New Girl actress Zooey Deschanel has famous parents and an even more famous sister, Emily Deschanel. The actress was born to cinematographer Caleb Deschanel and actress Mary Jo Deschanel. Caleb has six Oscar nominations to his name, including the one for his work on The Passion of the Christ. However, the Almost Famous actress doesn’t believe that she got roles in Hollywood due to her famous father.
Zooey Deschanel as Jess Day in New Girl
Deschanel’s sister, Emily, played Temperance “Bones” Brennan in 12 seasons of the Fox police procedural series Bones. Her mom is also famous for her role in David Lynch’s famous series, Twin Peaks. Deschanel considers her family as a community of artists who helped her grow as an actress.
Zooey Deschanel Responds To The Criticisms About Being A Nepo Baby Zooey Deschanel with her sister Emily Deschanel in an episode of Bones
Zooey Deschanel...
Zooey Deschanel as Jess Day in New Girl
Deschanel’s sister, Emily, played Temperance “Bones” Brennan in 12 seasons of the Fox police procedural series Bones. Her mom is also famous for her role in David Lynch’s famous series, Twin Peaks. Deschanel considers her family as a community of artists who helped her grow as an actress.
Zooey Deschanel Responds To The Criticisms About Being A Nepo Baby Zooey Deschanel with her sister Emily Deschanel in an episode of Bones
Zooey Deschanel...
- 4/1/2024
- by Hashim Asraff
- FandomWire
The American Film Institute has its sights set on Matthew Libatique.
The Oscar nominated cinematographer, who graduated from the institution in 1992, has been tapped to receive AFI’s Franklin J. Schaffner Alumni Medal. It will be presented during the AFI Life Achievement Award tribute to Nicole Kidman at the Dolby Theatre in Los Angeles on April 27.
The medal is awarded annually “to an alumnus of either the AFI Conservatory or the [AFI Directing Workshop for Women] who best embodies the qualities of the late director: talent, taste, dedication and commitment to quality filmmaking.” Schaffner, who died in 1989, won a best director Oscar for Patton in 1970. Recipients of the Franklin J. Schaffner Alumni Medal include David Lynch, Edward Zwick, Amy Heckerling, Terrence Malick, Darren Aronofsky, Patty Jenkins, Paul Schrader, Janusz Kamiński, Caleb Deschanel, Lesli Linka Glatter, Rachel Morrison, Melina Matsoukas, Siân Heder and others.
The honor comes as Libatique has earned raves for working on Bradley Cooper...
The Oscar nominated cinematographer, who graduated from the institution in 1992, has been tapped to receive AFI’s Franklin J. Schaffner Alumni Medal. It will be presented during the AFI Life Achievement Award tribute to Nicole Kidman at the Dolby Theatre in Los Angeles on April 27.
The medal is awarded annually “to an alumnus of either the AFI Conservatory or the [AFI Directing Workshop for Women] who best embodies the qualities of the late director: talent, taste, dedication and commitment to quality filmmaking.” Schaffner, who died in 1989, won a best director Oscar for Patton in 1970. Recipients of the Franklin J. Schaffner Alumni Medal include David Lynch, Edward Zwick, Amy Heckerling, Terrence Malick, Darren Aronofsky, Patty Jenkins, Paul Schrader, Janusz Kamiński, Caleb Deschanel, Lesli Linka Glatter, Rachel Morrison, Melina Matsoukas, Siân Heder and others.
The honor comes as Libatique has earned raves for working on Bradley Cooper...
- 1/9/2024
- by Chris Gardner
- The Hollywood Reporter - Movie News
The term "nepo baby" tends to carry a negative connotation, but it doesn't have to. Take the Deschanel sisters, Emily and Zooey. Their mother, Mary Jo Deschanel (née Weir), began acting in the 1960s and has dozens of film and TV credits to her name, from "2010: The Year We Make Contact" to "Twin Peaks." Their father, Caleb Deschanel, is likewise a decorated director and cinematographer whose career spans 50 years, having collaborated with filmmakers like Philip Kaufman, Carroll Ballard, William Friedkin, Richard Donner, Roland Emmerich, and Christopher McQuarrie.
In the face of that, "nepo babies" Emily and Zooey Deschanel have emerged as artists fully worthy of admiration on their own merits. On top of forming one-half of the successful indie pop group She & Him, Zooey Deschanel spring-boarded from her early breakout roles in the hits "Almost Famous" and "Elf" into an ongoing career as a movie star, in addition to...
In the face of that, "nepo babies" Emily and Zooey Deschanel have emerged as artists fully worthy of admiration on their own merits. On top of forming one-half of the successful indie pop group She & Him, Zooey Deschanel spring-boarded from her early breakout roles in the hits "Almost Famous" and "Elf" into an ongoing career as a movie star, in addition to...
- 1/1/2024
- by Sandy Schaefer
- Slash Film
As the start of the Camerimage Film Festival approaches, Variety asked four festival regulars, all sought-after cinematographers, to weigh in on the issues, trends and opportunities the profession is encountering this year – all subjects expected to come up during the fest, which runs Nov. 11-18. Here’s what they had to say:
Mandy Walker, currently filming Disney’s live action “Snow White” remake, and chairing Camerimage main competition jury.
“I see more and more women are shooting [film] projects and TV – in the States, a lot more women are shooting TV shows. A lot more in the camera department in general, camera operators, first ACs, and it’s definitely getting better. But there’s still a bit of a hump to get over before it’s anywhere near equal.”
“The technology – for me, when I first started shooting movies, there was no VFX, there was no blue screen because I was shooting very small indie projects.
Mandy Walker, currently filming Disney’s live action “Snow White” remake, and chairing Camerimage main competition jury.
“I see more and more women are shooting [film] projects and TV – in the States, a lot more women are shooting TV shows. A lot more in the camera department in general, camera operators, first ACs, and it’s definitely getting better. But there’s still a bit of a hump to get over before it’s anywhere near equal.”
“The technology – for me, when I first started shooting movies, there was no VFX, there was no blue screen because I was shooting very small indie projects.
- 11/7/2023
- by Will Tizard
- Variety Film + TV
Emily Deschanel and her sister, Zooey Deschanel, have been gracing our screens for years, but did you know that success in Hollywood has been in the family for generations?
The Deschanels' parents were both established in the entertainment industry long before the birth of their daughters. Their father, Caleb Deschanel, is an Oscar-nominated cinematographer. He was first nominated for an Academy Award in cinematography in 1983 for the film "The Right Stuff," followed by "The Natural" in 1984 and "Fly Away Home" in 1996. Additionally, 2000's "The Patriot," 2004's "The Passion of Christ," and 2018's "Never Look Away" all netted him nominations. He is also a member of the National Film Preservation Board of the Library of Congress.
Their mother, Mary Jo Deschanel, is an actor. She is perhaps best known for playing recurring character Eileen Hayward in "Twin Peaks." She went on to appear in the movie "The Patriot" and had roles...
The Deschanels' parents were both established in the entertainment industry long before the birth of their daughters. Their father, Caleb Deschanel, is an Oscar-nominated cinematographer. He was first nominated for an Academy Award in cinematography in 1983 for the film "The Right Stuff," followed by "The Natural" in 1984 and "Fly Away Home" in 1996. Additionally, 2000's "The Patriot," 2004's "The Passion of Christ," and 2018's "Never Look Away" all netted him nominations. He is also a member of the National Film Preservation Board of the Library of Congress.
Their mother, Mary Jo Deschanel, is an actor. She is perhaps best known for playing recurring character Eileen Hayward in "Twin Peaks." She went on to appear in the movie "The Patriot" and had roles...
- 9/30/2023
- by Eden Arielle Gordon
- Popsugar.com
After New Girl, Zooey Deschanel needed a break. However, it wasn’t due to any New Girl behind-the-scenes drama. We may think of acting as a career full of glitz, glamour, and plenty of perks, but that doesn’t mean it isn’t hard work that can drain the stars that bring their best to the screen day in and day out.
Plenty of Hollywood A-listers have spoken out about the pressures of their time in the spotlight. Thankfully, the public stigma around attention to mental health is diminishing, and these celebrities’ willingness to share a glimpse into their journeys has helped open up conversations about work-life balance and burnout in other industries.
What happened to Zoey Deschanel? The ‘New Girl’ Season 3 cast — long after the ‘Chicks and Dicks’ original title was dropped. | Fox Image Collection via Getty Images
The demands of starring in a popular TV sitcom differ from...
