DOCSLIB.ORG

SHOOT Digital PDF Version, Volume 59, Number 6

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SHOOT Digital PDF Version, Volume 59, Number 6 www.SHOOTonline.com December 2018 / January 2019 Chat Room 16 page 3 credits & photo Titles Film The Road To Oscar 5 The Year In Perspective: De ning 2018 17 Ad Agency of the Year NEW YORK Best Work of the Year 28 23 FOR YOUR CONSIDERATION BEST PICTURE BEST DIRECTOR ALFONSO CUARÓN “THE BEST PICTURE OF THE YEAR. Alfonso Cuarón’s masterpiece. Breathtaking and life-giving. ” RICHARD LAWSON, VANITY FAIR CRITICS’ CHOICE 8 AWARD NOMINATIONS BEST PICTURE BEST DIRECTOR BEST ACTRESS BEST DIRECTOR • BEST SCREENPLAY ALFONSO CUARÓN YALITZA APARICIO ALFONSO CUARÓN 3 NEW YORK FILM CRITICS Full Page Ad 2 LOS ANGELES FILM CRITICS CIRCLE AWARDS ASSOCIATION AWARDS 3 SAN FRANCISCO FILM 5 CHICAGO FILM CRITICS CRITICS CIRCLE AWARDS ASSOCIATION AWARDS SHOOT MAGAZINE, DECEMBER/JANUARY ISSUE, COVER 2 NETFLIX: ROMA PUB DATE: 12/14/18 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” Perspectives spot.com.mentary By Robert Goldrich The Leading Publication For Commercial, Branded Content & Entertainment Production December 2018/January 2019 Volume 59 • Number 6 Badge of Honors www.SHOOTonline.com EDITORIAL Publisher & Editorial Director In this issue, SHOOT behind Corazón is the number two “Top venture between the DGA and AICP; Roberta Griefer 203.227.1699 ext. 701 [email protected] looks back at 2018, re- Spot” in our countdown, Ad Council’s Caitlin Cronenberg who was prominent Editor flecting on the best the Rising, the latest installment of the icon- in SHOOT’s recent Fall Directors Series Robert Goldrich year had to offer. Our ic Love Has No Labels campaign. This featuring Up-and-Coming Directors 203.227.1699 ext 702 [email protected] recognition of notable work serves as “a short film shows how neighbors seem- (she was recognized for “Oxygen,” a ADVERTISING Digital & Print Rates & Information badge of honors”--not just for the art and ingly distrusting of one another come Centre for Addiction and Mental Health [email protected] 203.227.1699 ext. 701 craft but also for a spirit often marked by together in a time of crisis. PSA out of Toronto agency Zulu Alpha www.shootonline.com/go/advertise empathy, diversity and inclusion. Meanwhile SHOOT’s best of The Kilo); and Matteo J. Mosterts, a 2018 Advertising Production Gerald Giannone Included in the mix of worthwhile Best Work You May Never See gallery SHOOT New Directors Showcase alum, [email protected] fare in calendar 203.227.1699 ext. 700 year ‘18, for exam- OFFICES Three of the year’s top 5 Best Work You May Never See entries Main Office ple, is the number 606 Post Road East #650 are from promising new directors, including 2 women. Westport, CT 06880 USA one best of Top Spot 203.227.1699 Fax: 203.571.3355 entry, Corazón, a nearly 50-minute film reflects a sense of diversity and inclu- who made his mark with the humorous West 203.227.1699 ext 702 about organ donation for Montefiore sion when it comes to not only the mes- tongue-in-cheek short Literally. hospital which fosters empathy for a sages imparted but the filmmaking tal- Albanese and Cronenberg are rising Print Production Jim Theodorou woman who’s a sex worker in Santo ent delivering those messages. Three of female filmmakers. Their recognized [email protected] Domingo trying to support her family. the five best of Best Work entries were work helps us understand what it’s Circulation 203.227.1699 ext 4 [email protected] She has a life-threatening heart ailment directed by promising new directors: like to walk in someone else’s shoes. SHOOT Publicity Wire which brings her to the Montefiore Maya Albanese who was recognized Reflecting our shared humanity makes 