like making two shows: horror meets superhero. Isaac, who also serves as an executive producer, was a key collaborator.
“I worked closely with Oscar on both [Marc and Steven],” Kasperlik told IndieWire.
But when it came to visualizing “Moon Knight” through the costume design of Meghan Kasperlik and the cinematography of Gregory Middleton (“Game of Thrones”) and Andrew Droz Palermo (“The Green Knight”), the great challenge and opportunity was to convey Did through two distinct POVs. It was almost like making two shows: horror meets superhero. Isaac, who also serves as an executive producer, was a key collaborator.
“I worked closely with Oscar on both [Marc and Steven],” Kasperlik told IndieWire.
- 4/29/2022
- by Bill Desowitz
- Indiewire
"Moon Knight" doesn't look or feel like any of the other Marvel Cinematic Universe shows or movies, and a big part of that is because of the series' cinematography. Episodes 2 and 4 were shot by "The Green Knight" cinematographer Andrew Droz Palermo, and the rest of the episodes were shot by Gregory Middleton, best known for his work as cinematographer on HBO's "Game of Thrones" and "Watchmen." For all but episodes 2 and 4 of "Moon Knight," Middleton was in charge of making sure everything was properly lit, in focus, and that the camera helped tell the story while also delivering beautiful imagery...
The post Moon Knight Cinematographer Gregory Middleton Discusses Mirrors, Darkness, and the Desert [Interview] appeared first on /Film.
The post Moon Knight Cinematographer Gregory Middleton Discusses Mirrors, Darkness, and the Desert [Interview] appeared first on /Film.
- 4/26/2022
- by Danielle Ryan
- Slash Film
The new Marvel and Disney+ series “Moon Knight” boasts a wealth of intriguing ideas that audiences should be excited about. The series follows shy museum worker Steven Grant (Oscar Isaac) who can’t seem to figure out why he’s sleepwalking. Unbeknownst to him, Steven is actually the superhero known as Moon Knight, who does away with evildoers at the behest of an Egyptian bird god. The whole thing is all sorts of weird and bizarre but that’s part of the series’ charm, which is heavy on just letting Oscar Isaac be Oscar Isaac.
The series hews closer to the likes of the other Disney+ and Marvel series “WandaVision” then it does “Falcon and the Winter Soldier,” which should be a good thing for those seeking something a bit kookier from their superhero fare. But what else can fans expect from the premiere episode? IndieWire looks at three elements...
The series hews closer to the likes of the other Disney+ and Marvel series “WandaVision” then it does “Falcon and the Winter Soldier,” which should be a good thing for those seeking something a bit kookier from their superhero fare. But what else can fans expect from the premiere episode? IndieWire looks at three elements...
- 3/31/2022
- by Kristen Lopez
- Indiewire
Los Angeles The American Society of Cinematographers (ASC) presented its annual awards during a virtual ceremony today, with Erik Messerschmidt, ASC claiming the top prize in feature film for Mank. The 35th ASC Outstanding Achievement Awards also honored Aurélien Marra for Two of Us in the Spotlight Award category, and Michael Dweck and Gregory Kershaw for the documentary The Truffle Hunters. Winners in the TV categories included Steven Meizler for The Queen?s Gambit; Fabian Wagner, ASC, Bsc for The Crown; Jon Joffin, ASC for Motherland: Fort Salem; and Baz Idoine for The Mandalorian. TCM?s Ben Mankiewicz hosted the awards show, which was streamed live from the historic ASC Clubhouse in Hollywood. Below is the complete list of winners and nominees: Feature Award – presented by Roger Deakins, ASC, Bsc, Cbe and James Deakins -Erik Messerschmidt, ASC for Mank – Winner -Phedon Papamichael, ASC, Gsc for The Trial of the...
- 4/18/2021
- by HollywoodNews.com
- Hollywoodnews.com
“Mank” cinematographer Erik Messerschmidt upset “Nomadland” Dp Joshua James Richards, the Oscar favorite, at the 35th annual American Society of Cinematographers Awards on Sunday. The win for David Fincher’s monochromatic biopic, with Herman J. Mankiewicz (Gary Oldman) struggling to churn out a first draft of “Citizen Kane,” was a surprise, given the momentum that has been with Richards since he won Camerimage’s prestigious Golden Frog last year. However, Richards (previously nominated for the Spotlight Award for “The Rider” but is not a current ASC member) still remains the Oscar favorite for shooting Chloé Zhao’s Best Picture frontrunner (she is also the favorite to take Best Director).
Yet it is a breakthrough achievement for Fincher’s go-to cinematographer from “Mindhunter.” Messerschmidt recreated a Golden Age of Hollywood in black-and-white, shooting with the Red Ranger Helium Monochrome, and bolstered by the Cinefade variable depth of field tool to emulate...
Yet it is a breakthrough achievement for Fincher’s go-to cinematographer from “Mindhunter.” Messerschmidt recreated a Golden Age of Hollywood in black-and-white, shooting with the Red Ranger Helium Monochrome, and bolstered by the Cinefade variable depth of field tool to emulate...
- 4/18/2021
- by Chris Lindahl and Bill Desowitz
- Indiewire
The American Society of Cinematographers is announcing its winners today for the 35th Annual ASC Outstanding Achievement Awards this afternoon in the feature film, documentary and television cinematography categories.
They represent the organization’s picks for the most compelling visual filmmaking over the past 14 months.
The Society is bestowing the ASC Board of Governors Award to filmmaker Sophia Coppola for her contributions to cinema through her body of work. It is the only ASC Award not given to a cinematographer and is reserved for industry stalwarts who have been champions for directors of photography and the visual art form.
The Michael Chapman & Allen Daviau Student Heritage Award is being awarded to Ai Chung for A Young Tough in the Michael Chapman Graduate Category and Elias Ginsberg for Milk Teeth in the Allen Daviau Undergraduate Category.
The virtual ceremony is being streamed live via American Cinematographer’s Facebook page from the historic ASC Clubhouse in Hollywood.
They represent the organization’s picks for the most compelling visual filmmaking over the past 14 months.
The Society is bestowing the ASC Board of Governors Award to filmmaker Sophia Coppola for her contributions to cinema through her body of work. It is the only ASC Award not given to a cinematographer and is reserved for industry stalwarts who have been champions for directors of photography and the visual art form.
The Michael Chapman & Allen Daviau Student Heritage Award is being awarded to Ai Chung for A Young Tough in the Michael Chapman Graduate Category and Elias Ginsberg for Milk Teeth in the Allen Daviau Undergraduate Category.
The virtual ceremony is being streamed live via American Cinematographer’s Facebook page from the historic ASC Clubhouse in Hollywood.
- 4/18/2021
- by Tom Tapp
- Deadline Film + TV
Earlier today, the American Society of Cinematographers revealed their nominations, hoping to clear up who might be Oscar nominees next week. Well, they definitely confirmed that Erik Messerschmidt, Phedon Papamichael, Joshua James Richards, and Dariusz Wolski are very likely to hear their names called on Monday morning. As for the final slot, they went with Newton Thomas Sigel, but for Cherry, not Da 5 Bloods, as many expected. Messerchmidt (Mank), Papamichael (The Trial of the Chicago 7), Richards (Nomadland), and Wolski (News of the World) feel safe. As for the final spot at the Academy Awards in Best Cinematography, anything is possible, so sit tight… Here are the ASC nominees for this year: Feature Film Erik Messerschmidt, ASC Mank Phedon Papamichael, ASC, Gsc The Trial of the Chicago 7 Joshua James Richards Nomadland Newton Thomas Sigel, ASC Cherry Dariusz Wolski, ASC News of the World Spotlight Katelin Arizmendi Swallow Aurélien Marra Two...
