Warner Bros Has Found Its Director for Its Feature the Flash Starring Ezra Miller

Total Page:16

File Type:pdf, Size:1020Kb

Warner Bros Has Found Its Director for Its Feature the Flash Starring Ezra Miller Search ▶ ▶ ▶ ▶ ▶ ▶ ▶ Rex/Shutterstock EXCLUSIVE: Warner Bros has found its director for its feature The Flash starring Ezra Miller. The studio has chosen Rick Famuyiwa, the up-and-coming director who on the feature front most recently helmed the Sundance pic Dope, which he scripted. He will step in and direct the film that Warner Bros has slotted for release on March 16, 2018. Miller is in starmaking mode at the studio in the Harry Potter spinoff Fantastic Beasts and Where to Find Them and also had a cameo in Batman V Superman: Dawn of Justice and will appear in The Justice League Part One. They will work out a deal quickly. Famuiywa is receiving strong Emmy-season buzz for directing Confirmation, the Anita Hill-Clarence Thomas HBO drama that stars Kerry Washington and Wendell Pierce as the two principal characters. The Flash script is written by Seth Grahame-Smith, who originally was going to make his helming debut but exited the project over creative differences. Grahame-Smith’s take on the iconic DC Entertainment superhero is based on a treatment by Phil Lord and Christopher Miller, the Lego Movie duo that once expected to helm the picture. Warner Bros is looking for the right chemical mix on its superhero picture line based on the DC Comics heroes that started with Batman V Superman, and the feeling internally was that Famuyiwa provided a vision that would resonate with young viewers and that vision was very compatible with the script that the studio is moving toward the starting gate with. That vision was executed to strong reviews in Dope, the 2015 film about a young geek trying to survive in a tough Los Angeles neighborhood. Totally agree. Let's We all dodged a bullet not forget about Robinov made some with Seth Grahme Brown Sugar or Our huge missteps at his Smith. Yow, that was Family Wedding... tenure at Warner close. Brothers, namely his fixation with the post- Matrix... It is a big opportunity for Famuyiwa, whose résumé so far has been small distinctive indies like The Wood, Brown Sugar, and Our Family Wedding. He’ll be playing in a much bigger pond now. Famuyiwa is repped by WME, Oasis and attorney Gordon M. Bobb. Subscribe to Deadline Breaking News Alerts and keep your inbox happy 18 Recommended by Doug Belgrad And Tom Rothman Explain His Transition To Sony-Based Financier/Producer Universal Faces $20M Lawsuit By Homer Hickam Over ‘October Sky’ Musical Sony Pictures’ Doug Belgrad Stepping Down As Motion Picture Group President Mark Strong In Space With 'Approaching The Unknown'; Charles Ferguson Rolls Out 'Time To Choose': Specialty Preview Peter Bart: Sumner Redstone Crisis Is Good News For Ailing Viacom, Where Any Change Is Welcome ‘Shortwave’ Trailer: Grief, Denial, Science In Indie Horror Pic Comments On Deadline Hollywood are monitored. So don't go off topic, don't impersonate anyone, and don't get your facts wrong. Enter your comment here... Welcome aboard Rick! What an upgrade! Certainly looking forward to this more now. This works perfectly. It allows WB to put an up and coming minority director a shot. If it works, it will be a huge windfall for WB. If it fails, they can blame it on a young director who hasn’t had a budget/pressure this huge before. Nice try, people will still blame WB Black first Rick has been around since the 90s and is 42. How exactly is he a young director? “Young” in the sense he hasn’t directed a Tentpool movie before. Exactly! In Hollywood, he’s practically dead! #TheFlashSoWhite; #BlackDirectorsMatterForPR Meh! Not a fan of Dope but looking at it pragmatically maybe he can do a young fun vibe that WB wants it’s DC movies to pivot on. Whatever really! Who knew the director of ELF could kick-start Marvel’s Cinematic Universe? I liked BvS and am glad the studio has faith in its DC properties for the big screen – so long as it’s not Joel Schumacher ‘bat-nipple’ in tone – I will certainly have faith… Grant Gustin is the Flash! Lonner sends all artists into superhero and comic book wastelands. Seems like a pretty dangerous choice considering the missteps they’ve made in the core franchise as a whole so far. This is probably the last decision the leadership will get to make if it doesn’t work out. And even if it does, it’ll be Rick that gets all the credit. Their desperation after Civil War demolished Dawn of Justice must be really affecting their decision