Plenty of Hollywood A-listers have spoken out about the pressures of their time in the spotlight. Thankfully, the public stigma around attention to mental health is diminishing, and these celebrities’ willingness to share a glimpse into their journeys has helped open up conversations about work-life balance and burnout in other industries.
What happened to Zoey Deschanel? The ‘New Girl’ Season 3 cast — long after the ‘Chicks and Dicks’ original title was dropped. | Fox Image Collection via Getty Images
The demands of starring in a popular TV sitcom differ from...
- 9/29/2023
- by Suse Forrest
- Showbiz Cheat Sheet
Robert Dalva, the film editor who earned an Oscar nomination for his work on the touching family adventure The Black Stallion and collaborated with director Joe Johnston on five films, including Jumanji and Captain America: The First Avenger, has died. He was 80.
Dalva died Jan. 27 of lymphoma in Marin County, California, his son Matthew Dalva told The Hollywood Reporter.
Dalva attended USC film school in the same class with George Lucas, and he went to work with him and Francis Ford Coppola in 1969 as the pair launched their innovative American Zoetrope production company in San Francisco.
The relationship paid off when Lucas hired Dalva to handle second-unit photography — he shot the land speeder going across the desert — on the original Star Wars (1977).
On the Coppola-produced Black Stallion (1979), starring Mickey Rooney in an Oscar-nominated performance, Dalva partnered with director Carroll Ballard, who also did second-unit work on Star Wars.
“We had...
Dalva died Jan. 27 of lymphoma in Marin County, California, his son Matthew Dalva told The Hollywood Reporter.
Dalva attended USC film school in the same class with George Lucas, and he went to work with him and Francis Ford Coppola in 1969 as the pair launched their innovative American Zoetrope production company in San Francisco.
The relationship paid off when Lucas hired Dalva to handle second-unit photography — he shot the land speeder going across the desert — on the original Star Wars (1977).
On the Coppola-produced Black Stallion (1979), starring Mickey Rooney in an Oscar-nominated performance, Dalva partnered with director Carroll Ballard, who also did second-unit work on Star Wars.
“We had...
- 2/6/2023
- by Mike Barnes and Christy Piña
- The Hollywood Reporter - Movie News
Of all the crazy stories from the making of James Cameron’s “Titanic,” none come close to that of the crew being drugged with Pcp. All hell broke loose Aug. 9, 1996 on the film’s set in Halifax, Nova Scotia when craft services provided clam chowder that happened to be spiked with the drug. Halifax was where Cameron filmed the “Titanic” framing device scenes, featuring Bill Paxton as the leader of an expedition that discovers Rose’s necklace. To commemorate the film’s 25th anniversary, Vulture spoke to a couple crew members about the night the crew got drugged.
“We had a room for the grips and electricians, and one of the guys started talking really hyper,” crew member Jake Clarke said. “He’s a big guy, like six-four, and he says, ‘Do you guys feel okay? Because I don’t. I feel like I’m on something, and believe me,...
“We had a room for the grips and electricians, and one of the guys started talking really hyper,” crew member Jake Clarke said. “He’s a big guy, like six-four, and he says, ‘Do you guys feel okay? Because I don’t. I feel like I’m on something, and believe me,...
- 12/19/2022
- by Zack Sharf
- Variety Film + TV
Walter Murch discovered something. It’s strange.
At 79, the man who innovated sound design—for whom the credit “Sound Designer” was basically invented—has pioneered methods of film editing, and whose book In the Blink of an Eye remains a key text 27 years since publication could rest on his laurels. But one evening, looking at a supercut celebrating his own exercises of film theory, Murch noticed that almost every cinematic image of a human face—from his work or another’s—fell on a distinct space of the cinematic frame: the golden ratio, a proportion considered the most pleasing to the eye, revealing “cinematographers have tended to place the eyes of the actors, in closeups and many medium shots, along that dividing line.” It also recurs time and again across nature and—depending on who you ask—is the strongest known sign of evolution or intelligent design.
What’s going on here?...
At 79, the man who innovated sound design—for whom the credit “Sound Designer” was basically invented—has pioneered methods of film editing, and whose book In the Blink of an Eye remains a key text 27 years since publication could rest on his laurels. But one evening, looking at a supercut celebrating his own exercises of film theory, Murch noticed that almost every cinematic image of a human face—from his work or another’s—fell on a distinct space of the cinematic frame: the golden ratio, a proportion considered the most pleasing to the eye, revealing “cinematographers have tended to place the eyes of the actors, in closeups and many medium shots, along that dividing line.” It also recurs time and again across nature and—depending on who you ask—is the strongest known sign of evolution or intelligent design.
What’s going on here?...
- 12/1/2022
- by Nick Newman
- The Film Stage
The company’s next feature is currently in production.
Carey Mulligan and Mahershala Ali are among names announced for the voice cast of Wildwood, the next feature from animation studio Laika.
Also in the voice cast are Peyton Elizabeth Lee, Jacob Tremblay, Awkwafina, Angela Bassett, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Maya Erskine, Tantoo Cardinal, Tom Waits and Richard E Grant.
Based on the series of novels by Colin Meloy and illustrator Carson Elli, Wildwood is currently in production at Laika’s facility outside Portland, Oregon.
Laika president and CEO Travis Knight is directing from a script by Chris Butler.
Carey Mulligan and Mahershala Ali are among names announced for the voice cast of Wildwood, the next feature from animation studio Laika.
Also in the voice cast are Peyton Elizabeth Lee, Jacob Tremblay, Awkwafina, Angela Bassett, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Maya Erskine, Tantoo Cardinal, Tom Waits and Richard E Grant.
Based on the series of novels by Colin Meloy and illustrator Carson Elli, Wildwood is currently in production at Laika’s facility outside Portland, Oregon.
Laika president and CEO Travis Knight is directing from a script by Chris Butler.
- 8/27/2022
- by John Hazelton
- ScreenDaily
Updated: Laika president Travis Knight has set the voice cast for the animation house’s stop-motion feature “Wildwood,” which he also directs: Carey Mulligan, Mahershala Ali, Peyton Elizabeth Lee, Jacob Tremblay, Awkwafina, Angela Bassett, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Maya Erskine, Tantoo Cardinal, Tom Waits, and Richard E. Grant.
Earlier: Laika has begun production on its sixth stop-motion feature, “Wildwood,” the studio’s first fantasy adventure set in the natural beauty of hometown Portland, Oregon. Laika President & CEO Travis Knight directs, and legendary cinematographer Caleb Deschanel (“The Right Stuff”) makes his first foray into stop-motion. The six-time Oscar nominee brings his naturalistic style to handcrafted animation after lensing the virtual world of Jon Favreau’s “The Lion King.”
“Wildwood” is based on the first in a trilogy of YA fantasy novels by Colin Meloy, lead singer and songwriter for Portland-based The Decemberists, and illustrated by artist Carson Ellis.
Earlier: Laika has begun production on its sixth stop-motion feature, “Wildwood,” the studio’s first fantasy adventure set in the natural beauty of hometown Portland, Oregon. Laika President & CEO Travis Knight directs, and legendary cinematographer Caleb Deschanel (“The Right Stuff”) makes his first foray into stop-motion. The six-time Oscar nominee brings his naturalistic style to handcrafted animation after lensing the virtual world of Jon Favreau’s “The Lion King.”
“Wildwood” is based on the first in a trilogy of YA fantasy novels by Colin Meloy, lead singer and songwriter for Portland-based The Decemberists, and illustrated by artist Carson Ellis.
- 8/25/2022
- by Bill Desowitz
- Indiewire
Carey Mulligan, Mahershala Ali, Andi Mack‘s Peyton Elizabeth Lee, Jacob Tremblay, Awkwafina, Angela Bassett, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Maya Erskine, Tantoo Cardinal, Tom Waits and Richard E. Grant make up the voice cast for Wildwood, the latest movie from Laika Studios.
The pic, directed by Laika’s Travis Knight, was originally announced in September, with the main cast revealed Thursday. It is being adapted from the series of novels by Colin Meloy, lead singer of The Decemberists, and illustrator Carson Ellis. Chris Butler, who wrote and directed the Laika pics ParaNorman and Missing Link, penned the script.
It marks the first film from Laika since 2019’s Missing Link. All five of the studio’s previous films have gotten Oscar Animated Feature nominations.
No release date has been set for this one, and roles for the voice cast remain under wraps.
Knight in a release announcing...