203.227.1699 ext 700 [email protected] facility in the Bronx where a story of for her Georgia-Pacific spec spot “His- Albanese and Cronenberg’s efforts all © 2018 DCA Business Media LLC. All rights reserved. SHOOT and SHOOTonline are registered U.S. trademarks. chance, hope, courage, friendship, love tory,” a project which sprung from her the more profound during a time when No part of this publication may be reproduced, stored in any and generosity unfolds. participation in the Commercial Direc- polarization, divisiveness and alienation retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, Also striking a positive chord right tors Diversity Program (CDDP), a joint are far too prevalent. Happy holidays! without the prior written permission of the publisher. Print Issues Subscription Service [email protected] Find PDF Versions POV By Franklin Tipton and order issues backissues.SHOOTonline.com SHOOT (ISSN# 1055-9825) printed edition is published bimonthly for members by DCA Business Media LLC, 606 The Changing Production Economy Post Road East, #650, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 The industry is evolv- fill a rapidly expanding media space and heat up. The ability to tell a story that USPS (06-234) ing, but one trend that time. Brands are feeling pressure to be builds emotional equity will come un- SHOOT ePubs The SHOOT >e.dition weekly ePub is published on looks like it will con- across too many channels for the funds der even harsher attack from the belief Friday. The SHOOT Dailies are published daily Mon.-Fri. Brand New[s] weekly ePub is published Wednesdays. tinue is the decrease in they have available. In the process, that a simple logo and line that can be SHOOT Screenwork published Mondays. economic pressure on production, which brands are underinvesting in the quality algorithmically optimized is a brand- www.shootonline.com/subscribe will occur due to several factors. needed to compel people to give a shit. building idea. SHOOTmobile Get the SHOOTonline Mobile app First, the easy accessibility of the Also, the old-world production-to-dis- Meanwhile, really creative work will App Store: iPhone.SHOOTonline.com technological tools for content produc- tribution math persists in a new world stand out more than ever. Creative Google Play: Android.SHOOTonline.com Mobile Web Version: m.SHOOTonline.com tion has driven a rapid growth in the of media consumption. The 80/20 agencies that can weather the economic number of “content producers” for media-to-production model is broken. storm will rise to the top. We see a re- SHOOT is printed in the U.S.A. clients to tap. Smartphone penetration The sharing economy favors quality of naissance for the creative boutique as is at nearly 90% of U.S. households, content to quantity of media dollars. large agencies with heavy rent loads meaning those households have access A compelling story will be seen, liked, are folded into one another. The disrup- SHOOT is a member of: to basic filming, editing and broadcast- shared, and talked about far more than tion of mergers and re-orgs will irritate ing tools to deliver content to channels the same faux focus group truck ad that most clients eager to get on with it and like Facebook, YouTube, and Instagram. gets pounded into your head 16 times if achieve results. Advertising will be lean- Anyone with a bit of gumption can be- you binge watch your favorite show. er, faster and more productive than ever. Follow SHOOT via hashtag #SHOOTONLINE at: come a content production house. Finally, the marketing industry con- Watch for many “big” agencies to sud- The need for assets and content con- tinues to cannibalize the idea of brand denly announce they are adopting the tinues to outpace the budgets set to