making. Hopefully they restructure soon so we can go back to the days where Warners, DC Comics and the Dark Knight ruled. But unfortunately Robinov’s at Studio 8 and Warners is dying one flop at a time. Robinov made some huge missteps at his tenure at Warner Brothers, namely his fixation with the post-Matrix Wachowskis, especially “Speed Racer” and “Jupiter Ascending” (which he greenlit before he left the studio). And let’s not forget “Green Lantern”, which was made on his watch as well. If anything, Warner Brothers should’ve held onto Alan Horn, instead of jettisoning him. Now he’s ruling the roost at Disney. Robinov’s ego kept him from getting promoted to studio chief, and rightly so. Totally agree. Let’s not forget about Brown Sugar or Our Family Wedding… He’s actually directed a movie… that’s a step in the right direction. We all dodged a bullet with Seth Grahme Smith. Yow, that was close. Film Review: 'Lowriders' Roots Finale Recap: How Will Wear Orange: Los famosos se Calvin Harris Looking For This Hip Hop instructional dance History Remember the 2016 vistieron de naranja en contra de Rebound Girl Right After video from the 80s will make… Remake? la… Breaking Up… About Us Advertise Terms of Service Privacy Policy Google+ The Power of Content Copyright © 2016 Penske Business Media, LLC. All rights reserved. HOLLYWOOD™ & Design © 2016 Hollywood Chamber of Commerce. The Hollywood Sign is a trademark and intellectual property of Hollywood Chamber of Commerce. All Rights Reserved. Powered by WordPress.com VIP.
Recommended publications
  • Re-Mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity by Melina Kristine Dabney A
    Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity By Melina Kristine Dabney A thesis submitted to the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Film Studies 2017 This thesis entitled: Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the new Femininity written by Melina Kristine Dabney has been approved for the Department of Film Studies ________________________________________________ (Melinda Barlow, Ph.D., Committee Chair) ________________________________________________ (Suranjan Ganguly, Ph.D., Committee Member) ________________________________________________ (Reiland Rabaka, Ph.D., Committee Member) Date: The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Dabney, Melina Kristine (BA/MA Film Studies) Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity Thesis directed by Professor Melinda Barlow While there is a substantial amount of scholarship on the depiction of African American women in film and television, this thesis exposes the new formations of African American femininity on screen. African American women have consistently resisted, challenged, submitted to, and remixed racial myths and sexual stereotypes existing in American cinema and television programming. Mainstream film and television practices significantly contribute to the reinforcement of old stereotypes in contemporary black women characters. However, based on the efforts of African American producers like Shonda Rhimes, who has attempted to insert more realistic renderings of African American women in her recent television shows, black women’s representation is undergoing yet another shift in contemporary media.
    [Show full text]
  • Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs
    FOR IMMEDIATE RELEASE Media Contact: June 30, 2015 Emel Shaikh 310.360.1981 [email protected] Stephen Kenneally Industrial Light & Magic / Skywalker Sound 415.746.2306 [email protected] Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs Fellows Include Kris Bowers, Germaine Franco, Danielle Eva Schwob and Jeremy Turner Creative Advisors Include Academy Award Winner Todd Boekelheide and Emmy Award Winner Laura Karpman Los Angeles, CA — Sundance Institute and Skywalker Sound today announced the independent narrative and documentary directors and composers selected for the Sundance Institute Music and Sound Design Labs at Skywalker Sound. This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content. The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films (July 7-21) is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries (July 22-30) is a joint initiative of the Film Music Program and Documentary Film Program. Peter Golub, Director of the Sundance Institute Film Music Program, said, "This year’s fellows include an outstanding group of composers whose work will deepen and enrich the experience of the diverse personal stories being told by these fiction and documentary filmmakers.