- 3/11/2021
- by Joey Magidson
- Hollywoodnews.com
The American Society of Cinematographers on Wednesday set its nominees for the 35th Asc Outstanding Achievement Awards, recognizing the best in feature film, documentary and television cinematography over the past 14 months. Winners will be revealed April 18 in a virtual ceremony from the Asc Clubhouse in Hollywood.
The marquee Feature Film category this year features awards-season staples including Erik Messerschmidt for Mank and Phedon Papamichael for The Trial of the Chicago 7, both from Netflix, and Chloé Zhao’s go-to Dp Joshua James Richards for Seachlight’s Nomadland. Also in the running is Newton Thomas Sigel for A24’s Russo Brothers-directed Cherry and Dariusz Wolski for Universal’s News of the World.
Papamichael has been nominated for five Asc Awards including last year for Ford v Ferrari. He lost to Roger Deakins for 1917; Deakins went on to win the Oscar, marking the 15th time the Asc winner has gone on to scoop the Academy Award in 34 years.
The marquee Feature Film category this year features awards-season staples including Erik Messerschmidt for Mank and Phedon Papamichael for The Trial of the Chicago 7, both from Netflix, and Chloé Zhao’s go-to Dp Joshua James Richards for Seachlight’s Nomadland. Also in the running is Newton Thomas Sigel for A24’s Russo Brothers-directed Cherry and Dariusz Wolski for Universal’s News of the World.
Papamichael has been nominated for five Asc Awards including last year for Ford v Ferrari. He lost to Roger Deakins for 1917; Deakins went on to win the Oscar, marking the 15th time the Asc winner has gone on to scoop the Academy Award in 34 years.
- 3/10/2021
- by Patrick Hipes
- Deadline Film + TV
“Cherry,” “Mank,” “News of the World,” “Nomadland” and “The Trial of the Chicago 7” are among the films nominated by the American Society of Cinematographers (Asc) in the feature film category.
The Asc nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking over the past 14 months. Last year’s Asc feature film winner was Roger Deakins for “1917,” who went on to win an Oscar for best achievement in cinematography.
Winners will be named during the 35th Asc Outstanding Achievement Awards on April 18.
The virtual ceremony will be live streamed via American Cinematographer’s Facebook page at 12:30 p.m. Pt from the historic Asc Clubhouse in Hollywood.
The complete list of this year’s nominees are:
Feature Film
Erik Messerschmidt, Asc (“Mank”)
Phedon Papamichael, Asc, Gsc (“The Trial of the Chicago 7″)
Joshua James Richards (” Nomadland”)
Newton Thomas Sigel, Asc (“Cherry”)
Dariusz Wolski,...
The Asc nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking over the past 14 months. Last year’s Asc feature film winner was Roger Deakins for “1917,” who went on to win an Oscar for best achievement in cinematography.
Winners will be named during the 35th Asc Outstanding Achievement Awards on April 18.
The virtual ceremony will be live streamed via American Cinematographer’s Facebook page at 12:30 p.m. Pt from the historic Asc Clubhouse in Hollywood.
The complete list of this year’s nominees are:
Feature Film
Erik Messerschmidt, Asc (“Mank”)
Phedon Papamichael, Asc, Gsc (“The Trial of the Chicago 7″)
Joshua James Richards (” Nomadland”)
Newton Thomas Sigel, Asc (“Cherry”)
Dariusz Wolski,...
- 3/10/2021
- by Jazz Tangcay
- Variety Film + TV
The cinematography for “Mank,” “Nomadland,” “The Trial of the Chicago 7,” “News of the World” and “Cherry” has been nominated as the best film work of 2020 by the American Society of Cinematographers, the Asc announced on Wednesday.
The first four of those films were expected to be recognized by the Asc and are thought to be strong contenders for the Oscar for Best Cinematography, but “Cherry” came as a surprise. The Russo brothers film came out in February to withering reviews and had not been considered an awards contender until the Asc included its cinematographer, Newton Thomas Sigel, in its list of nominees.
“Cherry” landed that nomination over a group of films that included “Tenet,” “Minari,” “Ma Rainey’s Black Bottom,” “Judas and the Black Messiah” — and “Da 5 Bloods,” a more high-profile film that was also shot by Sigel.
In the Spotlight category, which singles out cinematographers from films that...
The first four of those films were expected to be recognized by the Asc and are thought to be strong contenders for the Oscar for Best Cinematography, but “Cherry” came as a surprise. The Russo brothers film came out in February to withering reviews and had not been considered an awards contender until the Asc included its cinematographer, Newton Thomas Sigel, in its list of nominees.
“Cherry” landed that nomination over a group of films that included “Tenet,” “Minari,” “Ma Rainey’s Black Bottom,” “Judas and the Black Messiah” — and “Da 5 Bloods,” a more high-profile film that was also shot by Sigel.
In the Spotlight category, which singles out cinematographers from films that...
- 3/10/2021
- by Steve Pond
- The Wrap
The American Society of Cinematographers (Asc) has weighed in with picks for the best cinematography in film and television over the last year. Like other major guild ceremonies including the Directors Guild of America and the Screen Actors Guild, the Asc nominees are looked at closely by Oscar pundits considering the overlap between guild members and the Academy. Over the last decade, the eventual Oscar winner for Best Cinematography has at least been nominated for the Asc prize for Outstanding Achievement in Cinematography in Theatrical Releases.
Last year’s ASC winner was Roger Deakins for “1917.” Deakins also won the ASC prize for “Blade Runner 2049.” In both cases, the legendary Dp went on to win the Oscar for Best Cinematography. Wally Pfister for “Inception” and Emmanuel Lubezki for “Gravity,” “Birdman,” and “The Revenant” are other recent examples of Asc winners who also prevailed at the Academy Awards. The Asc...
Last year’s ASC winner was Roger Deakins for “1917.” Deakins also won the ASC prize for “Blade Runner 2049.” In both cases, the legendary Dp went on to win the Oscar for Best Cinematography. Wally Pfister for “Inception” and Emmanuel Lubezki for “Gravity,” “Birdman,” and “The Revenant” are other recent examples of Asc winners who also prevailed at the Academy Awards. The Asc...
- 3/10/2021
- by Zack Sharf and Bill Desowitz
- Indiewire
It’s either an in-joke or an irony that the not-terribly-terrifying villain of “A Babysitter’s Guide to Monster Hunting” is named The Grand Guignol, for Rachel Talalay’s perky, clean-cut kiddie-horror steers as far clear as possible of the macabre gore and gruesomeness implied by the name. In this tale of an underground babysitter syndicate dedicated to fighting the things that go bump in the night, even the monsters are cute: roly-poly, crayon-colored, off-brand uglydolls that look like Mike Wazowski’s less genetically blessed relatives. Yet cuteness supplants genuine charm in this Netflix-released adaptation of screenwriter Joe Ballarini’s YA book series, which may adequately distract very young ones on a socially distanced Halloween night, but offers ample room for improvement in the franchise it seeks to start.
It’s been 25 years since Talalay directed a theatrical feature in the chaotic, cult-bound “Tank Girl,” having cut her teeth bringing...
It’s been 25 years since Talalay directed a theatrical feature in the chaotic, cult-bound “Tank Girl,” having cut her teeth bringing...