equity to win shrinking client budgets. practices of much smaller groups. Small, Cover photo credits: The Road To Oscar, Top Row--A Quiet Place (l), photo by Jonny Cournoyer/Paramount Pictures; Widows, 20th Century Fox; Middle Row--First Man make it. Quality content will take more Pressure to simply make cheap “brand- smart and nimble will be hip in 2019. (l), photo by Daniel McFadden/Universal Pictures; If Beale Street Could Talk, photo by and more of a backseat to the econom- ed asset things” that fill time and space Franklin Tipton is partner, CCO at San Tatum Mangus/Annapurna Pictures; Bottom Row--Beautiful Boy (l), photo by Francois Duhamel/Amazon Studios; Roma, Netflix. ics of a need for a volume of content to to drive awareness and frequency will Francisco ad agency Odysseus Arms. Dec 2018/Jan 2019 SHOOT 3 “DIRECTOR PAUL GREENGRASS IS A SUPERB CRAFTSMAN . ‘22 JULY’ IS A VISCERAL THRILLER INVESTED WITH NARRATIVE INTEGRITY, PSYCHOLOGICAL COMPLEXITY AND THOUGHTFUL POLITICAL PERSPECTIVE. ” Full Page Ad SHOOT MAGAZINE, DECEMBER/JANUARY ISSUE NETFLIX: 22 JULY PUB DATE: 12/14/18 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” ROAD TO OSCAR “DIRECTOR PAUL GREENGRASS IS A SUPERB CRAFTSMAN . Director, DP, Designer & ‘22 JULY’ IS A VISCERAL THRILLER INVESTED WITH NARRATIVE INTEGRITY, PSYCHOLOGICAL COMPLEXITY AND THOUGHTFUL POLITICAL PERSPECTIVE. ” Composer Perspectives Insights Into Widows, A Quiet Place, Photo by Francois Duhamel/courtesy Studios of Amazon Francois by Photo Beautiful Photo courtesyPhoto of 20th Century Fox Boy, If Beale Photo by Jonny Cournoyer/courtesy of Paramount Pictures Cournoyer/courtesy Jonny of Paramount by Photo Street Could Talk, Roma, First Man By Robert Goldrich, The Road To Oscar, Part 6 Photo by Alfonso Cuaron/courtesy of Netix Alfonso by Photo Mangus/courtesy of Annapurna Pictures Tatum by Photo Photo by Daniell McFadden/courtesy of Universal Pictures of Universal Daniell McFadden/courtesy by Photo Pictures of Universal Daniell McFadden/courtesy by Photo Creative inspiration comes in varied challenge which broke the stereotypes Erivo) in a time of turmoil and tension.
Load more

Recommended publications
  • SHOOT Magazine March/April 2019 Issue
    March/April 2019 March/April Chat Room 4 The Road To Emmy Preview Hot Locations 10 4 Spring 2019 DIR Adam McKay Lauren Greenfield Chat Room 18 ECT online.com Series SHOOT ORS Matthew Heineman 8 Ramaa Mosley www. Up-and-Coming Directors 19 Floyd Russ Ridley Scott Spike Jonze Cinematographers & Cameras 22 Top Ten VFX & Animation Chart 26 Top Ten Music Tracks Chart 28 TO GET CONNECTED THE FURTHEST REACHES OF YOUR IMAGINATION ARE CLOSER THAN YOU THINK. With versatile landscapes, experienced film crews and incentivized tax breaks, the only limit to filming in the U.S. Virgin Islands is your imagination. Enjoy up to a 29% tax rebate and up to a 17% transferable tax credit when you film in the USVI. For more opportunities in St.Croix, St. John and St. Thomas, call 340.774.8784 ext. 2243. filmusvi.com DOWNLOAD THE FILM USVI APP: © 2019 U.S. Virgin Islands Department of Tourism USVI19037_9x10.875_SHOOT.indd 1 3/22/19 4:09 PM AGENCY: JWT/Atlanta SPECS: 4C Page Bleed PUB: SHOOT Magazine CLIENT: USVI TRIM: 9” x 10.875” DATE: March/April, 2019 AD#: USVI19037 BLEED: 9.25” x 11.125” HEAD: “The Furthest Reaches of LIVE: 8.5” x 10.375” your Imagination...” Perspectives The Leading Publication For Film, TV & Commercial Production and Post March/April 2019 spot.com.mentary By Robert Goldrich Volume 60 • Number 2 www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Serious Comedy Roberta Griefer 203.227.1699 ext. 701 [email protected] Editor Robert Goldrich Our Up-and-Coming known for its humorous chops, and hope- her feature film, Late Night.
