Austin/San Antonio, Texas based digital film maker, animator and motion graphics editor.
http://youtu.be/hnApJDsCw28
http://www.imdb.com/name/nm3021382/?ref_=fn_al_nm_1
Indiana Jones’ son, Mutt Williams (a.k.a. Henry Jones III) will not be in the fifth film of the franchise, which was played by Shia LaBeouf in Indiana Jones and the Kingdom of the Crystal Skull in 2008.
The lovechild of Indy (Harrison Ford) and Marion Ravenwood (Karen Allen) was introduced in the last film. Allen made her return to the franchise since the first film, Raiders of the Lost Ark.
David Koepp, who wrote Crystal Skull and now the fifth Indiana Jones film, spoke to Entertainment Weekly. He didn’t offer much.
“Harrison plays Indiana Jones, that I can certainly say…and the Shia LaBeouf character is not in the film.”
Given the mixed reception, it’s not surprising Koepp and director Steven Spielberg decided to go a different route with the film. Originally, Mutt was likely going to play a bigger role in the franchise with Ford eventually retiring as Indy as a passing of the torch. A lot has happened since with Disney acquiring Lucasfilm in 2012 and Ford’s renewed interest in coming back to the franchises he helped make famous in Star Wars, Blade Runner, and now Indiana Jones for at least one last hurrah.
Keep in mind that Ford is 75 and he’s going to be delegating a lot more on stuntmen when there’s action. If there was some kind of successor, there are maybe two films left, tops.
Koepp says he and Spielberg are satisfied with his current screenplay and production could begin in the near future.
“We’re plugging away at it. In terms of when we would start, I think that’s up to Mr. Spielberg and Mr. Ford. [The plot will involve] some precious artifact that they’re all looking for [throughout the film]. I know we’ve got a script we’re mostly happy with. Work will be endless, of course, and ongoing, and Steven just finished shooting The Post …. If the stars align, hopefully it’ll be his next film.”
LaBeouf didn’t respond to EW’s request for comment, but in a 2010 interview with the Los Angeles Times, he told the paper he felt as if he “dropped the ball on the legacy that people loved and cherished” and that Ford was not happy with the film either. Ford later responded calling his costar a “f–g idiot” for his comments. That probably didn’t endear LaBeouf to his colleagues.
The sooner Spielberg and Koepp get it to production, the better since it’s not like Ford has another franchise to plug following Blade Runner 2049.
Coolest Mr Rogers Neighborhood episode ever? An early techno / electronic music create shows up to teach Fred Rogers about getting down to a new sound.
Mister Rogers arrives with a collection of model cycles which he plays with on the floor. He describes the difference between a tricycle, a bicycle, and a unicycle. Picture Picture shows a film about people riding real cycles including a tandem cycle made for two people.
After the film, Mister Rogers sings “Everybody’s Fancy” before Mr. McFeely stops by and describes how he rides his delivery bicycle.
Mister Rogers is invited to “Miss Nelson and Bruce’s dance studio” to see a musical computer.
At the dance studio, Mister Rogers visits with Bruce Haack who demonstrates a synthesizer which allows him to create various sounds. Miss Nelson arrives with a group of young dance students who spin as they sing a song about wheels.
The children continue moving and singing to the various sounds of the synthesizer as they pretend to ride bicycles and pretend that they are cats.
Mr. McFeely finds Mister Rogers at the dance studio to tell him that there is a surprise for him back at the house. Upon returning to his house, Mister Rogers enters to find his cat, Blackberry, waiting for him inside.
While Haack’s Mr. Rogers appearance may not have seemed like much at the time, in hindsight this is a fascinating document of an artist who’s been called “The King of Techno” for his forward-looking sounds meeting the cutting edge in children’s programming. It’s a testament to how much the counterculture influenced early childhood education. Many of the progressive educational experiments of the sixties have since become historical curiosities, replaced by insipid corporate merchandising. What Haack and Nelson’s musical approach tells me is that we’d do well to revisit the educational climate of that day and take a few lessons from its freeform experimentation and openness. I’ll certainly be playing these records for my daughter.
Here is a movie that could save you years of watching the Late Late Show; it’s like Creature Features died and went to heaven. “It Came from Hollywood” is a 90-minute guided tour through the worst parts of nearly 100 of the worst movies ever made, from “The Amazing Colossal Man” to “Zombies of the Stratosphere.” It turns “That’s Entertainment!” into “That’s Entertainment???” And now that I’ve finished with my cornball one-liners, let’s get on to the movie.