- 10/15/2020
- by Guy Lodge
- Variety Film + TV
Regina King’s Angela/Sister Night and Baby Yoda were the two pillars of success this Emmy season. So it was no surprise that “Watchmen” and “The Mandalorian” were the biggest craft winners at the Creative Arts Emmys, splitting seven awards apiece — and deservedly so, considering their bold and innovative work, which transcended their superhero and sci-fi trappings.
Damon Lindelof’s zeitgeist-grabbing “Watchmen” was a powerful “remix” of the famed ’80s graphic novel using the Tulsa massacre as a catalyst for excavating the generational sweep of racism and police brutality. HBO’s limited series award winner scored for Gregory Middleton’s cinematography, Sharen Davis and Valerie Zielonka’s fantasy/sci-fi costumes, Henk Van Eeghen’s editing, Trent Reznor and Atticus Ross’ original limited series score, and sound editing, sound mixing, and casting.
“The Mandalorian,” Jon Favreau’s breakout “Star Wars” hit for Disney+, cleverly melded the samurai and western, propelled...
Damon Lindelof’s zeitgeist-grabbing “Watchmen” was a powerful “remix” of the famed ’80s graphic novel using the Tulsa massacre as a catalyst for excavating the generational sweep of racism and police brutality. HBO’s limited series award winner scored for Gregory Middleton’s cinematography, Sharen Davis and Valerie Zielonka’s fantasy/sci-fi costumes, Henk Van Eeghen’s editing, Trent Reznor and Atticus Ross’ original limited series score, and sound editing, sound mixing, and casting.
“The Mandalorian,” Jon Favreau’s breakout “Star Wars” hit for Disney+, cleverly melded the samurai and western, propelled...
- 9/21/2020
- by Bill Desowitz
- Indiewire
“Watchmen” won best limited series at the Emmys on Sunday, marking the first time a comic-book adaptation has taken home a top prize at the annual celebration of television’s best work.
The HBO production earned the most nominations of any series heading into Sunday night’s ceremony, with 26 nods across nearly every category possible. The show won 11 Emmys in total, including Regina King for best actress in a limited series or movie; Yahya Abdul-Mateen II for best supporting actor in a limited series or movie; Cord Jefferson and Damon Lindelof for best writing in a limited series or movie; Trent Reznor and Atticus Ross for best music composition for a limited series, movie, or special; Gregory Middleton for best cinematography for a limited series or movie; Victoria Thomas and Meagan Lewis for best casting for a limited series, movie, or special; and Sharen Davis and Valerie Zielonka for best fantasy/sci-fi costumes.
The HBO production earned the most nominations of any series heading into Sunday night’s ceremony, with 26 nods across nearly every category possible. The show won 11 Emmys in total, including Regina King for best actress in a limited series or movie; Yahya Abdul-Mateen II for best supporting actor in a limited series or movie; Cord Jefferson and Damon Lindelof for best writing in a limited series or movie; Trent Reznor and Atticus Ross for best music composition for a limited series, movie, or special; Gregory Middleton for best cinematography for a limited series or movie; Victoria Thomas and Meagan Lewis for best casting for a limited series, movie, or special; and Sharen Davis and Valerie Zielonka for best fantasy/sci-fi costumes.
- 9/21/2020
- by Adam B. Vary
- Variety Film + TV
The third round of Creative Arts Emmy Awards were handed out on Wednesday, honoring winners in scripted categories including cinematography, hairstyling, costumes and visual effects.
Disney+ was the night’s big winner, picking up five awards for the first season of “The Mandalorian,” for visual effects, cinematography, production design and sound editing and mixing. Other winners included HBO’s “Watchmen,” Hulu’s “The Handmaid’s Tale,” Netflix’s “Stranger Things” and CBS All Access’ “Star Trek: Picard.”
Hosted by “Nailed It’s” Nicole Byer, Wednesday’s ceremony was the third of four online Creative Arts Emmys ceremonies this week, which will be followed by a fifth live broadcast on Fxx on Saturday. The week will culminate in the Primetime Emmy Awards broadcast on ABC this Sunday, hosted by Jimmy Kimmel.
See the list of Wednesday’s winners below and see the reality and nonfiction winners from Monday night here, and the...
Disney+ was the night’s big winner, picking up five awards for the first season of “The Mandalorian,” for visual effects, cinematography, production design and sound editing and mixing. Other winners included HBO’s “Watchmen,” Hulu’s “The Handmaid’s Tale,” Netflix’s “Stranger Things” and CBS All Access’ “Star Trek: Picard.”
Hosted by “Nailed It’s” Nicole Byer, Wednesday’s ceremony was the third of four online Creative Arts Emmys ceremonies this week, which will be followed by a fifth live broadcast on Fxx on Saturday. The week will culminate in the Primetime Emmy Awards broadcast on ABC this Sunday, hosted by Jimmy Kimmel.
See the list of Wednesday’s winners below and see the reality and nonfiction winners from Monday night here, and the...
- 9/17/2020
- by Reid Nakamura
- The Wrap
“Deep Dive” is a in-depth podcast and video essay series with the stars, creators and crafts team behind an exceptional piece of filmmaking. For this edition, the IndieWire Crafts team partnered with HBO to take a closer look at the limited series “Watchmen,” and interviewed creator Damon Lindelof, and 10 members of his creative team to go behind the scenes of Episode 6, “This Extraordinary Being.”
“What is Hooded Justice’s origin story?” It was the question showrunner Damon Lindelof asked his “Watchmen” writers room early on in their reinvention of Alan Moore’s groundbreaking graphic novel. The answer to this question would become the basis of Episode 6 of “Watchmen,” “This Extraordinary Being,” one of the most formally bold 60 minutes of television ever made.
“For an episode like this to work,” Lindelof told IndieWire, “you need so many brilliant minds coming together and at any one time different people are taking the reins and steering the carriage.
“What is Hooded Justice’s origin story?” It was the question showrunner Damon Lindelof asked his “Watchmen” writers room early on in their reinvention of Alan Moore’s groundbreaking graphic novel. The answer to this question would become the basis of Episode 6 of “Watchmen,” “This Extraordinary Being,” one of the most formally bold 60 minutes of television ever made.
“For an episode like this to work,” Lindelof told IndieWire, “you need so many brilliant minds coming together and at any one time different people are taking the reins and steering the carriage.
- 8/17/2020
- by Chris O'Falt
- Indiewire
The 2020 Emmy ballots have been released by the Television Academy, so we now know which shows, actors, etc. are in contention for this year’s golden statues. HBO’s “Watchmen” accounts for eight entries on the performer ballot, including lead actors Regina King and Jeremy Irons. The uniquely timely limited series about mask-wearing and racial injustice is a loose adaptation of the 1980s comic book about vigilante superheroes, which only lasted a single volume. Tour our photo gallery above to see all of the actors who’ve been submitted for the 2020 Emmy Awards.
“Lost” and “The Leftovers” showrunner Damon Lindelof oversees the first season, but has gone on record saying he won’t return if the show eventually comes back for a second installment. As for creating a diverse team both in front of and behind the camera, Lindelof explained in our recent interview, “I hate using the word ‘diversity...
“Lost” and “The Leftovers” showrunner Damon Lindelof oversees the first season, but has gone on record saying he won’t return if the show eventually comes back for a second installment. As for creating a diverse team both in front of and behind the camera, Lindelof explained in our recent interview, “I hate using the word ‘diversity...
- 7/11/2020
- by Marcus James Dixon
- Gold Derby
On HBO’s Watchmen, cinematographer Gregory Middleton shot episodes in black and white, and Doctor Manhattan blue, taking place in distinct worlds, while figuring out how to translate visual elements from the original graphic novel into the cinematic form.