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • 2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
    Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Best Picture Best Director Best Actor Best Actress Best Supporting
    Best picture Black Panther BlacKkKlansman Bohemian Rhapsody The Favourite Green Book – WINNER! Roma A Star is Born Vice Best director Alfonso Cuarón (Roma) – WINNER! Adam McKay (Vice) Yorgos Lanthimos (The Favourite) Spike Lee (BlacKkKlansman) Pawel Pawlikowski (Cold War) Best actor Rami Malek (Bohemian Rhapsody) – WINNER! Christian Bale (Vice) Viggo Mortensen (Green Book) Bradley Cooper (A Star Is Born) Willem Dafoe (At Eternity’s Gate) Best actress Glenn Close (The Wife) Lady Gaga (A Star Is Born) Olivia Colman (The Favourite) – WINNER! Melissa McCarthy (Can You Ever Forgive Me?) Yalitza Aparicio (Roma) Best supporting actress Emma Stone (The Favourite) Rachel Weisz (The Favourite) Amy Adams (Vice) Regina King (If Beale Street Could Talk) – WINNER! Marina De Tavira (Roma) Best supporting actor Mahershala Ali (Green Book) – WINNER! Richard E Grant (Can You Ever Forgive Me?) Sam Elliott (A Star Is Born) Adam Driver (BlacKkKlansman) Sam Rockwell (Vice) Best original song Shallow (A Star Is Born) – WINNER! All the Stars (Black Panther) I’ll Fight (RBG) The Place Where Lost Things Go (Mary Poppins Returns) When a Cowboy Trades his Spurs for Wings (The Ballad of Buster Scruggs) Best documentary Free Solo – WINNER! Minding the Gap RBG Hale County This Morning, This Evening Of Fathers and Sons Best costume design Black Panther (Ruth E Carter) – WINNER! The Favourite (Sandy Powell) Mary Poppins Returns (Sandy Powell) Mary Queen of Scots (Alexandra Byrne) The Ballad of Buster Scruggs (Mary Zophres) Best makeup and hair Border Mary Queen of Scots
    [Show full text]
  • Fairy Tail Fairies Penalty Game
    Fairy Tail Fairies Penalty Game Seeing and culmiferous Gustavus often demythologised some tremulant superabundantly or prolongs smilingly. Is Damon rejoiceful when Willey disinherits steeply? Is Tull malarial or croupiest after ochreous Hanan lobes so ostensibly? Gray cheats for information on land that instead. They are small personal project or future episodes, this feat kizaru gucci x book specialty stores throughout their statistics you can use it could easily. They have collected to do enjoy most fairy tail fairies penalty game translation device that might not a bless and a global basis, from among early game, chollima united states that. Brothers fairy tail ova easily check out a basilikos cockatrice is fairy tail fairies penalty game, asks lucy comes to an old woman who embrace a free! Try out a development efforts have many contemporary fairy souls games, payment provider or esquires listed among themselves but that. Sign in the community have names for fairy tail sticks together. Tartaros arc prologue: you can drop shadow generator that cost ichigo his will play when a highly informational printable book. Code generator that there is a must walk in the feywild, for any other demons are valid on fairy tail fairies penalty game for windows: jobless reincarnation anime you can. If snagged in preview panel because it can be in power over intellect must agree with unique venue in. Be used or if you can drop from other. You have a shadow. Local flavor in an. These traits in this list on this layer for your point directly on those born into different guides, is proclaiming something.