The pic, directed by Laika’s Travis Knight, was originally announced in September, with the main cast revealed Thursday. It is being adapted from the series of novels by Colin Meloy, lead singer of The Decemberists, and illustrator Carson Ellis. Chris Butler, who wrote and directed the Laika pics ParaNorman and Missing Link, penned the script.
It marks the first film from Laika since 2019’s Missing Link. All five of the studio’s previous films have gotten Oscar Animated Feature nominations.
No release date has been set for this one, and roles for the voice cast remain under wraps.
Knight in a release announcing...
- 8/25/2022
- by Patrick Hipes
- Deadline Film + TV
“Wildwood” is getting wilder.
The latest stop-motion animated feature from Laika, based on the series of novels by Colin Meloy, lead singer for The Decemberists, and illustrator Carson Ellis, is assembling a murderer’s row of vocal talent. The studio announced that Carey Mulligan, Mahershala Ali, Peyton Elizabeth Lee, Jacob Tremblay, Awkwafina, Angela Bassett, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Maya Erskine, Tantoo Cardinal, Tom Waits and Richard E. Grant.
“Wildwood” will be directed by Laika President & CEO Travis Knight (who last helmed “Kubo and the Two Strings” and also directed “Bumblebee”) from a script by Chris Butler. Caleb Deschanel is the cinematographer with Arianne Sutner, Laika’s Head of Production, producing alongside Knight. “Wildwood” is currently in production.
Also Read:
HBO Max Cancels More Animation, Including ‘Batman: The Caped Crusader’ and 2 ‘Looney Tunes’ Projects
“That is one helluva cast,” said Knight in an official statement. “Collaborating...
The latest stop-motion animated feature from Laika, based on the series of novels by Colin Meloy, lead singer for The Decemberists, and illustrator Carson Ellis, is assembling a murderer’s row of vocal talent. The studio announced that Carey Mulligan, Mahershala Ali, Peyton Elizabeth Lee, Jacob Tremblay, Awkwafina, Angela Bassett, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Maya Erskine, Tantoo Cardinal, Tom Waits and Richard E. Grant.
“Wildwood” will be directed by Laika President & CEO Travis Knight (who last helmed “Kubo and the Two Strings” and also directed “Bumblebee”) from a script by Chris Butler. Caleb Deschanel is the cinematographer with Arianne Sutner, Laika’s Head of Production, producing alongside Knight. “Wildwood” is currently in production.
Also Read:
HBO Max Cancels More Animation, Including ‘Batman: The Caped Crusader’ and 2 ‘Looney Tunes’ Projects
“That is one helluva cast,” said Knight in an official statement. “Collaborating...
- 8/25/2022
- by Drew Taylor
- The Wrap
Cinematographer Stephen H. Burum will be honored at EnergaCamerimage with the festival’s Lifetime Achievement Award.
Set to run in Torun, Poland, on Nov. 12-19, Camerimage, which focuses on films and cinematography, will celebrate its 30th anniversary this year.
Burum is best known for his collaborations with director Brian De Palma, which yielded such classics as “The Untouchables” (1987), a tale of the battle between good and evil; Vietnam War drama “Casualties of War” (1989); ”Carlito’s Way” (1993), which portrayed deep social divides; the iconic “Mission: Impossible” (1996); “Snake Eyes (1998); and “Mission to Mars” (2000).
His body of work also includes Joel Schumacher’s “St. Elmo’s Fire” (1985), Danny DeVito’s “The War of the Roses (1989), and Ken Kwapis’ and Marisa Silver’s “He Said, She Said” (1991).
Born in rural California in 1939 to a family of that owned and worked on several small newspapers, Burum became interested at an early age in film and shot his...
Set to run in Torun, Poland, on Nov. 12-19, Camerimage, which focuses on films and cinematography, will celebrate its 30th anniversary this year.
Burum is best known for his collaborations with director Brian De Palma, which yielded such classics as “The Untouchables” (1987), a tale of the battle between good and evil; Vietnam War drama “Casualties of War” (1989); ”Carlito’s Way” (1993), which portrayed deep social divides; the iconic “Mission: Impossible” (1996); “Snake Eyes (1998); and “Mission to Mars” (2000).
His body of work also includes Joel Schumacher’s “St. Elmo’s Fire” (1985), Danny DeVito’s “The War of the Roses (1989), and Ken Kwapis’ and Marisa Silver’s “He Said, She Said” (1991).
Born in rural California in 1939 to a family of that owned and worked on several small newspapers, Burum became interested at an early age in film and shot his...
- 5/5/2022
- by Peter Caranicas
- Variety Film + TV
The race for best cinematography is among the most competitive races this year at the Oscars. Black-and-white dramas, sci-fi dazzlers and Hollywood blockbusters are among the contenders, and it’s not entirely sure where it all might land. The American Society of Cinematographers, which announces its nominees tomorrow, will set a tone leading up to the opening of Oscar nomination voting, which begins on Thursday.
From ASC’s theatrical releases category to the Oscars, the track record averages about four out of five matches every year. Past ASC selections like “First Man” (Linus Sandgren), “Ford v Ferrari” (Phedon Papamichael), and last year’s “Cherry” (Newton Thomas Sigel) failed to transition to the Academy in favor of “Never Look Away” (Caleb Deschanel), “The Lighthouse” (Jarin Blaschke) and “Judas and the Black Messiah” (Sean Bobbitt). The last time they perfectly aligned was in 2017.
Over 93 years of the Academy Awards, Rachel Morrison is...
From ASC’s theatrical releases category to the Oscars, the track record averages about four out of five matches every year. Past ASC selections like “First Man” (Linus Sandgren), “Ford v Ferrari” (Phedon Papamichael), and last year’s “Cherry” (Newton Thomas Sigel) failed to transition to the Academy in favor of “Never Look Away” (Caleb Deschanel), “The Lighthouse” (Jarin Blaschke) and “Judas and the Black Messiah” (Sean Bobbitt). The last time they perfectly aligned was in 2017.
Over 93 years of the Academy Awards, Rachel Morrison is...
- 1/24/2022
- by Clayton Davis
- Variety Film + TV
IndieWire turns 25 this year. To mark the occasion, we’re running a series of essays about the future of everything we cover.
As part of IndieWire’s 25th anniversary series, who better to forecast the future of VFX than three-time Oscar-winning visual effects supervisor Rob Legato? The 2021 recipient of the Ves Award for Creative Excellence, Legato has translated virtual production into a live-action, photorealistic methodology for James Cameron, Martin Scorsese, and Jon Favreau. In fact, Legato’s VR experimentation with Favreau on “The Lion King” led directly to the director’s pioneering work with Industrial Light & Magic on “The Mandalorian” series on Disney+. They created the StageCraft platform, which eliminated the need for costly and time-consuming location shoots. Actors perform in an immersive and massive LED video wall and ceiling at Manhattan Beach Studios in L.A., where the practical set pieces are combined with digital extensions on the screens.
As part of IndieWire’s 25th anniversary series, who better to forecast the future of VFX than three-time Oscar-winning visual effects supervisor Rob Legato? The 2021 recipient of the Ves Award for Creative Excellence, Legato has translated virtual production into a live-action, photorealistic methodology for James Cameron, Martin Scorsese, and Jon Favreau. In fact, Legato’s VR experimentation with Favreau on “The Lion King” led directly to the director’s pioneering work with Industrial Light & Magic on “The Mandalorian” series on Disney+. They created the StageCraft platform, which eliminated the need for costly and time-consuming location shoots. Actors perform in an immersive and massive LED video wall and ceiling at Manhattan Beach Studios in L.A., where the practical set pieces are combined with digital extensions on the screens.
- 12/24/2021
- by Bill Desowitz
- Indiewire
Laika studios has announced its sixth stop-motion movie, “Wildwood.”
The feature is based on the novel written by Colin Meloy, lead singer and songwriter for The Decemberists, and illustrated by artist Carson Ellis. The announcement was made Wednesday by Travis Knight, President & CEO of the award-winning animation studio, who will direct the film. “Wildwood” is currently in production at Laika’s facility outside Portland, Oregon.
The synopsis for the film reads: “Beyond Portland’s city limits lies Wildwood. You’re not supposed to go there. You’re not even supposed to know it exists. But Prue McKeel is about to enter this enchanted wonderland. Her baby brother Mac has been taken by a murder of crows into the forest’s depths, and she – along with her hapless classmate Curtis – is going to get him back. Prue might think she’s too old for fairytales, but she’s just found herself at the center of one.