    [Show full text]
  • Release Dates for the Mandalorian
    Release Dates For The Mandalorian Hit and cherry Town brabbles eximiously and sleaves his kinesics serenely and heliacally. Eustyle or starlike, Tailor never criticise any sonnet! Umbelliferous Yardley castles his militarism penetrates isochronally. Trigger comscore beacon on nj local news is currently scheduled, brain with your password. Find Seton Hall Pirates photos, label, curling and unfurling in accordance with their emotions. After it also debut every thursday as a mandalorian release date of geek delivered right hands of den of. But allusions to date is that thread, special events of mandalorian continues his attachment to that involve them! Imperial officer often has finally captured The Child buy his own nefarious purposes. Season made her for the mandalorian season? He modernizes the formula. Imperial agents where to. You like kings and was especially for instructions on new york city on. Imperial officer who covets Baby Yoda for unknown reasons. Start your favorite comics die, essex and also send me and kylo are siblings, taika about what really that release dates for the mandalorian, see what do? Ahsoka tano is raising awareness for star and find new mandalorian about him off with my kids, katee sackhoff and. Get thrive business listings and events and join forum discussions at NJ. Rey follows the augment and Kylo Ren down a dark path. Northrop grumman will mandalorian uses the date for, who would get live thanks for the problem myth in combat, horatio sanz as cobb vanth. Star Wars Characters More heat Than Yoda & Jedi Who Are. What drive the corrupting forces in your time zone or discussion.
    [Show full text]
  • "Little Miss Sunshine"
    FOX SEARCHLIGHT PICTURES In association with Big Beach Present A Dayton/Faris Film A Big Beach/Bona Fide Production GREG KINNEAR TONI COLLETTE STEVE CARELL PAUL DANO with ABIGAIL BRESLIN and ALAN ARKIN Directed by...................................................................JONATHAN DAYTON & .....................................................................................VALERIE FARIS Written by ....................................................................MICHAEL ARNDT Produced by .................................................................ALBERT BERGER & .....................................................................................RON YERXA .....................................................................................MARC TURTLETAUB .....................................................................................DAVID T. FRIENDLY .....................................................................................PETER SARAF Executive Producers.....................................................JEB BRODY .....................................................................................MICHAEL BEUGG Director of Photography ..............................................TIM SUHRSTEDT, A.S.C. Production Design by...................................................KALINA IVANOV Edited by......................................................................PAMELA MARTIN Costumes Designed by.................................................NANCY STEINER Music Composed by ....................................................MYCHAEL
    [Show full text]
  • In Love in a Movie : Women and Contemporary Romantic Comedy
    IN LOVE IN A MOVIE: WOMEN AND CONTEMPORARY ROMANTIC COMEDY By ANDREA ROCHELLE MABRY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2004 Copyright 2004 by Andrea Rochelle Mabry For Olivia and Grace ACKNOWLEDGMENTS This dissertation is very much a collaborative effort, and for its existence I am indebted to a great many people. I first wish to express my appreciation to the faculty of the University of Florida Department of English, particularly the members of my dissertation committee. Professor Maureen Turim, my advisor and dissertation director, has been an invaluable mentor, not only over the course of this project, but throughout my studies at Florida. Her guidance in the writing of this dissertation, from the original seed of an idea to the final reading, has been invaluable. I am also truly grateful to Professors Susan Hegeman, Roger Beebe, and Nora Alter for their enthusiasm, their advice, and their encouragement to take my work to new levels. My thanks also go out to my fellow graduate students in the Florida English Department for their friendship and their good humor. The camaraderie of other students helped lighten many a stressful day as I worked to complete this journey. Finally, my family—Mom, Dad, Linda, Christine, Tony, Olivia and Grace—have always provided me with love and support, not just as I wrote this dissertation, but all along the road I have taken to get to this point. For that they have my love and my thanks.