Created by Damon Lindelof, the gritty drama takes place in an alternate version of the 20th century, in which vigilantes—once celebrated as heroes—have been outlawed, due to their violent methods of extracting justice. In this version of America, episodes of racial violence erupt in Tulsa, Oklahoma, as yellow-masked police officers face off with a white supremacist group known as the Seventh Kavalry.
A two-time Emmy nominee best known for his work on Game of Thrones, Middleton shot four episodes out of the series’ nine, finding in Watchmen the opportunity to elevate, through photography, a story that was already immensely timely and compelling. “As a cinematographer, it’s always a...
Created by Damon Lindelof, the gritty drama takes place in an alternate version of the 20th century, in which vigilantes—once celebrated as heroes—have been outlawed, due to their violent methods of extracting justice. In this version of America, episodes of racial violence erupt in Tulsa, Oklahoma, as yellow-masked police officers face off with a white supremacist group known as the Seventh Kavalry.
A two-time Emmy nominee best known for his work on Game of Thrones, Middleton shot four episodes out of the series’ nine, finding in Watchmen the opportunity to elevate, through photography, a story that was already immensely timely and compelling. “As a cinematographer, it’s always a...
- 7/8/2020
- by Matt Grobar
- Deadline Film + TV
In the sixth episode of HBO’s “Watchmen” adaptation, entitled “This Extraordinary Being,” Angela Abar (Regina King) lives inside her grandfather’s memories of how he became the vigilante Hooded Justice. In one harrowing sequence, Angela experiences how a cabal of white supremacists in the NYPD attacked Will (Jovan Adepo) in an alleyway while a haunting love song plays in the background. The cops dragged Will to Central Park and lynched him, with the camera taking Will’s point of view from inside the black hood they pulled over his face as they hanged him from the tree. After 10 agonizing seconds, they cut him down, and delivered this warning: “You keep your Black nose out of white folks’ business, n—–. Or the next time, we won’t cut you down.”
Cord Jefferson
Co-writer
“Damon [Lindelof, showrunner] is a fan of homework in his writers’ room. The assignment for one of them was:...
Cord Jefferson
Co-writer
“Damon [Lindelof, showrunner] is a fan of homework in his writers’ room. The assignment for one of them was:...
- 7/2/2020
- by Adam B. Vary
- Variety Film + TV
“Watchmen” isn’t an adaptation of the classic graphic novel of the same name, per se. It’s more of a sequel, set decades after the events of the source material and addressing issues of race, history and policing that were certainly relevant at the time but feel even more urgent since the deaths of Breonna Taylor, George Floyd and others spurred uprisings against white supremacy and anti-Black violence. Will it resonate just as strongly with members of the television academy? Scroll down for our exclusive video interviews with top Emmy contenders from the show.
Regina King stars as Angela Abar, aka Sister Night, a police officer in Tulsa, Oklahoma, who wears a mask to hide her identity while trying to unravel a complex conspiracy. King is already an Emmy favorite, having won three Emmys out of four nominations: Best Movie/Limited Supporting Actress twice for “American Crime” (2015 and 2016) and...
Regina King stars as Angela Abar, aka Sister Night, a police officer in Tulsa, Oklahoma, who wears a mask to hide her identity while trying to unravel a complex conspiracy. King is already an Emmy favorite, having won three Emmys out of four nominations: Best Movie/Limited Supporting Actress twice for “American Crime” (2015 and 2016) and...
- 6/20/2020
- by Daniel Montgomery
- Gold Derby
Cinematographer Gregory Middleton had the ambitious task of shooting some of the most ambitious episodes of HBO’s “Watchmen.” Working on episodes like “This Extraordinary Being,” the black and white extended flashback episode, and “A God Walks Into Abar,” the Dr. Manhattan episode, Middleton was tasked with creating particular visual styles while still keeping everything of a piece. “One thing I was determined to do is to not try and make them so distinct and so affected photographically that it was distracting,” Middleton says in an exclusive new interview with Gold Derby. Watch the full video interview above.
SEEEmmys 2020 exclusive: HBO categories for ‘Succession,’ ‘Watchmen,’ ‘Westworld’ and more
Middleton took some visual ideas from the “Watchmen” graphic novel that serves as inspiration for the series, like match cuts, to reflect the feeling of it being in the same world. However, it was also important for the series to have its...
SEEEmmys 2020 exclusive: HBO categories for ‘Succession,’ ‘Watchmen,’ ‘Westworld’ and more
Middleton took some visual ideas from the “Watchmen” graphic novel that serves as inspiration for the series, like match cuts, to reflect the feeling of it being in the same world. However, it was also important for the series to have its...
- 5/20/2020
- by Kevin Jacobsen
- Gold Derby
Roger Deakins, Asc, Bsc claimed the coveted Theatrical Award for best cinematography in a motion picture for his work on “Blade Runner 2049” at the 32nd Annual American Society of Cinematographers (Asc) Awards for Outstanding Achievement. Mart Taniel, Esc was given the Spotlight Award for “November.” In the TV categories, winners included Adriano Goldman, Asc, ABC for “The Crown;” Boris Mojsovski, Csc for “12 Monkeys;” and Mathias Herndl, Aac for “Genius.” The awards ceremony took place tonight in the Ray Dolby Ballroom at Hollywood & Highland. The complete list of winners and nominees follows: Theatrical Release Category (presented by Emmanuel Lubezki, Asc, AMC and Matthew Libatique, Asc) Roger Deakins, Asc, Bsc for “Blade Runner 2049” – Winner Bruno Delbonnel, Asc, Afc for “Darkest Hour” Hoyte van Hoytema, Asc, Fsf, Nsc for “Dunkirk” Dan Laustsen, Asc, Dff for “The Shape of Water” Rachel Morrison, Asc for “Mudbound” Spotlight Award Category (presented by John Bailey,...
- 2/18/2018
- by HollywoodNews.com
- Hollywoodnews.com
The 32nd annual American Society of Cinematographers Awards took place on Feb. 17 at the Ray Dolby Ballroom at Hollywood & Highland and were emceed by Turner Classic Movies’ Ben Mankiewicz. Over the years, the Asc has predicted 128 of the 160 Oscar nominees (80%), including all five of this year’s contenders: Roger Deakins (“Blade Runner 2049”), Bruno Delbonnel (“Darkest Hour”), Dan Laustsen (“The Shape of Water”), Rachel Morrison (“Mudbound”) and Hoyte van Hoytema (“Dunkirk”). But it has only previewed 13 of the last 31 winners of the Oscar for Best Cinematography; that is a a success rate of just 41%.
Deakins, who is the Oscar frontrunner for Best Cinematography, won for the fourth time from 15 bids with the Asc. His previous wins were for “The Shawkshank Redemption” (1994), “The Man Who Wasn’t There” (2001) and “Skyfall” (2012). He has yet to translate any of those victories into an Oscar, where he is 0 for 13.
Morrison made history as the...
Deakins, who is the Oscar frontrunner for Best Cinematography, won for the fourth time from 15 bids with the Asc. His previous wins were for “The Shawkshank Redemption” (1994), “The Man Who Wasn’t There” (2001) and “Skyfall” (2012). He has yet to translate any of those victories into an Oscar, where he is 0 for 13.
Morrison made history as the...