The feature is based on the novel written by Colin Meloy, lead singer and songwriter for The Decemberists, and illustrated by artist Carson Ellis. The announcement was made Wednesday by Travis Knight, President & CEO of the award-winning animation studio, who will direct the film. “Wildwood” is currently in production at Laika’s facility outside Portland, Oregon.
The synopsis for the film reads: “Beyond Portland’s city limits lies Wildwood. You’re not supposed to go there. You’re not even supposed to know it exists. But Prue McKeel is about to enter this enchanted wonderland. Her baby brother Mac has been taken by a murder of crows into the forest’s depths, and she – along with her hapless classmate Curtis – is going to get him back. Prue might think she’s too old for fairytales, but she’s just found herself at the center of one.
- 9/15/2021
- by Jazz Tangcay
- Variety Film + TV
Laika President & CEO Travis Knight is directing the studio’s next animated feature, Wildwood—an adaptation of the bestselling novel written by The Decemberists’ Colin Meloy, and illustrated by Carson Ellis.
The film penned by Chris Butler (Missing Link) is set beyond Portland’s city limits, in Wildwood. You’re not supposed to go there. You’re not even supposed to know it exists. But Prue McKeel is about to enter this enchanted wonderland.
Her baby brother Mac has been taken by a murder of crows into the forest’s depths, and she – along with her hapless classmate, Curtis – is going to get him back. Prue might think she’s too old for fairytales, but she’s just found herself at the center of one. One filled with strange talking animals, roguish bandits, and powerful figures with the darkest intentions.
Ariane Sutner is producing Laika’s latest, which marks Oscar...
The film penned by Chris Butler (Missing Link) is set beyond Portland’s city limits, in Wildwood. You’re not supposed to go there. You’re not even supposed to know it exists. But Prue McKeel is about to enter this enchanted wonderland.
Her baby brother Mac has been taken by a murder of crows into the forest’s depths, and she – along with her hapless classmate, Curtis – is going to get him back. Prue might think she’s too old for fairytales, but she’s just found herself at the center of one. One filled with strange talking animals, roguish bandits, and powerful figures with the darkest intentions.
Ariane Sutner is producing Laika’s latest, which marks Oscar...
- 9/15/2021
- by Matt Grobar
- Deadline Film + TV
Stop-motion animation studio Laika has announced what will be their sixth animated feature film: “Wildwood.” And Travis Knight, the company’s president and CEO, is making his return to animated films and will direct the project for the studio.
“Wildwood” is based on a book by the lead singer and songwriter for The Decemberists, Colin Meloy, which also features illustrations by artist Carson Ellis. Production is underway now at the Laika facility outside Portland, Oregon.
The film also has something of a hometown tie for Laika, as it’s the story of an enchanted world called Wildwood that exists just outside Portland’s city limits. When one girl finds her way there after her baby brother has been taken by a murder of crows into the forest’s depths, she finds herself at the center of a fairy tale encountering strange talking animals, roguish bandits and powerful figures with dark intentions.
“Wildwood” is based on a book by the lead singer and songwriter for The Decemberists, Colin Meloy, which also features illustrations by artist Carson Ellis. Production is underway now at the Laika facility outside Portland, Oregon.
The film also has something of a hometown tie for Laika, as it’s the story of an enchanted world called Wildwood that exists just outside Portland’s city limits. When one girl finds her way there after her baby brother has been taken by a murder of crows into the forest’s depths, she finds herself at the center of a fairy tale encountering strange talking animals, roguish bandits and powerful figures with dark intentions.
- 9/15/2021
- by Brian Welk
- The Wrap
Portland studio Laika announced that its next stop-motion and CG hybrid animated feature film release will be Wildwood, based on the bestselling novel written by Colin Meloy, which the company optioned in 2011.
Travis Knight, the Academy Award-nominated director of Kubo and the Two Strings and Laika’s president/CEO, is helming the movie, which is currently in production.
Six-time Oscar nominated cinematographer Caleb Deschanel (Fly Away Home, The Patriot) is serving as director of photography.
Based on the book written by Meloy, the lead singer and songwriter for The Decemberists, and illustrated by Carson Ellis, Wildwood is a Portland-set story that follows Prue McKeel, who enters ...
Travis Knight, the Academy Award-nominated director of Kubo and the Two Strings and Laika’s president/CEO, is helming the movie, which is currently in production.
Six-time Oscar nominated cinematographer Caleb Deschanel (Fly Away Home, The Patriot) is serving as director of photography.
Based on the book written by Meloy, the lead singer and songwriter for The Decemberists, and illustrated by Carson Ellis, Wildwood is a Portland-set story that follows Prue McKeel, who enters ...
- 9/15/2021
- The Hollywood Reporter - Movie News
Portland studio Laika announced that its next stop-motion and CG hybrid animated feature film release will be Wildwood, based on the bestselling novel written by Colin Meloy, which the company optioned in 2011.
Travis Knight, the Academy Award-nominated director of Kubo and the Two Strings and Laika’s president/CEO, is helming the movie, which is currently in production.
Six-time Oscar nominated cinematographer Caleb Deschanel (Fly Away Home, The Patriot) is serving as director of photography.
Based on the book written by Meloy, the lead singer and songwriter for The Decemberists, and illustrated by Carson Ellis, Wildwood is a Portland-set story that follows Prue McKeel, who enters ...
Travis Knight, the Academy Award-nominated director of Kubo and the Two Strings and Laika’s president/CEO, is helming the movie, which is currently in production.
Six-time Oscar nominated cinematographer Caleb Deschanel (Fly Away Home, The Patriot) is serving as director of photography.
Based on the book written by Meloy, the lead singer and songwriter for The Decemberists, and illustrated by Carson Ellis, Wildwood is a Portland-set story that follows Prue McKeel, who enters ...
- 9/15/2021
- The Hollywood Reporter - Film + TV
Three-time Oscar-winning visual effects supervisor Rob Legato — a visionary in translating virtual production into a live-action methodology for directors James Cameron, Martin Scorsese, and Jon Favreau — is the latest recipient of the Visual Effects Society’s Award for Creative Excellence. The award will be presented at the 19th Annual Ves Awards, streaming worldwide on April 6.
“As honored as I am to receive the Ves Award for Creative Excellence, I am humbled by the knowledge that this would not be possible without the dedication and creative excellence of the many artists I have had the fortunate opportunity to work with over the years,” said Legato, who is also a cinematographer and second unit director. “I am so very grateful for the continued generosity of this community for their camaraderie and willingness to share their unique vision and valuable secrets of their successes.”
“Throughout his career, Rob Legato has shown a rare...
“As honored as I am to receive the Ves Award for Creative Excellence, I am humbled by the knowledge that this would not be possible without the dedication and creative excellence of the many artists I have had the fortunate opportunity to work with over the years,” said Legato, who is also a cinematographer and second unit director. “I am so very grateful for the continued generosity of this community for their camaraderie and willingness to share their unique vision and valuable secrets of their successes.”
“Throughout his career, Rob Legato has shown a rare...
- 3/16/2021
- by Bill Desowitz
- Indiewire
Zooey Deschanel has one person to thank for getting her through 2020: Her boyfriend, Property Brothers star Jonathan Scott. On Jan. 2, the 500 Days of Summer star shared a photo of her and her honey on Instagram, along with a sweet caption. "My 2020 Mvp was this guy, who always made me feel happy in spite of a weird and uncertain year," she gushed. "Hoping 2021 is full of silver linings for everyone." Zooey credited her father Caleb Deschanel, a director and cinematographer who recently shot the 2019 version of The Lion King, with taking the picture. The actress surprised fans when she stepped out with the HGTV star in September 2019....
- 1/3/2021
- E! Online
The American Film Institute has received a $5 million gift from the Perenchio Foundation, established to fulfill the charitable wishes of Andrew Jerrold “Jerry” Perenchio, who died in 2017.
The gift will fund the Perenchio Family Endowed Scholarship to support diverse voices at the AFI Conservatory.
“Though he was famously anonymous in his philanthropy, Jerry’s generosity knew no bounds,” said Bob Daly, chair of the AFI Board of Directors. “Through this endowed scholarship at the AFI Conservatory, his legacy will continue to echo across generations in tomorrow’s storytellers.”
AFI said the first AFI Conservatory Perenchio Fellows will be announced in the coming months.
Perenchio amassed a fortune by building a powerhouse TV production company and later the Spanish-language network Univision. He was among California’s most prolific philanthropists and political donors.
