Open discussion about ILM and the magic they create. Also VFX and movies in general. Anyone can post topics here.

Moderator: malducin

#34121
I haven't gotten ANY of my interviews on WIND yet (or the sidebar story on the new Welles documentary), which has me a little worried since they're due 10/1, but PR did confirm today via email John Knoll as one of the people on my interview list. Might happen via phone or email or not at all -- really can't tell with this one. Some company called Whiskeytree also worked on it, but they haven't said whether they're authorized to discuss their work yet.
#34122
I haven't gotten ANY of my interviews on WIND yet (or the sidebar story on the new Welles documentary), which has me a little worried since they're due 10/1, but PR did confirm today via email John Knoll as one of the people on my interview list. Might happen via phone or email or not at all -- really can't tell with this one. Some company called Whiskeytree also worked on it, but they haven't said whether they're authorized to discuss their work yet.
Yeah Whiskeytree was started by former ILM Matte and VFX Supervisor Jon Harb in the mid aughts, shortly after he worked on Eight Below for ILM. They've also worked on matte or environment work(as it is called now) on Captain America: The First Avenger among others. It's essentially full of ILM matte department alum, many whom cut their teeth on the Star Wars Prequels.

By the way, I just watched the trailer again three times and I swear that is Robert Morse from Mad Men(Cooper of Stirling-Cooper) but....isnt all of this footage from the 70s? Aren't they just finishing wide shots and all of the close ups or actor/master shots are from the 70s Welles' footage? This is weird. :P
Last edited by ShaneP on Tue Sep 18, 2018 3:23 pm, edited 1 time in total.
#34130
Okay. That would make more sense since he had appeared in a Welles film before and at the time of this film. I was of the understanding that this film was all shot(except for what ILM and Whiskeytree might be doing for the restoration)and so seeing Morse in there wouldn't make any sense. Plus, I think Foster appears at the end of the trailer where he slams the film roll cans down and he looks nothing like Morse there. But earlier he did sound uncannily like him and even look like him. But the time this was shot would have made that impossible.

Thanks for the clarification on that.
#34135
Ned Gorman gets a special thanks in the credits, and 32ten also gets a regular credit.

Am not sure where the vfx are, although there are a couple of shots at the drive-in, an establishing shot and the last shot of the film being projected at sunrise, that both are probably VFX related. There are some very elaborate reflection shots that could be 'real' but might also be enhanced.

The whole thing really looks like the Welles-edited old clips, which means they did a seemingly faithful job of piecing this together. It is all very much the OTHELLO pre-MTV overcutting that is present in a lot of zero-budget Welles, but this collage effect works very well here.

It's very much what I expected and in other ways not what I expected at all, which I guess is as it should be. Will need to see it a few more times, as my initial takeaway was more David Lynch than Orson Welles. Also there is one 'endless' scene in the middle that evoked my original negative take on the v'ger flyover in the first TREK movie ... even though there are boobs involved!
#34136
Ned Gorman gets a special thanks in the credits, and 32ten also gets a regular credit.

Am not sure where the vfx are, although there are a couple of shots at the drive-in, an establishing shot and the last shot of the film being projected at sunrise, that both are probably VFX related. There are some very elaborate reflection shots that could be 'real' but might also be enhanced.

The whole thing really looks like the Welles-edited old clips, which means they did a seemingly faithful job of piecing this together. It is all very much the OTHELLO pre-MTV overcutting that is present in a lot of zero-budget Welles, but this collage effect works very well here.

It's very much what I expected and in other ways not what I expected at all, which I guess is as it should be. Will need to see it a few more times, as my initial takeaway was more David Lynch than Orson Welles. Also there is one 'endless' scene in the middle that evoked my original negative take on the v'ger flyover in the first TREK movie ... even though there are boobs involved!
Was Russ Meyer involved?
#34189
Found this write up about the film and it notes what ILM did:

https://www.masslive.com/entertainment/ ... ehind.html

Here is a quote:

A scene of mannequins being gunned down by Hannaford was incomplete. The impact of the bullets on the dummies had to be created by John Knoll's team at Industrial Light & Magic.

I will just speculate here that this is why we see 32Ten's involvement with ILM on this. The mannequin impacts likely involved some practical effects elements.
#34194
In the Netflix trailers and more section there is a behind the scene documentary A Final Cut for Orson about the making of the film. It's about 30 minutes long and goes into the restoration with Frank Marshall and Peter Bogdanovich, negative cutter Mo Henry(fourth generation film cutter....FOURTH!? Her family must have started in the beginning of Hollywood!), among others. It even has a small bit about ILM's work on the 32Ten stages with the dummies.

Huston's head shots to the dummies was one of the funniest parts of the film.

"What are you doing?!"

"Having a party."

:lol:
#34211
You still see Little in the film at least once, possibly twice ... he was originally cast in the Bogdanovich role. Knoll certainly did not mention doing this kind of work to me, either.

And I'll have to check the transcript, but I don't think the editor did either (and I was on the phone with him for something like ninety minutes!)
#34223
You still see Little in the film at least once, possibly twice ... he was originally cast in the Bogdanovich role. Knoll certainly did not mention doing this kind of work to me, either.

And I'll have to check the transcript, but I don't think the editor did either (and I was on the phone with him for something like ninety minutes!)
Hmm....weird.