- 2/18/2018
- by Zach Laws
- Gold Derby
— The American Society of Cinematographers (Asc) has announced the nominees in all categories of the 32nd Annual Asc Awards for Outstanding Achievement. Winners will be revealed at the organization’s February 17 ceremony, which will be emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM). The event will be held at the Ray Dolby Ballroom at Hollywood & Highland. This year’s nominees are: Theatrical Release • Roger Deakins, Asc, Bsc for Blade Runner 2049 • Bruno Delbonnel, Asc, Afc for Darkest Hour • Hoyte van Hoytema, Asc, Fsf, Nsc for Dunkirk • Dan Laustsen, Asc, Dff for The Shape of Water • Rachel Morrison, Asc for Mudbound Spotlight Award • Máté Herbai, Hsc for On Body and Soul • Mikhail Krichman, Rgc for Loveless • Mart Taniel, Esc for November Episode of a Series for Non-Commercial Television • Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon • Adriano Goldman, Asc,...
- 1/14/2018
- by HollywoodNews.com
- Hollywoodnews.com
The 2018 Asc Awards will be held on February 17.
‘Mudbound’
The American Society of Cinematographers (Asc) has unveiled nominations for its 32nd annual Asc Awards for Outstanding Achievement in Cinematography.
Nominations were announced in five categories, and include familiar names like Roger Deakins who received his 15th nomination for Blade Runner 2049.
Deakins is joined in the theatrical release category by Mudbound cinematographer Rachel Morrison, Bruno Delbonnel for Darkest Hour, Hoyte Van Hoytema for Dunkirk, and Dan Laustsen for The Shape Of Water.
In the TV categories, Game Of Thrones and 12 Monkeys have multiple nominations. Streamers Amazon and Netflix are represented on the nominations list with Man In The High Castle, and The Crown and Mindhunter, respectively.
Winners will be announced at a ceremony held on February 17 at the Ray Dolby Ballroom at Hollywood & Highland.
The 2018 Asc Award nominees are:
Theatrical Release
Blade Runner 2049, Roger Deakins, Asc, Bsc
Darkest Hour, Bruno Delbonnel, Asc, Afc...
‘Mudbound’
The American Society of Cinematographers (Asc) has unveiled nominations for its 32nd annual Asc Awards for Outstanding Achievement in Cinematography.
Nominations were announced in five categories, and include familiar names like Roger Deakins who received his 15th nomination for Blade Runner 2049.
Deakins is joined in the theatrical release category by Mudbound cinematographer Rachel Morrison, Bruno Delbonnel for Darkest Hour, Hoyte Van Hoytema for Dunkirk, and Dan Laustsen for The Shape Of Water.
In the TV categories, Game Of Thrones and 12 Monkeys have multiple nominations. Streamers Amazon and Netflix are represented on the nominations list with Man In The High Castle, and The Crown and Mindhunter, respectively.
Winners will be announced at a ceremony held on February 17 at the Ray Dolby Ballroom at Hollywood & Highland.
The 2018 Asc Award nominees are:
Theatrical Release
Blade Runner 2049, Roger Deakins, Asc, Bsc
Darkest Hour, Bruno Delbonnel, Asc, Afc...
- 1/9/2018
- by Elbert Wyche
- ScreenDaily
The 2018 Asc Awards will be held on February 17.
‘Mudbound’
The American Society of Cinematographers (Asc) has unveiled nominations for its 32nd annual Asc Awards for Outstanding Achievement in Cinematography.
Nominations were announced in five categories, and include familiar names like Roger Deakins who received his 15th nomination for Blade Runner 2049.
Deakins is joined in the theatrical release category by Mudbound cinematographer Rachel Morrison, Bruno Delbonnel for Darkest Hour, Hoyte Van Hoytema for Dunkirk, and Dan Laustsen for The Shape Of Water.
In the TV categories, Game Of Thrones and 12 Monkeys have multiple nominations. Streamers Amazon and Netflix are represented on the nominations list with Man In The High Castle, and The Crown and Mindhunter, respectively.
Winners will be announced at a ceremony held on February 17 at the Ray Dolby Ballroom at Hollywood & Highland.
The 2018 Asc Award nominees are:
Theatrical Release
Blade Runner 2049, Roger Deakins, Asc, Bsc
Darkest Hour, Bruno Delbonnel, Asc, Afc...
‘Mudbound’
The American Society of Cinematographers (Asc) has unveiled nominations for its 32nd annual Asc Awards for Outstanding Achievement in Cinematography.
Nominations were announced in five categories, and include familiar names like Roger Deakins who received his 15th nomination for Blade Runner 2049.
Deakins is joined in the theatrical release category by Mudbound cinematographer Rachel Morrison, Bruno Delbonnel for Darkest Hour, Hoyte Van Hoytema for Dunkirk, and Dan Laustsen for The Shape Of Water.
In the TV categories, Game Of Thrones and 12 Monkeys have multiple nominations. Streamers Amazon and Netflix are represented on the nominations list with Man In The High Castle, and The Crown and Mindhunter, respectively.
Winners will be announced at a ceremony held on February 17 at the Ray Dolby Ballroom at Hollywood & Highland.
The 2018 Asc Award nominees are:
Theatrical Release
Blade Runner 2049, Roger Deakins, Asc, Bsc
Darkest Hour, Bruno Delbonnel, Asc, Afc...
- 1/9/2018
- by Elbert Wyche
- ScreenDaily
The American Society of Cinematographers (Asc) feature film nominees tends to lean toward big-scale movies, and this year is no exception. Their top five include frontrunner Roger Deakins for his stunning visuals in “Blade Runner 2049” as well as Rachel Morrison, who photographed “Mudbound.” Left out were viable but smaller-scale contenders “Call Me By Your Name” and “The Post.”
So far, neither the Asc nor the cinematography branch of the Academy has ever nominated a woman for a feature film. So Morrison’s nomination is a big deal. (Next up for Morrison: Marvel Cinematic Universe’s “Black Panther.”) According to a study by the Center for the Study of Women in Television & Film, women made up 5 percent of cinematographers on the top 250 domestic-grossing films in 2016.
Read More:‘Mudbound’: Why Rachel Morrison Deserves to Be the First Female Cinematographer Nominated for an Oscar
The Asc awarded Nancy Schreiber its 2017 Presidents award,...
So far, neither the Asc nor the cinematography branch of the Academy has ever nominated a woman for a feature film. So Morrison’s nomination is a big deal. (Next up for Morrison: Marvel Cinematic Universe’s “Black Panther.”) According to a study by the Center for the Study of Women in Television & Film, women made up 5 percent of cinematographers on the top 250 domestic-grossing films in 2016.
Read More:‘Mudbound’: Why Rachel Morrison Deserves to Be the First Female Cinematographer Nominated for an Oscar
The Asc awarded Nancy Schreiber its 2017 Presidents award,...
- 1/9/2018
- by Anne Thompson
- Thompson on Hollywood
The American Society of Cinematographers (Asc) feature film nominees tends to lean toward big-scale movies, and this year is no exception. Their top five include frontrunner Roger Deakins for his stunning visuals in “Blade Runner 2049” as well as Rachel Morrison, who photographed “Mudbound.” Left out were viable but smaller-scale contenders “Call Me By Your Name” and “The Post.”
So far, neither the Asc nor the cinematography branch of the Academy has ever nominated a woman for a feature film. So Morrison’s nomination is a big deal. (Next up for Morrison: Marvel Cinematic Universe’s “Black Panther.”) According to a study by the Center for the Study of Women in Television & Film, women made up 5 percent of cinematographers on the top 250 domestic-grossing films in 2016.
Read More:‘Mudbound’: Why Rachel Morrison Deserves to Be the First Female Cinematographer Nominated for an Oscar
The Asc awarded Nancy Schreiber its 2017 Presidents award,...