Perenchio made a fortune on megahits of the 1970s, particularly from the sale of the shows into syndication. With Norman Lear,...
The gift will fund the Perenchio Family Endowed Scholarship to support diverse voices at the AFI Conservatory.
“Though he was famously anonymous in his philanthropy, Jerry’s generosity knew no bounds,” said Bob Daly, chair of the AFI Board of Directors. “Through this endowed scholarship at the AFI Conservatory, his legacy will continue to echo across generations in tomorrow’s storytellers.”
AFI said the first AFI Conservatory Perenchio Fellows will be announced in the coming months.
Perenchio amassed a fortune by building a powerhouse TV production company and later the Spanish-language network Univision. He was among California’s most prolific philanthropists and political donors.
Perenchio made a fortune on megahits of the 1970s, particularly from the sale of the shows into syndication. With Norman Lear,...
- 10/28/2020
- by Dave McNary
- Variety Film + TV
The American Film Institute announced on Wednesday it has received a $3 million gift from AFI Trustee Emeritus Lawrence Herbert to establish the Lawrence Herbert Alumni Center on the AFI Campus in Los Angeles. The gift will also establish a digital portal, called AFI Backlot, to magnify the center’s reach to AFI alumni globally.
The leadership gift from Herbert is part of AFI’s “Focus on the Future” campaign to ensure alumni have every opportunity to continue their successes once they graduate. The grant will enable AFI to increase its Alumni Affairs staff capacity, technical infrastructure and physical resources. The center’s programs will provide career development resources for alumni, engage AFI’s network of mentors to support alumni and champion their accomplishments.
More from DeadlineSteven Spielberg Launches American Film Institute's New Daily AFI Movie Club With 'The Wizard Of Oz'afi Awards Film: 'The Irishman', '1917', '...
The leadership gift from Herbert is part of AFI’s “Focus on the Future” campaign to ensure alumni have every opportunity to continue their successes once they graduate. The grant will enable AFI to increase its Alumni Affairs staff capacity, technical infrastructure and physical resources. The center’s programs will provide career development resources for alumni, engage AFI’s network of mentors to support alumni and champion their accomplishments.
More from DeadlineSteven Spielberg Launches American Film Institute's New Daily AFI Movie Club With 'The Wizard Of Oz'afi Awards Film: 'The Irishman', '1917', '...
- 4/22/2020
- by Tom Tapp
- Deadline Film + TV
The VFX wizard behind such films as Titanic and Apollo 13, Robert Legato has made it his mission in recent years to advance the art form of photorealistic computer-generated animation.
Winning his third Oscar in 2016 for his work on Jon Favreau’s The Jungle Book, Legato then reteamed with the director on a CG remake of The Lion King, taking the techniques and technology he’d developed for the former film to new heights, and a new degree of sophistication.
Referred to now as “live-action animation,” the visual style Legato developed for Jungle Book was immediately appealing to Favreau, because it gave him the ability to tell spectacular, otherworldly stories with a pristine live-action aesthetic.
Filmed on a blue screen stage in Los Angeles, The Lion King was carefully crafted by a team of live-action filmmakers, with state-of-the-art rendering tools and Vr technology at their disposal. The latter allowed cast...
Winning his third Oscar in 2016 for his work on Jon Favreau’s The Jungle Book, Legato then reteamed with the director on a CG remake of The Lion King, taking the techniques and technology he’d developed for the former film to new heights, and a new degree of sophistication.
Referred to now as “live-action animation,” the visual style Legato developed for Jungle Book was immediately appealing to Favreau, because it gave him the ability to tell spectacular, otherworldly stories with a pristine live-action aesthetic.
Filmed on a blue screen stage in Los Angeles, The Lion King was carefully crafted by a team of live-action filmmakers, with state-of-the-art rendering tools and Vr technology at their disposal. The latter allowed cast...
- 1/31/2020
- by Matt Grobar
- Deadline Film + TV
Disney’s “The Lion King” roared Wednesday night at the Ves Awards, grabbing the top VFX prize for photoreal feature along with virtual cinematography and the environment for The Pridelands. The kudos from the visual effects community (where three-time Oscar winning supervisor Rob Legato is hailed as a rock star) could tip the Oscar race in favor of “The Lion King.” That is, if Academy voters are equally impressed by the photoreal beauty of Jon Favreau’s faux live-action aesthetic (lensed by the legendary cinematographer Caleb Deschanel and animated by Mpc Film).
Indeed, it would make history, since no CG-animated movie has ever won the VFX Oscar. And that would be quite a testament to this game changer because, traditionally, the VFX branch has honored the seamless integration of live action and photoreal CG. But there is no integration in “The Lion King.” Team Favreau cleverly fooled us into thinking...
Indeed, it would make history, since no CG-animated movie has ever won the VFX Oscar. And that would be quite a testament to this game changer because, traditionally, the VFX branch has honored the seamless integration of live action and photoreal CG. But there is no integration in “The Lion King.” Team Favreau cleverly fooled us into thinking...
- 1/30/2020
- by Bill Desowitz
- Indiewire
Disney’s “The Lion King” was the big VFX winner Wednesday at the 18th annual Ves Awards at the Beverly Hilton, grabbing three prizes. Meanwhile. Martin Scorsese’s “The Irishman” won for supporting VFX and feature compositing.
This now gives the edge to “The Lion King” (supervised by three-time Oscar winner Rob Legato) in the VFX Oscar race. Jon Favreau’s breakthrough virtual production and faux live-action aesthetic was due to Mpc Film’s accomplished photoreal animation. Of course, “The Irishman” has been given a boost, too. And we shouldn’t count out “Avengers: Endgame,” seeking to become the first Marvel movie to win the VFX Oscar, even though it came away empty-handed for its extraordinary end battle and outstanding character work on Thanos and Smart Hulk.
Laika’s stop-motion “Missing Link,” the Golden Globe animation winner, took two awards (VFX for animated feature and the Susan Sasquatch animated character...
This now gives the edge to “The Lion King” (supervised by three-time Oscar winner Rob Legato) in the VFX Oscar race. Jon Favreau’s breakthrough virtual production and faux live-action aesthetic was due to Mpc Film’s accomplished photoreal animation. Of course, “The Irishman” has been given a boost, too. And we shouldn’t count out “Avengers: Endgame,” seeking to become the first Marvel movie to win the VFX Oscar, even though it came away empty-handed for its extraordinary end battle and outstanding character work on Thanos and Smart Hulk.
Laika’s stop-motion “Missing Link,” the Golden Globe animation winner, took two awards (VFX for animated feature and the Susan Sasquatch animated character...
- 1/30/2020
- by Bill Desowitz
- Indiewire
“The Lion King,” the Disney “live-action” remake that is made up almost entirely of computer-generated characters and backgrounds, has won three awards at the Visual Effects Society’s 18th annual Ves Awards, which were handed out Wednesday night in Los Angeles.
The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the Ves category that corresponds most closely to the Academy Awards’ Best Visual Effects category.
“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.
Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'
In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,...
The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the Ves category that corresponds most closely to the Academy Awards’ Best Visual Effects category.
“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.
Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'
In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,...
- 1/30/2020
- by Steve Pond
- The Wrap
The Visual Effects Society is handing out its 18th annual Ves Awards tonight at the Beverly Hilton, and Deadline is updating the winners list live as they are announced. Check out the list below.
Patton Oswalt is hosting the ceremony, which recognizes and honors the most outstanding visual effects work of the year and honors the artists who created them. Check out the latest winners and the nominees in all remaining categories below.
Since the Ves Awards launched in 2002, the winner of its top film category — Best Visual Effects in a Visual Effects-Driven Motion Picture — has gone on to score the Best Visual Effects Oscar in 10 of the 17 years. (Hugo won the Ves in the Feature Motion Picture category in 2011 and later won the Oscar.) But Ves and the Film Academy have differed in each of the past two years, with War for the Planet of the Apes losing the...
Patton Oswalt is hosting the ceremony, which recognizes and honors the most outstanding visual effects work of the year and honors the artists who created them. Check out the latest winners and the nominees in all remaining categories below.
Since the Ves Awards launched in 2002, the winner of its top film category — Best Visual Effects in a Visual Effects-Driven Motion Picture — has gone on to score the Best Visual Effects Oscar in 10 of the 17 years. (Hugo won the Ves in the Feature Motion Picture category in 2011 and later won the Oscar.) But Ves and the Film Academy have differed in each of the past two years, with War for the Planet of the Apes losing the...