But “It Came from Hollywood” goes beyond the Medveds to encompass whole genres of awfulness. It uses montages to show us wave upon wave of flying saucers, tray upon tray of human brains, attack upon attack by savage beasts, and a sequence in which a series of utterly unconvincing giant insects stumble jerkily over cardboard cities.
My favorite scenes in the movie, however, are not the moments that are obviously awful, but those moments which are awful in spite of themselves; scenes in which the actors are really trying, but don’t have a chance. There is a pseudo-Busby Berkeley dance number, for example, in which several very badly rehearsed dancers get totally out of synch with each other and start jostling for position in a chorus line while inflatable bananas take over the background.
And then there’s a classic scene where a young engaged couple goes to see the doctor, and he greets them cheerfully, telling the woman there are no complications resulting from the birth of her baby and telling the man his case of V.D. cleared up fine. The man shouts at his intended: “You’ve had a baby?” She replies, “You’ve had one of those awful diseases?” He says, “One scandal at time.”
The movie has been assembled by Malcolm Leo and Andrew Solt, who have made a specialty of compilation films. Their credits include “Heroes of Rock and Roll” and the remarkable “This Is Elvis,” in which documentary footage and film and TV clips created an uncanny portrait of Elvis Presley’s rise and fall.
This time they organize their material into segments introduced by Dan Aykroyd, John Candy, Cheech and Chong and Gilda Radner –whose names are exploited in a very bad advertising campaign that for some reason chooses to obscure the fact that this is a film of highlights from bad films.
The hosts are all right in their introductory segments; Radner has a great moment barricading her door against gorillas, and Aykroyd turns up in Glen (or Glenda’s) white angora sweater. But the movie makes the annoying decision to let the hosts speak during the scenes from the bad movies, one-upping the original footage with wiseguy comments that should be left for the paying audience to make.
Something else bothers me: At times, I got the impression that the filmmakers were adding things to the original soundtracks to make them “funnier,” as when a hairy monster burps after eating a victim. Surely these movies are funny enough in themselves. Consider some of their titles: “Attack of the Killer Tomatoes,” “The Brain from Planet Areas,” “The Crawling Eye,” “Horror of Party Beach,” “I Married a Monster from Outer Space,” “Incredible Melting Man,” “Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies,” “Mars Needs Women,” “Slime People” and, of course, “Teenagers from Outer Space.”
“Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies,” “Mars Needs Women,” “Slime People” and, of course, “Teenagers from Outer Space.”
The language of cinema has really speeded up since 1978, you could tell the same story today in HALF the time.
Oh and last years ARRIVAL was all but a remake. With inky sign language in place of the “simon” musical notes.
No internet for abductee families or people with the alien ” implant” in them to share info with each other. You couldn’t just google “devils tower” or maps and coordinates.
And hey- I guess Roy Nearys family had to fend for themselves after he went with the aliens. And hey hey- those aliens were DICKS…. kidnapping all those people- planting haunting images in innocent peoples minds….
Its a 70s time capsule, the hair, the fashions, the payphones, looking up movie times in the newspaper….
Close Encounters reminded me a little bit of Martin Scorsese’s Silence. Another movie that could be cut in half
One of the cops early in the film, right after the cop car goes off the cliff, looks exactly like Paul Giamatti. imdb says he was born in 1967 so he would only ten years old in 1977.
The scene his doppelganger is in is right AFTER this clip stops:
I did a google search on “paul giamatti close encounters” and got:
Was actor Paul Giamatti in the movie Close Encounters of the Third Kind?
In the scene where a cop car runs off a cliff after chasing the small low flying
But how if he was only ten?
The mother ship model shots still hold up but most of the other model work looks dated. Even shots that aren’t science fiction-ey, ( houses/ railroad crossing) look like…. models.
The final scene has way too many repeated shots and close ups of people that AREN’T in the plot…. The mothership looks great but the smaller ships look fake.
The alien “attack” on Giliian and the baby boys farmhouse still holds up-
The whole film is Spielbergs most “spielbergey” movie ever. Every shot seems like a TV commercial, the very thing Michael Bay gets criticised for Spielberg was praised for. I’m glad Spielberg has outgrown this with ” Saving Private Ryan” “Schindlers List” and “Munich”.
Seeing this made me wonder if Stephen Spielbergs movies all happen in the same cinematic universe? The Marvel Superheroes all live in the same comic book universe and most of them can be assumed to be in the same world. DARK TOWER ties to The Shining, and I think CHRISTINE, CARRIE and THE SHINING could all happen in the same world.
