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

Moderator: malducin

#33968
Funny you should ask. Instead of a direct reply to what I sent, I got an email from somebody else at netflix about 15 hours later, discussing OTHER projects and who I would need to contact to get more information on them. Couldn't tell if it was a mass-mailing that coincidentally went out right after I sent my WIND query or just a polite way of putting me off.

About three-quarters of the netflix stories I've tried to do have gone off without a hitch, but there were a few where I just couldn't get anybody on the phone or to even answer or acknowledge emails (13 REASONS WHY was one of those, which was annoying becaue the DP's agency was dying to set up an interview.) The projects involving Soderberg last fall were problematic too -- I waited months on MOSAIC before they decided to not offer up any interviewees (I think that was an internal production call, not netflix), and the production entity for the western he had a hand in, Scott Frank's GODLESS, didn't respond until past my delivery date.

I've also re-asked this year about their HAUNTING OF HILL HOUSE project, but not gotten anything back about a release date or any other detail, even though I have already covered that DP/Director collab on their BEFORE I SLEEP film (which had a lot of nice on-set interactives to cue otherworldly realm VFX.)

I know that if one particular name as PR contact comes up on a netflix project, I will probably refuse to take the assignment, since I sent that person something like 40 emails last year about three separate projects, and only once ever gotten a (non-useful) response. But that does seem to be the exception, as I wound up completing nine Netflix stories in the span of maybe half-a-year, more from them than any other entity by far.
#33973
Kmart wrote:Funny you should ask. Instead of a direct reply to what I sent, I got an email from somebody else at netflix about 15 hours later, discussing OTHER projects and who I would need to contact to get more information on them. Couldn't tell if it was a mass-mailing that coincidentally went out right after I sent my WIND query or just a polite way of putting me off.

I know that if one particular name as PR contact comes up on a netflix project, I will probably refuse to take the assignment, since I sent that person something like 40 emails last year about three separate projects, and only once ever gotten a (non-useful) response. But that does seem to be the exception, as I wound up completing nine Netflix stories in the span of maybe half-a-year, more from them than any other entity by far.


I love their openness about their projects. I also love Netflix's model and platform. They have tapped into platform that is a part of the future of movie distribution. But, they made a mistake withholding The Other Side of the Wind from Cannes. This was Welles' final film and denying it a screening at Cannes of all places was a mistake. Screen the film in a theater and let people watch the final film from a master of cinema in that environment. Hopefully, they will give this film a limited release in some of the bigger markets before launching it online. This film from a master filmmaker deserves it.
#34076
Seeing Mission Impossible 6 in exactly 1 day from now so this message will self destruct in 5..4..3..2..1 :wink: it has superb reviews so far not sure its a good sign the PR machine is working or a good sign the movie is actually any good. I loved the last 2 so as long as its more of the same I will be more than happy! Will report back in a day or so with a non spoiler review.
#34081
Has anyone seen this fantastic horror / family drama called "Hereditary"? Almost a masterpiece for me, it's incredible that it's the first movie of Ari Aster: He has an amazing eye and he is capable of handling suspence very well.
#34097
I think this one is going to be something special. As somebody might intone, "Confidence is high!" Talked to a lot of folks about FIRST MAN for ICG story, and there's some genuine innovation happening, with one helluva big light being just one of them.

Just read TOP GUN 2 is falling back a full year. Between that and Trek woes, Paramount sounds like it isn't going to have a lot of tentpoles set into the actual dirt in the immediate future, outside of BUMBLEBEE (which I just found out I'm also covering.)
#34098
I read in Variety that Maverick was pushed back so the production(paraphrasing here)will have time to use innovative technology to depict the aerial combat.

Here is the piece:

https://variety.com/2018/film/news/tom- ... 202920891/

And quote:

"Paramount Pictures made the announcement on Wednesday. The extra time will give filmmakers the opportunity to work out the logistics of presenting flight sequences with new technology and planes."

I have no idea what they mean beyond the usual vfx innovation. Just not sure what they mean by that. Cruise made a big deal going in that they weren't going to use CG for the flying but were going to do it the old way(what, you mean by faking it then too?) so I don't know what they might have planned.

Maybe they will use cutting edge drone technology to capture aerial footage?
#34099
So long as the cockpit RP looks better than the first one, which was so dark it was like they had tinted windshields or something. I've always seriously disliked TOP GUN (feels like the movie stops dead for a half-hour after Goose buys it), but it is still embarrassing to admit that IRON EAGLE is the 80s flying pic that I own on DVD. The cockpit stuff looks tons better, and while some of the model work is not perfect, others shots are terrific. Plus I like the music better in EAGLE.

I used to think the screenwriters on GUN were lousy, but then I found out that the Ironside and Skerritt characters were originally one very interesting guy before they split them into good-Kirk and bad-Kirk, presumably so that you wouldn't have an older actor flying circles around Cruise. Clearly not a Cruise fan, only flicks I like with him are first M:I, EYES WIDE SHUT, COLOR OF MONEY and TAPS (I always think he is playing himself in those last two.)
#34105
I wouldn't mind seeing that again, I remember the wheelchair coming after somebody and it was nicely menacing.

but my fave horror film is still THE LEGEND OF HELL HOUSE. Finally got round to reading the novel after putting it off for 45 years, and it wasn't too shabby either.

I'd put the Kaufman BODY SNATCHERS up there as a close second, but I think of that as being more of a political paranoia film masquerading as horror (plus it is probably my favorite love story ever, even over THE AGE OF INNOCENCE, so I shouldn't have it on too many lists.)

To keep things FIRST MAN related; might be doing another story on it, just about the miniatures unit and the inserts unit, for STUDIO DAILY. Have inquiry in to Uni, keeping fingers crossed.

And just as a pre-emptive measure, can we avoid getting into the whole FIRST MAN 'flag planting' business here? I hate it when non-issues suddenly blow up into THINGS because some idiot thinks the world needs a distraction from real problems in the world.
#34106
Kmart wrote:And just as a pre-emptive measure, can we avoid getting into the whole FIRST MAN 'flag planting' business here? I hate it when non-issues suddenly blow up into THINGS because some idiot thinks the world needs a distraction from real problems in the world.


There's no reason to be upset about the film leaving out Armstrong planting a flag on the Moon because he wasn't there. He was on a soundstage with Kubrick.
#34110
But seriously, it's a movie about Armstrong's entire mission and everything that led up to it. It seems weird to me that people are complaining about a bit of the story being left out. Yes, planting the flag and Armstrong standing there is an iconic moment and shot but directors make choices all the time and the film actually mentions the U.S. throughout. It's not like Chazelle avoided the U.S. altogether.

So I think the whole thing is overblown.
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