- 1/30/2020
- by Erik Pedersen and Antonia Blyth
- Deadline Film + TV
Disney dominated Saturday’s Academy VFX bake-off with five out of 10 contenders, but Jon Favreau’s “The Lion King” stole the show with the best presentation by three-time Oscar-winning VFX supervisor Rob Legato. He entertainingly touted the stunning, faux live-action aesthetic. Disney franchise heavyweights, “Star Wars: The Rise of Skywalker” and “Avengers: Endgame,” also did well in boasting their cutting edge, high-octane work.
Faring surprisingly well, though, was Robert Rodriguez’s “Alita: Battle Angel” (which Disney acquired from Fox), thanks to Weta Digital’s impressive humanoid cyborg (Rosa Salazar). However, there’s plenty of character competition from Weta’s breakthrough CG human (the young Will Smith clone) in Ang Lee’s “Gemini Man,” Industrial Light & Magic’s innovative de-aging of Robert De Niro, Al Pacino, and Joe Pesci in Martin Scorsese’s “The Irishman,” and, yes, even the ambitious furry body replacements in Tom Hooper’s much maligned box office bomb,...
Faring surprisingly well, though, was Robert Rodriguez’s “Alita: Battle Angel” (which Disney acquired from Fox), thanks to Weta Digital’s impressive humanoid cyborg (Rosa Salazar). However, there’s plenty of character competition from Weta’s breakthrough CG human (the young Will Smith clone) in Ang Lee’s “Gemini Man,” Industrial Light & Magic’s innovative de-aging of Robert De Niro, Al Pacino, and Joe Pesci in Martin Scorsese’s “The Irishman,” and, yes, even the ambitious furry body replacements in Tom Hooper’s much maligned box office bomb,...
- 1/6/2020
- by Bill Desowitz
- Indiewire
The full conversation from The Hollywood Reporter's 2019 Cinematographer Roundtable is now available as a special episode of THR's Behind the Screen.
Recorded Sept. 29 in downtown Los Angeles, the conversation features Roger Deakins (1917 and The Goldfinch), Natasha Braier (Honey Boy), Cesar Charlone (The Two Popes), Caleb Deschanel (The Lion King), Rodrigo Prieto (The Irishman) and Robert Richardson (Once Upon a Time in...Hollywood).
THR's new Animation Roundtable is additionally available on Behind the Screen. It features Frozen 2's Jennifer Lee, How to Train Your Dragon: The Hidden World's Dean DeBlois, Abominable's Jill Culton, Klaus'...
Recorded Sept. 29 in downtown Los Angeles, the conversation features Roger Deakins (1917 and The Goldfinch), Natasha Braier (Honey Boy), Cesar Charlone (The Two Popes), Caleb Deschanel (The Lion King), Rodrigo Prieto (The Irishman) and Robert Richardson (Once Upon a Time in...Hollywood).
THR's new Animation Roundtable is additionally available on Behind the Screen. It features Frozen 2's Jennifer Lee, How to Train Your Dragon: The Hidden World's Dean DeBlois, Abominable's Jill Culton, Klaus'...
- 12/20/2019
- The Hollywood Reporter - Movie News
The full conversation from The Hollywood Reporter's 2019 Cinematographer Roundtable is now available as a special episode of THR's Behind the Screen.
Recorded Sept. 29 in downtown Los Angeles, the conversation features Roger Deakins (1917 and The Goldfinch), Natasha Braier (Honey Boy), Cesar Charlone (The Two Popes), Caleb Deschanel (The Lion King), Rodrigo Prieto (The Irishman) and Robert Richardson (Once Upon a Time in...Hollywood).
THR's new Animation Roundtable is additionally available on Behind the Screen. It features Frozen 2's Jennifer Lee, How to Train Your Dragon: The Hidden World's Dean DeBlois, Abominable's Jill Culton, Klaus'...
Recorded Sept. 29 in downtown Los Angeles, the conversation features Roger Deakins (1917 and The Goldfinch), Natasha Braier (Honey Boy), Cesar Charlone (The Two Popes), Caleb Deschanel (The Lion King), Rodrigo Prieto (The Irishman) and Robert Richardson (Once Upon a Time in...Hollywood).
THR's new Animation Roundtable is additionally available on Behind the Screen. It features Frozen 2's Jennifer Lee, How to Train Your Dragon: The Hidden World's Dean DeBlois, Abominable's Jill Culton, Klaus'...
- 12/20/2019
- The Hollywood Reporter - Film + TV
This season’s VFX Oscar race features bold, innovative animation, led by Jon Favreau’s “The Lion King,” the all-cg photoreal breakthrough by Mpc Film,; Ang Lee’s “Gemini Man,” which boasts Weta Digital’s most fully convincing digital human with Junior, the younger clone of Will Smith’s aging assassin, and Industrial Light & Magic’s innovative de-aging of Robert DeNiro, Al Pacino, and Joe Pesci without markers or animation in Martin Scorsese’s Best Picture contender, “The Irishman.”
Additionally, Weta took facial capture to the next level with “Alita: Battle Angel,” the manga-inspired sci-fi adventure directed by Robert Rodriguez and produced by James Cameron and Jon Landau. The doll-like cyborg with big eyes (performance-captured by Rosa Salazar) looked very convincing and badass.
But “The Lion King” blockbuster’s tactile photo-realism will be the one to beat, crossing the line between live action and animation with its stunning illusion of reality.
Additionally, Weta took facial capture to the next level with “Alita: Battle Angel,” the manga-inspired sci-fi adventure directed by Robert Rodriguez and produced by James Cameron and Jon Landau. The doll-like cyborg with big eyes (performance-captured by Rosa Salazar) looked very convincing and badass.
But “The Lion King” blockbuster’s tactile photo-realism will be the one to beat, crossing the line between live action and animation with its stunning illusion of reality.
- 12/15/2019
- by Bill Desowitz
- Indiewire
"You try to be as invisible as possible, because all this paraphernalia and lighting can be distracting for actors," says Rodrigo Prieto, 54, of working on Martin Scorsese's The Irishman. Also sharing their trade secrets in The Hollywood Reporter's Sept. 29 cinematographer roundtable in downtown Los Angeles was Roger Deakins, 70 (1917 and The Goldfinch), Caleb Deschanel, 75 (The Lion King), Robert Richardson, 64 (Once Upon a Time in Hollywood), César Charlone, 61 (The Two Popes), and Natasha Braier, 44 (Honey Boy). Diversity (and the lack thereof) was discussed, with Mexico-born Prieto saying, "The seeds are being ...
- 12/14/2019
- The Hollywood Reporter - Film + TV
"You try to be as invisible as possible, because all this paraphernalia and lighting can be distracting for actors," says Rodrigo Prieto, 54, of working on Martin Scorsese's The Irishman. Also sharing their trade secrets in The Hollywood Reporter's Sept. 29 cinematographer roundtable in downtown Los Angeles was Roger Deakins, 70 (1917 and The Goldfinch), Caleb Deschanel, 75 (The Lion King), Robert Richardson, 64 (Once Upon a Time in Hollywood), César Charlone, 61 (The Two Popes), and Natasha Braier, 44 (Honey Boy). Diversity (and the lack thereof) was discussed, with Mexico-born Prieto saying, "The seeds are being ...
- 12/14/2019
- The Hollywood Reporter - Movie News
Three-time Oscar-winning visual effects supervisor Rob Legato has translated virtual production into a live-action methodology that serves as recognizable filmmaking tools for such directors as James Cameron, Martin Scorsese, and Jon Favreau. That’s because Legato, who’s also a cinematographer, has emphasized photographic realism in VFX.
After successfully morphing live-action footage with VFX on “Titanic,” Legato tackled virtual production more forcefully on Scorsese’s Howard Hughes biopic, “The Aviator.” He had to photograph a plane crash for the first time, so he ingeniously used animation software and a hand-operated pan-and-tilt wheel to photograph a plane crash live in real-time.
Then Legato took a bold step with his “director-centric” workflow for “Avatar,” which enabled Cameron to make his revolutionary sci-fi hybrid. With a customized hand-held virtual camera, Legato gave Cameron a powerful tool for camera layout on a motion capture stage.
Legato refined the virtual production process further with Scorsese on “Hugo.
After successfully morphing live-action footage with VFX on “Titanic,” Legato tackled virtual production more forcefully on Scorsese’s Howard Hughes biopic, “The Aviator.” He had to photograph a plane crash for the first time, so he ingeniously used animation software and a hand-operated pan-and-tilt wheel to photograph a plane crash live in real-time.