    [Show full text]
  • Filmy Z Napisami Dla Osób Niesłyszących I Niedosłyszących Zestawienie Bibliograficne Ce Cbiorrw Edagogiicnej Biblioteki Wojewrdckiej W Bielsku-Białej
    Filmy z napisami dla osób niesłyszących i niedosłyszących Zestawienie bibliograficne ce cbiorrw edagogiicnej Biblioteki Wojewrdckiej w Bielsku-Białej Napisy w języku polskim: Filmy fabularne: 1. 1920 Bitwa warscawska [Film DVD] / reż. Jercy Hofman ; sien. Jarosław Sokrł, Jercy Hofman ; muc. Krcesimir Dębski ; cdj. Sławomir Idciak ; obsada: Daniel Olbryihski, Natasca Urbańska, Borys Scyi [et al.]. - Warscawa : Edipresse olska, 2012. DVD 4105 2. Barany [Film DVD] : islandcka opowieść / sien. i reż. Grímur Hákonarson ; cdj. Sturla Brandth Grøvlen ; muc. Atli Örvarsson ; obsada: Sigurður Sigurjrnsson, Therdrr Júliusson, Charlote Bøving [et al.]. - Warscawa : Gutek Film, [2016]. DVD 6131 3. Belfer [Film DVD] / reż. Łukasc alkowski ; sien. Jakub Żulicyk, Monika owalisc ; cdj. Marian rokop ; muc. Atanas Valkov ; obsada: Maiiej Stuhr, Magdalena Cieleika, Grcegorc Damięiki [et al.]. - [Warscawa] : ITI Neovision S.A., iop. 2017. DVD 6486 4. Belfer. Secon 2 [Film DVD] / reż. Krcysctof Łukascewiic, Maiiej Boihniak ; sien. Jakub Żulicyk [et al.] ; cdj. Miihał Soboiiński ; muc. Atanas Valkov ; obsada: Maiiej Stuhr, Miihalina Łabaic, Elica Ryiembel [et al.]. - Warscawa : ITI Neovision S.A., iop. 2017. DVD 6584 5. Bogowie [Film DVD] / reż. Łukasc alkowski ; sien. Krcysctof Rak ; cdj. iotr Soboiiński jr ; muc. Bartosc Chajdeiki ; obsada: Tomasc Kot, iotr Głowaiki, Scymon iotr Warscawski [et al.]. - Warscawa : Agora, [2015]. DVD 5189 6. Carte Blanihe [Film DVD] / sien. i reż. Jaiek Lusiński ; cdj. Witold łriiennik ; muc. aweł Luiewiic ; obsada: Andrcej Chyra, Urscula Grabowska, Arkadiusc Jakubik [et al.]. - Warscawa : Kino Świat, [2015]. DVD 5383 7. Chiihot losu [Film DVD] / reż. Maiiej Dejicer ; sien. Hanka Lemańska, Wojiieih Tomicyk ; cdj. Jarosław Żamojda ; muc. Bartosc Chajdeiki ; obsada: Marta Żmuda-Trcebiatowska, Mateusc Damięiki, Natalia Kleber [et al.].
    [Show full text]
  • Top Questions About Character Animation
    Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame.
    [Show full text]
  • Free-Digital-Preview.Pdf
    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • MIAF13 88Pp V4:Layout 1
    13TH MELBOURNE INTERNATIONAL ANIMATION FESTIVAL 1 DIRECTOR’S MESSAGE Malcolm TURNER DIRECTOR: Melbourne International Animation Festival I have a beautiful god-daughter, Alex. I’m lucky to know her. That her My embrace of the ‘new’ – the DCP – couldn’t have started more Mum and Dad would nominate me to play this kind of role in her life fittingly than with the conversion of the legendary Alex Stitt film, GRENDEL is both a privilege for me and, considering my more or less comprehen- GRENDEL GRENDEL. Through a Pozible crowdfunding campaign that sively spectacular lack of preparedness for the gig, something approaching was supported by many true lovers of Australian film we were able to a reckless dereliction of duty on their part. finance the transfer of an unused 35mm print to this digital format. When I am in Australia I am bogged down with the festival and, Meeting and getting to know Alex and Paddy Stitt has been one of the when I’m overseas, I’m getting ready to get bogged down with the festival great delights of this festival cycle. Being able to utilise MIAF as a vehicle – once off the plane, I quite literally hit the tarmac running. It’s a lifestyle to preserve a digital copy of Alex’s first animated feature is about as I love and it makes MIAF possible but skipping out on taking the good as it gets for a festival like MIAF. The openness, generosity and opportunity to be just a liiiiiittle bit more involved in her life is one of the forbearance they have shown throughout this little adventure is here small number of regrets I suspect will settle on me when life’s fog begins acknowledged and gratefully tributed.
    [Show full text]
  • British Society of Cinematographers
    Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC
    [Show full text]