“E.T.” looks and feels exactly the same as “Close Encounters” and I could sort of see those government alien experts in CE3K being the same ones who hide the Ark in the Area 51 warehouse in “Raiders,” and theres no reason JAWS couldn’t have happened in the same world. And movies that Spielberg did NOT direct but produced ( Gremlins, Explorers, Back to the Future, etc..) all seem to happen in “Spielberg-land”
There is some really awesome miniatures work in this documentary. This is way better than most “behind the scenes” videos that are really just commercials for the movie.
Gordon Carroll, David Giler, and Walter Hill of Brandywine Productions, who produced the first film and its later sequels, served as executive producers on Aliens. They were interested in a follow-up to Alien as soon as its 1979 release, but the new management at 20th Century Fox postponed those plans until 1983. Brandywine picked Cameron to write after reading his script for The Terminator; when that film became a hit in 1984, Fox greenlit Aliens with Cameron as director and a budget of approximately $18 million. It was filmed in England at Pinewood Studios and at a decommissioned power plant in Acton, London.
A sequel, Alien 3, was released in May 22, 1992, with Weaver’s reprising her role as Ellen Ripley and Henriksen as Bishop in the film.
Visual effects
Brothers Robert and Dennis Skotak were hired to supervise the visual effects, having previously worked with Cameron on several Roger Corman movies. Two stages were used to construct the colony on LV-426, using miniature models that were on average six feet tall and three feet wide.[31] Filming the miniatures was difficult because of the weather; the wind would blow over the props; however, it proved helpful to give the effect of weather on the planet. Cameron used these miniatures and several effects to make scenes look larger than they really were, including rear projection, mirrors, beam splitters, camera splits and foreground miniatures. Due to budget limits, Cameron said he had to pay for the robotic arm used to cut into Ripley’s shuttle in the opening scene.[31][32]Practical effects supervisor John Richardson (who won a special effects Oscar for his part in the film) declared his biggest challenge was creating the forklift power loader exoskeletons, which required only three months of work and had Cameron complaining about visual details during construction. The model could not stand on its own, requiring either wires dangling from the shoulders or a pole through the back attached to a crane. While Sigourney Weaver was inside the power loader model, a stunt man standing behind it would move the arms and legs.[29]
The alien suits were made more flexible and durable than the ones used in Alien to expand on the creatures’ movements and allow them to crawl and jump. Dancers, gymnasts, and stunt men were hired to portray the aliens. Various 8 feet (2.4 m) tall mannequins also were created to make aliens that stood in inhuman poses, and could have their bodies exploded to simulate gunshot wounds. Stan Winston’s team created fully articulated facehuggers that could move their fingers; these were moved by wires hidden on the scenery or the actors’ clothing. The one that walked towards Ripley had a mechanism akin to a pull toy, with pulleys that moved the fingers, and its jump combined three models shot separately: the walking facehugger, a stationary model dangling on a table leg, and another model being pulled towards the camera.[30]
According to production staff, scenes involving the alien queen were the most difficult to film. A life-sized mock-up was created by Stan Winston‘s company in the United States to see how it would operate. Once the testing was complete, the crew working on the queen flew to England and began work creating the final version. Standing at 14 feet (4.3 m) tall, it was operated using a mixture of puppeteers, control rods, hydraulics, cables, and a crane above to support it. Two puppeteers were inside the suit operating its arms, and 16 were required to move it. All sequences involving the full size queen were filmed in-camera with no post-production manipulation.[31] Additionally, a miniature alien queen was used for certain shots.
After Bill Paxton‘s unexpected death, the cause of his passing has been revealed.
While a representative of Paxton’s family confirmed that the Big Love star died on Feb. 25 following “complications from surgery,” according to the 61-year-old’s death certificate obtained by E! News, he suffered a stroke stemming from surgery a week earlier.
On Feb. 14, Paxton underwent a valve replacement and aortic aneurysm repair. According to the certificate, the actor later experienced an aortic aneurysm that lead to his deadly stroke. The husband and father died at Cedars-Sinai Medical Center in Los Angeles.
What can Blade Runner teach us about the art of filmmaking? 1982 was a big year for movies—an existential cyberpunk noir film had a tough time competing with Spielberg’s lovable E.T. and yet, Blade Runner has not only stood the test of time, but it is arguably more popular now than it has ever been. Join me as I take an in-depth look at the construction of Ridley Scott’s Blade Runner and how its cinematography techniques created such a fascinatingly detailed world. This video is on The Final Cut version of the film.
I’m gonna say Photoshop, the texture on the “leather” the scale, the bright lighting on the tip of the shoe doesnt match the foggy day the background has.
Just saw the re release of CLOSE ENCOUNTERS……
mattkprovideo 