Then Legato took a bold step with his “director-centric” workflow for “Avatar,” which enabled Cameron to make his revolutionary sci-fi hybrid. With a customized hand-held virtual camera, Legato gave Cameron a powerful tool for camera layout on a motion capture stage.
Legato refined the virtual production process further with Scorsese on “Hugo.
- 12/3/2019
- by Bill Desowitz
- Indiewire
Camerimage, the festival in Toruń, Poland dedicated to the art of cinematography, handed out its prestigious Frog prizes this evening. The big winner was “Joker” cinematographer Lawrence Sher, who won the top prize, the Golden Frog, in addition to the Audience Prize. The Bronze Frog was awarded to “The Painted Bird” Dp Vladimír Smutný, while “The Two Popes” Dp César Charlone won the Silver Frog. A full list of winners at the end of this article.
Now in its 27th year, Camerimage has become homecoming week for cinematographers from around the globe, with a vast number of the best DPs, past and present, in attendance. From an awards perspective — considering cinematographers nominate their colleagues — it’s hard to overestimate the value of DPs presenting their work and discussing their craft with their tight-knit community during the week-long celebration.
Sher — whose “Joker” screened early in the fest, and has been in...
Now in its 27th year, Camerimage has become homecoming week for cinematographers from around the globe, with a vast number of the best DPs, past and present, in attendance. From an awards perspective — considering cinematographers nominate their colleagues — it’s hard to overestimate the value of DPs presenting their work and discussing their craft with their tight-knit community during the week-long celebration.
Sher — whose “Joker” screened early in the fest, and has been in...
- 11/16/2019
- by Chris O'Falt
- Indiewire
Camerimage, the Polish film festival dedicated to the art of cinematography, has become homecoming week for directors of photography from around the globe. And while Camerimage organizers say they have no interest in the American awards season, cinematographers nominate cinematographers for the Oscars — and the 13 films that compete for the Golden Frog for Best Cinematography have become a predictor of the Academy’s Best Cinematography nominees.
The Camerimage 2019 Main Competition includes: “Ford v Ferrari” (Dp Phedon Papamichael), “The Irishman” (Dp Rodrigo Prieto), “Joker” (Dp Lawrence Sher), “The Last Black Man in San Francisco” (Dp Adam Newport-Berra), “Motherless Brooklyn” (Dp Dick Pope), “The Two Popes” (Dp César Charlone), “The Painted Bird” (Dp Vladimír Smutný), “An Officer and a Spy” (Dp Paweł Edelman), “Never Look Away” (Dp Caleb Deschanel), “Mr. Jones” (Dp Tomasz Naumiuk), “Shadow” (Dp Xiaoding Zhao), “Bolden” (Dp Neal Norton), and “Amundsen” (Dp Paal Ulvik Rokseth).
IndieWire has confirmed that...
The Camerimage 2019 Main Competition includes: “Ford v Ferrari” (Dp Phedon Papamichael), “The Irishman” (Dp Rodrigo Prieto), “Joker” (Dp Lawrence Sher), “The Last Black Man in San Francisco” (Dp Adam Newport-Berra), “Motherless Brooklyn” (Dp Dick Pope), “The Two Popes” (Dp César Charlone), “The Painted Bird” (Dp Vladimír Smutný), “An Officer and a Spy” (Dp Paweł Edelman), “Never Look Away” (Dp Caleb Deschanel), “Mr. Jones” (Dp Tomasz Naumiuk), “Shadow” (Dp Xiaoding Zhao), “Bolden” (Dp Neal Norton), and “Amundsen” (Dp Paal Ulvik Rokseth).
IndieWire has confirmed that...
- 10/21/2019
- by Chris O'Falt
- Indiewire
The AFI Conservatory, one of the crown jewels of the American Film Institute, celebrated its 50th anniversary in style Thursday night at the place where it all started, the fabled Greystone Mansion in Beverly Hills. One of the first “colleges” for filmmakers (there were only four at the time), it opened at Greystone in 1969 and stayed there until 1981 ,when it moved to Griffith Park, where it still stands at the former Immaculate Heart campus.
The students — or fellows, as they are called for that first class — included future Oscar- nominated legends like Terrence Malick, Paul Schrader, and cinematographer Caleb Deschanel, the latter among many alumni who returned to the original campus for a class-reunion-of-all-class-reunions Thursday. Others attending included three-time Oscar nominee and 2019 Honorary Academy Award winner David Lynch from the class of 1970, Pieter Jan Brugge (Class of 1979), Jay Cassidy (1976), Susannah Grant (1991), Liz Hannah (2009), Marshall Herskovitz (1975), Mel Jones (2010), Matthew Libatique (1992), Melina...
The students — or fellows, as they are called for that first class — included future Oscar- nominated legends like Terrence Malick, Paul Schrader, and cinematographer Caleb Deschanel, the latter among many alumni who returned to the original campus for a class-reunion-of-all-class-reunions Thursday. Others attending included three-time Oscar nominee and 2019 Honorary Academy Award winner David Lynch from the class of 1970, Pieter Jan Brugge (Class of 1979), Jay Cassidy (1976), Susannah Grant (1991), Liz Hannah (2009), Marshall Herskovitz (1975), Mel Jones (2010), Matthew Libatique (1992), Melina...
- 9/21/2019
- by Pete Hammond
- Deadline Film + TV
The 50th anniversary of the American Film Institute Conservatory drew a storied array of graduates from its inaugural Class of 1969 back to the film school’s original campus, Beverly Hills’ Greystone Mansion.
Nearly all of the first class — nine of the original 18 AFI Fellows — reconvened for the celebration at the estate-turned-city park, including acclaimed cinematographer Caleb Deschanel (The Natural, The Lion King), screenwriter Matthew Robbins (MacArthur, Crimson Peak), writer-producer Paul Davids (Roswell), director academic Jeremy Kagan (The Journey of Natty Gan, Chicago Hope), producer David Wyles (Pumping Iron), screenwriter Jack Weinstein, director/playwright/lyricist Ken Luber and filmmakers ...
Nearly all of the first class — nine of the original 18 AFI Fellows — reconvened for the celebration at the estate-turned-city park, including acclaimed cinematographer Caleb Deschanel (The Natural, The Lion King), screenwriter Matthew Robbins (MacArthur, Crimson Peak), writer-producer Paul Davids (Roswell), director academic Jeremy Kagan (The Journey of Natty Gan, Chicago Hope), producer David Wyles (Pumping Iron), screenwriter Jack Weinstein, director/playwright/lyricist Ken Luber and filmmakers ...
- 9/20/2019
- The Hollywood Reporter - Film + TV
The 50th anniversary of the American Film Institute Conservatory drew a storied array of graduates from its inaugural Class of 1969 back to the film school’s original campus, Beverly Hills’ Greystone Mansion.
Nearly all of the first class — nine of the original 18 AFI Fellows — reconvened for the celebration at the estate turned city park, including acclaimed cinematographer Caleb Deschanel (The Natural, The Lion King), screenwriter Matthew Robbins (MacArthur, Crimson Peak), writer-producer Paul Davids (Roswell), director academic Jeremy Kagan (The Journey of Natty Gan, Chicago Hope), producer David Wyles (Pumping Iron), screenwriter Jack Weinstein, director/playwright/lyricist Ken Luber ...
Nearly all of the first class — nine of the original 18 AFI Fellows — reconvened for the celebration at the estate turned city park, including acclaimed cinematographer Caleb Deschanel (The Natural, The Lion King), screenwriter Matthew Robbins (MacArthur, Crimson Peak), writer-producer Paul Davids (Roswell), director academic Jeremy Kagan (The Journey of Natty Gan, Chicago Hope), producer David Wyles (Pumping Iron), screenwriter Jack Weinstein, director/playwright/lyricist Ken Luber ...
- 9/20/2019
- The Hollywood Reporter - Movie News
He was addicted to his television set. He never read because he didn’t really know how. He held forth on issues because everyone seemed eager to listen. And when he found he could walk on water, his followers were positively thrilled. He wasn’t.
The legendary traits of Chauncey Gardner, protagonist of Being There, seem weirdly relevant today since they mirror those of our present national leader; indeed, the presidency was the career path Chauncey was destined to pursue, albeit hesitantly. The movie, starring Peter Sellers as Chauncey, was released exactly 40 years ago, and went on to join that small pantheon of movies that achieved their own semi-immortality.