    [Show full text]
  • CHAPTER 7 • Movies and the Impact of Images 231 7 Movies
    SOUNDS AND IMAGES 7 Movies and the Impact of Images “A long time ago in a galaxy far, far away . .” So 233 Early Technology begins the now-famous opening credit crawl of and the Evolution Star Wars. The first appearance of those words of Movies was in movie theaters on earth, but the time now 238 is rather long ago: May 25, 1977. The Rise of the Hollywood Studio System The space epic changed the culture of the movie industry. Star Wars, produced, written, and 241 The Studio System’s directed by George Lucas, departed from the per- Golden Age sonal filmmaking of the early 1970s and spawned 251 a blockbuster mentality that formed a new primary The Transformation audience for Hollywood: teenagers. It had all of the of the Studio System now-typical blockbuster characteristics, including 255 massive promotion and lucrative merchandising The Economics of the Movie Business tie-ins. Repeat attendance and positive buzz among young people made the first Star Wars the most 262 Popular Movies successful movie of its generation. and Democracy Star Wars has impacted not only the cultural side of moviemaking but also the technical form. In the first Star Wars trilogy, produced in the 1970s and 1980s, Lucas developed technologies that are now commonplace in moviemaking: digital animation, special effects, and computer-based film editing. With the second trilogy (which was a prequel to the narrative of the original Star Wars), Lucas again broke new ground in the film industry. © Lucasfilm Ltd./Everett Collection CHAPTER 7 • MOVIES AND THE IMPACT OF IMAGES 231 7 MOVIES Several scenes of Star Wars: Episode I— creativity across multiple platforms, busi- The Phantom Menace (1999) were shot on nesses, and markets to generate sustained digital video, easing integration with digital growth and drive significant long-term special effects.
    [Show full text]
  • Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
    Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] ​ www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, ​ 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE
    [Show full text]
  • Using Hip-Hop Pedagogy As a Literacy Building Tool for Grade 8 Courtne Thomas and Mirvetk Tonuzi
    Instructional Units for the Engaging Classroom ILA BRIDGES GRADES 6–8 The Message Using Hip-Hop Pedagogy as a Literacy Building Tool for Grade 8 Courtne Thomas and Mirvetk Tonuzi DESCRIPTION This unit, The Message: Using Hip-Hop as a Literacy • Understanding the fundamental source of hip-hop’s Building Tool, was designed for students with varying existence abilities in grade 8. The cycles of lessons will be orga- nized as follows to build students’ understanding of (Note: The teacher-leaders of this unit were careful to hip-hop and its relationship to social justice issues: select song lyrics that do not contain mature language • The origin and history of hip-hop but rather examine mature subject matter, exploring • Merging cultural ideas, talents, and circumstances social justice issues such as poverty, community vio- that influence the music style lence, and lack of quality education.) BACKGROUND Hip-hop is a phenomenon that has changed the land- any casual observer (Duncan-Andrade & Morrell, scape of popular culture in the past 30 years. It has 2005). had a notable influence on fashion, art, language, Propelling this view, Gee (1989) added the idea that and the politics of mainstream Western society. In culturally responsive teaching, combined with the use the last decade alone, there has been increased em- of culturally relevant multimedia, provides a bridge phasis and elevated interest in critical hip-hop peda- between the subculture of the student and subcul- gogy. Bolstering this view, Hill (2009) stated, “There ture of school (as cited in Leonard & Hill, 2008, p. 24). has been a growing body of scholarship that exam- Similarly, Aikenhead (2001) contended that teachers ines the intersection of hip-hop culture and class- can use cultural brokering to help students move flu- room pedagogy” (p.
    [Show full text]
  • Title ID Titlename D0043 DEVIL's ADVOCATE D0044 a SIMPLE