So far, neither the Asc nor the cinematography branch of the Academy has ever nominated a woman for a feature film. So Morrison’s nomination is a big deal. (Next up for Morrison: Marvel Cinematic Universe’s “Black Panther.”) According to a study by the Center for the Study of Women in Television & Film, women made up 5 percent of cinematographers on the top 250 domestic-grossing films in 2016.
Read More:‘Mudbound’: Why Rachel Morrison Deserves to Be the First Female Cinematographer Nominated for an Oscar
The Asc awarded Nancy Schreiber its 2017 Presidents award,...
- 1/9/2018
- by Anne Thompson
- Indiewire
The Vancouver Film Festival is set to open with the Sandra Oh-starrer Meditation Park and close with Todd Haynes' Wonderstruck.
Meditation Park, directed by Mina Shum, also stars Cheng Pei Pei and Don McKellar and will have its world premiere in Toronto. Wonderstruck, which competed at Cannes, stars Julianne Moore, Michelle Williams and child actors Oakes Fegley and Millicent Simmonds.
Organizers on Wednesday also announced that The Twilight Saga: Eclipse director David Slade, Jack Ryan showrunner Carlton Cuse and Game of Thrones helmer Jeremy Podeswa and cinematographer Greg Middleton will keynote as part of the Creators Talks program....
Meditation Park, directed by Mina Shum, also stars Cheng Pei Pei and Don McKellar and will have its world premiere in Toronto. Wonderstruck, which competed at Cannes, stars Julianne Moore, Michelle Williams and child actors Oakes Fegley and Millicent Simmonds.
Organizers on Wednesday also announced that The Twilight Saga: Eclipse director David Slade, Jack Ryan showrunner Carlton Cuse and Game of Thrones helmer Jeremy Podeswa and cinematographer Greg Middleton will keynote as part of the Creators Talks program....
- 9/6/2017
- by Etan Vlessing
- The Hollywood Reporter - Movie News
Best One-Hour Single-Camera Cinematography is technically a new Emmy category this year, but all of last year’s Best Single-Camera Cinematography nominees would have been eligible: “Bates Motel” season 4: “A Danger to Himself and Others” (John S. Bartley) “Downton Abbey” season 6: “The Finale” (Graham Frake) “Game of Thrones” season 6: “Home” (Gregory Middleton) “Gotham” […]...
- 7/11/2017
- by Riley
- Gold Derby
Out today is the Blu-ray edition of Game of Thrones: The Complete Sixth Season from HBO Home Entertainment.
We previously reviewed the Digital HD version of the season here but there are new elements to consider with the box set.
The vast majority of Digital HD releases do not come with the bonus features, extra, and Easter Eggs we have come to know and love about the disc format. As a result, the Digital HD version is a nice add-on for on-the-go viewing, but the complete immersive experience, the special features add interviews, behind-the-scenes information, commentary, and deleted scenes to enhance your appreciation of the material. This season set, though, does come with some, but all, the extras found on the Blu-ray box set.
This season was a mixed bag with incredibly strong storytelling undercutting its strength by not surprising us. No one, except readers of the novel, expected...
We previously reviewed the Digital HD version of the season here but there are new elements to consider with the box set.
The vast majority of Digital HD releases do not come with the bonus features, extra, and Easter Eggs we have come to know and love about the disc format. As a result, the Digital HD version is a nice add-on for on-the-go viewing, but the complete immersive experience, the special features add interviews, behind-the-scenes information, commentary, and deleted scenes to enhance your appreciation of the material. This season set, though, does come with some, but all, the extras found on the Blu-ray box set.
This season was a mixed bag with incredibly strong storytelling undercutting its strength by not surprising us. No one, except readers of the novel, expected...
- 11/16/2016
- by Robert Greenberger
- Comicmix.com
You won’t be returning to Westeros for new adventures until summer 2017 but our friends at HBO are offering up a copy of the forthcoming Game of Thrones: The Complete Sixth Season. In order to win the prize, you need to tell us which of the many lands or Houses you would most want to live in and why.
Entries must be posted no later than 11:59 p.m. November 20. The contest is open to United States and Canadian readers only. The decision of ComicMix‘s judges will be final.
Digital HD Download
Bran’s Journey – A nine-minute feature delving into the shocking and revelatory journey Bran Stark took in Season 6. The Dothraki World – Behind-the-Scenes featurette bringing viewers up to speed on the Dothraki culture, not seen since Season 1. Inside Game of Thrones: Prosthetics – Behind-the-Scenes featurette detailing what goes into the show’s prosthetics creation. The Game Revealed...
Entries must be posted no later than 11:59 p.m. November 20. The contest is open to United States and Canadian readers only. The decision of ComicMix‘s judges will be final.
Digital HD Download
Bran’s Journey – A nine-minute feature delving into the shocking and revelatory journey Bran Stark took in Season 6. The Dothraki World – Behind-the-Scenes featurette bringing viewers up to speed on the Dothraki culture, not seen since Season 1. Inside Game of Thrones: Prosthetics – Behind-the-Scenes featurette detailing what goes into the show’s prosthetics creation. The Game Revealed...
- 11/15/2016
- by ComicMix Staff
- Comicmix.com
New York, N.Y., July 18, 2016 – Last year’s Emmy® Award winner for Outstanding Drama Series and currently nominated for 23 2016 Emmy® Awards including Outstanding Drama Series, Outstanding Writing, Outstanding Directing Outstanding Supporting Actress (Lena Headey, Emilia Clarke, Maisie Williams) and Outstanding Supporting Actor (Peter Dinklage, Kit Harrington), Game of Thrones is bigger than ever delivering “the power and pathos fans have come to expect” (Los Angeles Times). The HBO drama has consistently been the top selling TV on DVD/Bd for the past five years and now fans can get the most recent season earlier than ever when Game of Thrones: The Complete Sixth Season debuts from HBO Home Entertainment on Digital HD on August 1, 2016 and on Blu-ray™ with Digital HD and DVD November 15, 2016. The set features all 10 episodes, plus extensive bonus content:
Digital HD Download
Bran’s Journey – A nine-minute feature delving into the shocking and revelatory journey Bran...
Digital HD Download
Bran’s Journey – A nine-minute feature delving into the shocking and revelatory journey Bran...
- 7/20/2016
- by ComicMix Staff
- Comicmix.com
HBO Home Entertainment will bring the “Battle of the Bastards” and much more to home media on August 1st with their Digital HD debut of Game of Thrones Season 6, followed by a November 15th Blu-ray (with Digital HD) and DVD release:
Press Release: Last year’s Emmy® Award winner for Outstanding Drama Series and currently nominated for 23 2016 Emmy® Awards including Outstanding Drama Series, Outstanding Writing, Outstanding Directing Outstanding Supporting Actress (Lena Headey, Emilia Clarke, Maisie Williams) and Outstanding Supporting Actor (Peter Dinklage, Kit Harrington), Game of Thrones is bigger than ever delivering “the power and pathos fans have come to expect” (Los Angeles Times). The HBO drama has consistently been the top selling TV on DVD/Bd for the past five years and now fans can get the most recent season earlier than ever when Game of Thrones: The Complete Sixth Season debuts from HBO Home Entertainment on Digital...
Press Release: Last year’s Emmy® Award winner for Outstanding Drama Series and currently nominated for 23 2016 Emmy® Awards including Outstanding Drama Series, Outstanding Writing, Outstanding Directing Outstanding Supporting Actress (Lena Headey, Emilia Clarke, Maisie Williams) and Outstanding Supporting Actor (Peter Dinklage, Kit Harrington), Game of Thrones is bigger than ever delivering “the power and pathos fans have come to expect” (Los Angeles Times). The HBO drama has consistently been the top selling TV on DVD/Bd for the past five years and now fans can get the most recent season earlier than ever when Game of Thrones: The Complete Sixth Season debuts from HBO Home Entertainment on Digital...