“Being There is a vivid reminder of how ignorance and illiteracy, mixed with attitude, can lead to fame and riches,” commented the New York Times in its 1979 review – one that holds up under scrutiny today.
A bestseller written by Jerzy Kosinski,...
The legendary traits of Chauncey Gardner, protagonist of Being There, seem weirdly relevant today since they mirror those of our present national leader; indeed, the presidency was the career path Chauncey was destined to pursue, albeit hesitantly. The movie, starring Peter Sellers as Chauncey, was released exactly 40 years ago, and went on to join that small pantheon of movies that achieved their own semi-immortality.
“Being There is a vivid reminder of how ignorance and illiteracy, mixed with attitude, can lead to fame and riches,” commented the New York Times in its 1979 review – one that holds up under scrutiny today.
A bestseller written by Jerzy Kosinski,...
- 8/28/2019
- by Peter Bart
- Deadline Film + TV
For Hans Zimmer, “The Lion King” has always been “about giving to Africa,” not “taking from Africa.” And 25 years later, returning to his Oscar-winning score, he had a greater sense of purpose. The world had changed, and so had Zimmer, who leaned into the primacy of nature and environmental themes in Jon Favreau’s innovative remake comprised of stunning, life-like, CG animation. “The Circle of Life” had now come to life in all its beautiful African glory, like a narrative nature doc, and Zimmer tuned in musically with that vibe.
“Jon is a smart man,” Zimmer said. “He knew I had some sense of ownership, but at the same time, what is there to talk about? I thought I knew what they were doing. He showed me the opening and it was way beyond my imagination. It looks like reality, but there’s great artistry involved…very emotional.”
And it...
“Jon is a smart man,” Zimmer said. “He knew I had some sense of ownership, but at the same time, what is there to talk about? I thought I knew what they were doing. He showed me the opening and it was way beyond my imagination. It looks like reality, but there’s great artistry involved…very emotional.”
And it...
- 7/31/2019
- by Bill Desowitz
- Indiewire
“I remember reading about Brad Bird when he was directing,” remembered Caleb Deschanel, from the set of Disney’s photorealistic remake of The Lion King during filming, back in December 2017. “[Bird] had directed a lot of animation, obviously. Then when he was directing live action, he got very frustrated because he couldn't do all these sort of crazy things. And we're going in the opposite direction: taking the tools of normal filmmaking and bringing them...
Read More
Read Comments...
Read More
Read Comments...
- 7/29/2019
- by affiliates@fandango.com
- Fandango
Of all the seemingly live-action shots in “The Lion King,” only one is real, and it’s the first shot of the movie. Director Jon Favreau tweeted this weekend, “There are 1490 rendered shots created by animators and CG artists. I slipped in one single shot that we actually photographed in Africa to see if anyone would notice. It is the first shot of the movie that begins ‘The Circle of Life.'”
The otherwise completely CG movie — which IndieWire called “a disastrous plunge into the uncanny valley” — boasts extremely photorealistic animals, and yet this opening shot of the setting sun, as “The Circle of Life” vaults from the screen and right into your nostalgia center, is the only moment that Favreau and cinematographer Caleb Deschanel actually shot. IndieWire recently interviewed Deschanel about achieving the film’s naturalistic look.
“The most important thing was to create a reality to the filmmaking...
The otherwise completely CG movie — which IndieWire called “a disastrous plunge into the uncanny valley” — boasts extremely photorealistic animals, and yet this opening shot of the setting sun, as “The Circle of Life” vaults from the screen and right into your nostalgia center, is the only moment that Favreau and cinematographer Caleb Deschanel actually shot. IndieWire recently interviewed Deschanel about achieving the film’s naturalistic look.
“The most important thing was to create a reality to the filmmaking...
- 7/28/2019
- by Ryan Lattanzio
- Indiewire
“Thrive” is the theme for the Siggraph 2019 tech conference (July 28-August 1), which gears up Monday at the La Convention Center with a keynote by Marvel executive producer Victoria Alonso about the importance of diversity in digital storytelling. Meanwhile, several CG awards contenders will be deconstructed, including the record-breaking “Avengers: Endgame,” “The Lion King,” “Toy Story 4,” “How to Train Your Dragon: The Hidden World,” Season 8 of “Game of Thrones,” “Alita: Battle Angel,” and Netflix’s “The Umbrella Academy.”
Disney shorts will additionally be represented by Pixar’s “Purl,” Kristen Lester’s Best in Show animation winner about female empowerment in a male-dominated workplace, and Disney’s second Vr venture, “a kite’s tale,” about the clash between a puppy and a dragon, from effects animator Bruce Wright (“Frozen 2”).
“The concept of ‘thrive’ is multifaceted,” said conference chair Mikki Rose, Fur technical director at Blue Sky Studios (“Spies in Disguise”). “For some in our community,...
Disney shorts will additionally be represented by Pixar’s “Purl,” Kristen Lester’s Best in Show animation winner about female empowerment in a male-dominated workplace, and Disney’s second Vr venture, “a kite’s tale,” about the clash between a puppy and a dragon, from effects animator Bruce Wright (“Frozen 2”).
“The concept of ‘thrive’ is multifaceted,” said conference chair Mikki Rose, Fur technical director at Blue Sky Studios (“Spies in Disguise”). “For some in our community,...
- 7/27/2019
- by Bill Desowitz
- Indiewire
How did famed cinematographer Caleb Deschanel handle his first virtual shoot with Jon Favreau’s all-cg version of “The Lion King”? By leaning on the naturalism of “The Black Stallion” and “Far Away Home.” “I love nature and mythmaking,” said the six-time Oscar nominee, who has also dazzled with “The Right Stuff” and “The Natural.”
It was like shooting a real movie, only in Virtual Reality in the 360 volume stage at Playa Vista, donning the Vr headset, scouting locations throughout the Pride Lands and planning shots with a customized virtual camera toolset. “Except for the fact that you weren’t being attacked by lions,” said Deschanel. The shoot turned out to be a comfortable fit for him, collaborating with high-tech vets and the fearless Favreau, who was intent on breaking new ground with a virtual live-action version of the celebrated Disney animated classic.
“The most important thing was to create...
It was like shooting a real movie, only in Virtual Reality in the 360 volume stage at Playa Vista, donning the Vr headset, scouting locations throughout the Pride Lands and planning shots with a customized virtual camera toolset. “Except for the fact that you weren’t being attacked by lions,” said Deschanel. The shoot turned out to be a comfortable fit for him, collaborating with high-tech vets and the fearless Favreau, who was intent on breaking new ground with a virtual live-action version of the celebrated Disney animated classic.
“The most important thing was to create...
- 7/24/2019
- by Bill Desowitz
- Indiewire
When Jon Favreau decided to make “The Lion King” as realistic-looking as possible, he realized an innovative tech achievement and an aesthetic one as well, crossing the line between live action and animation with a more tactile photo-realism. Favreau and his team created a virtual production game changer with a new way of shooting in Virtual Reality with a live-action crew (including six-time Oscar-nominated cinematographer Caleb Deschanel), and making use of life-like animation from Technicolor-owned Mpc Film (“The Jungle Book”). The result is a breakthrough all-cg feature with a live-action sensibility, advancing the way virtual productions can be made, with implications for future application.
At the same time, “The Lion King” serves as an important lesson in how we experience live action and animation by revealing their individual strengths when combined together. Favreau’s edict was to adapt the beloved Disney hand-drawn blockbuster with the illusion of reality, transporting us to Kenya,...
At the same time, “The Lion King” serves as an important lesson in how we experience live action and animation by revealing their individual strengths when combined together. Favreau’s edict was to adapt the beloved Disney hand-drawn blockbuster with the illusion of reality, transporting us to Kenya,...
- 7/19/2019
- by Bill Desowitz
- Indiewire
Director Jon Favreau says he spent more than two years roaming the African plains to make The Lion King, his photoreal all-digital remake of Disney's 1994 animated classic. But aside from an early trip to the continent, much of Favreau's work actually took place in the Playa Vista area of Los Angeles, viewing his expansive locations through virtual reality headsets. Oscar-nominated cinematographer Caleb Deschanel and his crew had their Steadicam, crane and other camera supports systems on the stage, but they too were planning their shots by looking at their locations in Vr.
A retelling of one of Disney'...
A retelling of one of Disney'...
- 7/19/2019
- The Hollywood Reporter - Film + TV
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.