- 7/19/2016
- by Derek Anderson
- DailyDead
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We’ve scoured the episode commentaries from the Game Of Thrones season 5 Blu-ray set - and here are 125 things we found out.
Warning: contains spoilers for Game Of Thrones season 5.
You're busy people. We know this. Much as you'd like to, you may not have time to watch a dozen hours of Game Of Thrones episode commentaries in order to glean the odd fact with which to impress/bore your nearest and dearest.
That's where we come in.
Below are 125 Things We Learned from the Game Of Thrones season five Blu-ray set, packaged for your edification. Number 64 will blow your mind!!! Hang on, no, that one's not actually very interesting. But some of the rest of them are. A bit, anyway. Well, we thought so.
1. The original pilot script described the opening credits as from the perspective of a raven flying over a map from Castle Black to King’s Landing.
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We’ve scoured the episode commentaries from the Game Of Thrones season 5 Blu-ray set - and here are 125 things we found out.
Warning: contains spoilers for Game Of Thrones season 5.
You're busy people. We know this. Much as you'd like to, you may not have time to watch a dozen hours of Game Of Thrones episode commentaries in order to glean the odd fact with which to impress/bore your nearest and dearest.
That's where we come in.
Below are 125 Things We Learned from the Game Of Thrones season five Blu-ray set, packaged for your edification. Number 64 will blow your mind!!! Hang on, no, that one's not actually very interesting. But some of the rest of them are. A bit, anyway. Well, we thought so.
1. The original pilot script described the opening credits as from the perspective of a raven flying over a map from Castle Black to King’s Landing.
- 3/10/2016
- by louisamellor
- Den of Geek
The Killing, Season 4, Episode 1, “Blood in the Water”
Written by Veena Sud
Directed by Nicole Kassell
Premiered Friday, August 1st on Netflix
A fourth season of The Killing seemed unlikely, to say the least, after the show was canceled. Fortunately for fans, Netflix stepped in and the series’ change in venue will likely shape the final season (it should, for example, allow Joel Kinnaman to drop an f-bomb, which I’ve been waiting for Holder to do since he was introduced back in the first season). What hasn’t changed is the series’ murder-mystery core. The premiere introduces two intertwining plots: the massacre of the Stansbury family (save for one survivor, son Kyle Stansbury, who does not remember the night of the murder), and whether Linden and Holder will be able to successfully cover up Linden’s shooting of Lt. Skinner from last season’s finale. The whodunit of who...
Written by Veena Sud
Directed by Nicole Kassell
Premiered Friday, August 1st on Netflix
A fourth season of The Killing seemed unlikely, to say the least, after the show was canceled. Fortunately for fans, Netflix stepped in and the series’ change in venue will likely shape the final season (it should, for example, allow Joel Kinnaman to drop an f-bomb, which I’ve been waiting for Holder to do since he was introduced back in the first season). What hasn’t changed is the series’ murder-mystery core. The premiere introduces two intertwining plots: the massacre of the Stansbury family (save for one survivor, son Kyle Stansbury, who does not remember the night of the murder), and whether Linden and Holder will be able to successfully cover up Linden’s shooting of Lt. Skinner from last season’s finale. The whodunit of who...
- 8/5/2014
- by George Morvis
- SoundOnSight
The Academy of Canadian Cinema and Television had announced the winners of the 2009 Genie Awards on Saturday night, April 4, and "Passchendaele" came up victorious. On the awards ceremony held at Canada Aviation Museum in Ottawa, the World War I drama was announced this year's Best Motion Picture in addition to receiving five other nods.
Being the one which collected the most prizes on the special night, this Paul Gross-directed war movie also won kudos for Achievement in Art Direction/Production Design, Achievement in Costume Design, Achievement in Overall Sound and Achievement in Sound Editing. It brought home the Golden Reel Award as well for being the biggest box office gross of the year.
"The Necessities of Life" was another big winner as the movie about an Inuit hunter stranded in a Quebec hospital grabbed four kudos at the awards. It collected Best Director title for Benoit Pilon and Best Leading Actor for Natar Ungalaaq.
Being the one which collected the most prizes on the special night, this Paul Gross-directed war movie also won kudos for Achievement in Art Direction/Production Design, Achievement in Costume Design, Achievement in Overall Sound and Achievement in Sound Editing. It brought home the Golden Reel Award as well for being the biggest box office gross of the year.
"The Necessities of Life" was another big winner as the movie about an Inuit hunter stranded in a Quebec hospital grabbed four kudos at the awards. It collected Best Director title for Benoit Pilon and Best Leading Actor for Natar Ungalaaq.
- 4/6/2009
- by AceShowbiz.com
- Aceshowbiz
There's a playful exuberance on display in "Better Than Chocolate", a bright, funny and sexy romp set in the heart of Vancouver's vibrant lesbian community.
Although it has a little trouble deciding what it wants to be when it grows up -- romantic comedy or full-throttle farce -- the picture's tonal ambiguity also happens to be part of its unpredictable charm.
Having already proved popular with audiences on the festival circuit, the Trimark Pictures release should find a sweet specialty market niche for itself, tickling viewers with its refreshingly angst-free, youthful energy.
Ironically, the person calling the shots is not some fresh-out-of-film-school talent but acclaimed Canadian director Anne Wheeler ("Loyalties", A&E's "The Sleep Room"), who has forged a career from effortlessly slipping in and out of genres.
Here, in collaboration with screenwriter-playwright Peggy Thompson ("The Lotus Eaters"), she again demonstrates that resiliency working with a young, promising cast in a potentially tricky milieu.
Capably serving as the film's heart and soul is Karyn Dwyer in the role of Maggie, a fresh-faced 19-year-old who has dropped out of college to embark on a writing career. Making ends meet by working at a lesbian bookstore called "Ten Percent", Maggie learns that timing isn't her forte when she meets the woman of her dreams (Christina Cox) just before her neurotic mother, Lila (Wendy Crewson), and her brother Paul Kevin Mundy) abruptly move in with her.
To add to the discomfort factor, Maggie has yet to have that little discussion with Mom, who thinks that "Ten Percent" is a discount bookstore. She also hasn't mentioned the fact that her loft is actually a furnished sublet from a woman who happens to make all kinds of latex toys that keep popping up in the darndest places.
Meanwhile, as Maggie and Kim's relationship heats up, recently separated, bonbon-popping Lila finds a sympathetic shoulder to cry on from Judy (Peter Outerbridge), a transgendered lesbian nightclub singer (although Lila has only cottoned to the nightclub singer part), who, in turn, has a big crush on Frances (Ann-Marie MacDonald), Maggie's repressed bookstore boss who apparently takes her fashion cues from Velma on "Scooby-Doo".
When not keeping an eye on inventory, Frances wages war with Canadian Customs, which is repeatedly seizing imported books at the border, deeming them obscene. Even "Little Red Riding Hood" is suspect.
For the most part, all these wacky elements manage to hold together thanks to the tender, core Maggie-Kim relationship. Relative newcomers Dwyer and Cox are terrific, lending the goings-on a heated, poignant credibility.
Good, too, is Outerbridge, who impressively resists the temptation to drag his colorful character too far over the top.
It's a tougher battle for Crewson and MacDonald, whose farcically written characters can pretty well be conveyed only with broad strokes. They make for a lively if occasionally discordant mix.
Production values are equally bright and bouncy thanks to Gregory Middleton's cheery cinematography and Alison Grace's nimble editing.
On the musical front, Graeme Coleman's contemporary romantic score is neatly complemented by a Lilith Fair-ready song list, including contributions from Sarah McLachlan and Ani DiFranco.
BETTER THAN CHOCOLATE
Trimark
Trimark Pictures presents
a Sharon McGowan and Peggy Thompson production
A film by Anne Wheeler
Director: Anne Wheeler
Producer: Sharon McGowan
Screenwriter: Peggy Thompson
Director of photography: Gregory Middleton
Production designer: David Roberts
Editor: Alison Grace
Costume designer: Brad Gough
Music: Graeme Coleman
Color/stereo
Cast:
Lila: Wendy Crewson
Maggie: Karyn Dwyer
Kim: Christina Cox
Frances: Ann-Marie MacDonald
Carla: Marya Delver
Paul: Kevin Mundy
Judy: Peter Outerbridge
Tony: Tony Nappo
Running time -- 103 minutes
No MPAA rating...
Although it has a little trouble deciding what it wants to be when it grows up -- romantic comedy or full-throttle farce -- the picture's tonal ambiguity also happens to be part of its unpredictable charm.
Having already proved popular with audiences on the festival circuit, the Trimark Pictures release should find a sweet specialty market niche for itself, tickling viewers with its refreshingly angst-free, youthful energy.
Ironically, the person calling the shots is not some fresh-out-of-film-school talent but acclaimed Canadian director Anne Wheeler ("Loyalties", A&E's "The Sleep Room"), who has forged a career from effortlessly slipping in and out of genres.
Here, in collaboration with screenwriter-playwright Peggy Thompson ("The Lotus Eaters"), she again demonstrates that resiliency working with a young, promising cast in a potentially tricky milieu.
Capably serving as the film's heart and soul is Karyn Dwyer in the role of Maggie, a fresh-faced 19-year-old who has dropped out of college to embark on a writing career. Making ends meet by working at a lesbian bookstore called "Ten Percent", Maggie learns that timing isn't her forte when she meets the woman of her dreams (Christina Cox) just before her neurotic mother, Lila (Wendy Crewson), and her brother Paul Kevin Mundy) abruptly move in with her.
To add to the discomfort factor, Maggie has yet to have that little discussion with Mom, who thinks that "Ten Percent" is a discount bookstore. She also hasn't mentioned the fact that her loft is actually a furnished sublet from a woman who happens to make all kinds of latex toys that keep popping up in the darndest places.
Meanwhile, as Maggie and Kim's relationship heats up, recently separated, bonbon-popping Lila finds a sympathetic shoulder to cry on from Judy (Peter Outerbridge), a transgendered lesbian nightclub singer (although Lila has only cottoned to the nightclub singer part), who, in turn, has a big crush on Frances (Ann-Marie MacDonald), Maggie's repressed bookstore boss who apparently takes her fashion cues from Velma on "Scooby-Doo".
When not keeping an eye on inventory, Frances wages war with Canadian Customs, which is repeatedly seizing imported books at the border, deeming them obscene. Even "Little Red Riding Hood" is suspect.
For the most part, all these wacky elements manage to hold together thanks to the tender, core Maggie-Kim relationship. Relative newcomers Dwyer and Cox are terrific, lending the goings-on a heated, poignant credibility.
Good, too, is Outerbridge, who impressively resists the temptation to drag his colorful character too far over the top.
It's a tougher battle for Crewson and MacDonald, whose farcically written characters can pretty well be conveyed only with broad strokes. They make for a lively if occasionally discordant mix.
Production values are equally bright and bouncy thanks to Gregory Middleton's cheery cinematography and Alison Grace's nimble editing.
On the musical front, Graeme Coleman's contemporary romantic score is neatly complemented by a Lilith Fair-ready song list, including contributions from Sarah McLachlan and Ani DiFranco.
BETTER THAN CHOCOLATE
Trimark
Trimark Pictures presents
a Sharon McGowan and Peggy Thompson production
A film by Anne Wheeler
Director: Anne Wheeler
Producer: Sharon McGowan
Screenwriter: Peggy Thompson
Director of photography: Gregory Middleton
Production designer: David Roberts
Editor: Alison Grace
Costume designer: Brad Gough
Music: Graeme Coleman
Color/stereo
Cast:
Lila: Wendy Crewson
Maggie: Karyn Dwyer
Kim: Christina Cox
Frances: Ann-Marie MacDonald
Carla: Marya Delver
Paul: Kevin Mundy
Judy: Peter Outerbridge
Tony: Tony Nappo
Running time -- 103 minutes
No MPAA rating...
- 8/12/1999
- The Hollywood Reporter - Movie News
Young Toronto director Jeremy Podeswa delivers on the promise of his debut "Eclipse", with this soulful, intricate work on longing and remorse, dissolution and regeneration.
Centered on the search for a 3-year-old girl whose disappearance links a disparate group of professionals, the film is intelligently staged, easing through the sometimes awkward shifts in tone by dramatizing its characters' recurring need for deeper personal connection and emotional fulfillment.
The worst that can be said of the film is its clear affinity with the earlier works of Atom Egoyan. (The film is produced by Egoyan's longtime collaborator Camelia Frieberg.) It suffers from the same problems that afflicted Egoyan's earlier work, a preciousness that drained the life out of his characters.
But Podeswa is a talent. He effectively introduces his varied cast, painting small, vivid strokes to suggest their internal, emotional or physical conflicts.
A French ophthalmologist (Philippe Volter) is traumatized by the gradual loss of his hearing; a message therapist (Gabrielle Rose) can't communicate with her bright though withdrawn daughter (Nadia Litz); Anna (Molly Parker) grieves over the loss of her child but remains hopeful of her return; bisexual Robert (Daniel MacIvor) tracks down his past lovers to find his need for love; and Robert Best's friend Rona (Mary-Louise Parker) must overcome a language barrier with her handsome new Italian lover to discern the authenticity of her actions.
Aided by his gifted cast and the subtle, nuanced camera work of Gregory Middleton, Podeswa works in the right moods and feelings, never forcing one viewpoint over another, but instead invests each character with a humanity, vulnerability and feeling that appears genuine and honest.
Centered on the search for a 3-year-old girl whose disappearance links a disparate group of professionals, the film is intelligently staged, easing through the sometimes awkward shifts in tone by dramatizing its characters' recurring need for deeper personal connection and emotional fulfillment.
The worst that can be said of the film is its clear affinity with the earlier works of Atom Egoyan. (The film is produced by Egoyan's longtime collaborator Camelia Frieberg.) It suffers from the same problems that afflicted Egoyan's earlier work, a preciousness that drained the life out of his characters.
But Podeswa is a talent. He effectively introduces his varied cast, painting small, vivid strokes to suggest their internal, emotional or physical conflicts.
A French ophthalmologist (Philippe Volter) is traumatized by the gradual loss of his hearing; a message therapist (Gabrielle Rose) can't communicate with her bright though withdrawn daughter (Nadia Litz); Anna (Molly Parker) grieves over the loss of her child but remains hopeful of her return; bisexual Robert (Daniel MacIvor) tracks down his past lovers to find his need for love; and Robert Best's friend Rona (Mary-Louise Parker) must overcome a language barrier with her handsome new Italian lover to discern the authenticity of her actions.
Aided by his gifted cast and the subtle, nuanced camera work of Gregory Middleton, Podeswa works in the right moods and feelings, never forcing one viewpoint over another, but instead invests each character with a humanity, vulnerability and feeling that appears genuine and honest.
- 5/24/1999
- The Hollywood Reporter - Movie News
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