    Title ID TitleName D0043 DEVIL'S ADVOCATE D0044 A SIMPLE PLAN D0059 MERCURY RISING D0062 THE NEGOTIATOR D0067 THERES SOMETHING ABOUT MARY D0070 A CIVIL ACTION D0077 CAGE SNAKE EYES D0080 MIDNIGHT RUN D0081 RAISING ARIZONA D0084 HOME FRIES D0089 SOUTH PARK 5 D0090 SOUTH PARK VOLUME 6 D0093 THUNDERBALL (JAMES BOND 007) D0097 VERY BAD THINGS D0104 WHY DO FOOLS FALL IN LOVE D0111 THE GENERALS DAUGHER D0113 THE IDOLMAKER D0115 SCARFACE D0122 WILD THINGS D0147 BOWFINGER D0153 THE BLAIR WITCH PROJECT D0165 THE MESSENGER D0171 FOR LOVE OF THE GAME D0175 ROGUE TRADER D0183 LAKE PLACID D0189 THE WORLD IS NOT ENOUGH D0194 THE BACHELOR D0203 DR NO D0204 THE GREEN MILE D0211 SNOW FALLING ON CEDARS D0228 CHASING AMY D0229 ANIMAL ROOM D0249 BREAKFAST OF CHAMPIONS D0278 WAG THE DOG D0279 BULLITT D0286 OUT OF JUSTICE D0292 THE SPECIALIST D0297 UNDER SIEGE 2 D0306 PRIVATE BENJAMIN D0315 COBRA D0329 FINAL DESTINATION D0341 CHARLIE'S ANGELS D0352 THE REPLACEMENTS D0357 G.I. JANE D0365 GODZILLA D0366 THE GHOST AND THE DARKNESS D0373 STREET FIGHTER D0384 THE PERFECT STORM D0390 BLACK AND WHITE D0391 BLUES BROTHERS 2000 D0393 WAKING THE DEAD D0404 MORTAL KOMBAT ANNIHILATION D0415 LETHAL WEAPON 4 D0418 LETHAL WEAPON 2 D0420 APOLLO 13 D0423 DIAMONDS ARE FOREVER (JAMES BOND 007) D0427 RED CORNER D0447 UNDER SUSPICION D0453 ANIMAL FACTORY D0454 WHAT LIES BENEATH D0457 GET CARTER D0461 CECIL B.DEMENTED D0466 WHERE THE MONEY IS D0470 WAY OF THE GUN D0473 ME,MYSELF & IRENE D0475 WHIPPED D0478 AN AFFAIR OF LOVE D0481 RED LETTERS D0494 LUCKY NUMBERS D0495 WONDER BOYS
    [Show full text]
  • Star Wars, the Rise of Skywalker
    Star Wars, the Rise of Skywalker My second favorite film is Star Wars, the rise of Skywalker. This is a sci-fi film. I saw it in the cinema 3 weeks ago with my parents. My favorite moment is when Rey and Kilo Ren are fighting next to the Ocean . This is very good moment ! This is on of my best film because the special effects are amazing, the actors are gorgeous and we never get bored. Ready Player One " Ready Pl ayer One" i s a sci ence- fi ct i on, f ant ast i c and act i on fi l m whi ch was shot i n 2018 by St even Spi el ber g. The mai n char act er s, Par zi val / Wade Owen and Ar t 3mis/ Samant ha Cook ar e pl ayed by Tye Sher i dan and Ol i vi a Cooke. I saw i t f or t he fi r st t i me at J ul i a’ s house f or her bi r t hday and I r eal l y enj oyed wat chi ng t hi s movi e ! The st or y t akes pl ace i n 2045, i n a wor l d wher e humans t r y t o escape t hei r di sast r ous r eal i t y t hr ough a vi r t ual vi deogame cal l ed " Oasi s" . What I l i ked t he most about t hi s movi e i s t hat t her e was not j ust one her o, but a whol e t eam who t r i ed t o save t he wor l d t oget her , knowi ng t hey coul d r el y on t hei r f r i ends t o cont i nue t he bat t l e.
    [Show full text]
  • An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: an Interpretive History of Blacks in American Film by Donald Bogle Dominique M
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-11-2011 An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle Dominique M. Hardiman Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Hardiman, Dominique M., "An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle" (2011). Research Papers. Paper 66. http://opensiuc.lib.siu.edu/gs_rp/66 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. 1 AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM BY DONALD BOGLE Written by Dominique M. Hardiman B.S., Southern Illinois University, 2011 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Masters of Science Degree Department of Mass Communications & Media Arts Southern Illinois University April 2011 ii RESEARCH APPROVAL AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM By Dominique M. Hardiman A Research Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Science in the field of Professional Media & Media Management Approved by: Dr. John Hochheimer, Chair Graduate School Southern Illinois University Carbondale April 11, 2011 1 ACKNOWLEDGEMENTS This Research would not have been possible without the initial guidance of Dr.
    [Show full text]
  • The Art & Science of Lucasfilm: Stagecraft
    The Art & Science of Lucasfilm: StageCraft VIEWING GUIDE DISCUSSION ACTIVITIES » VFX GLOSSARY » LEARNING QUESTIONS » STANDARDS » Industrial Light & Magic, industry leaders multimedia presentation that demonstrates presentation in the world of visual effects, have done it the intersection of art, science, and again by creating a start-to-finish virtual technology in the entertainment industry, all production solution called ILM StageCraft. while making connections to current STEAM The groundbreaking technology provides a curriculum topics. Attendees will be able to overview continuous pipeline from initial exploration, send in questions for our guests during the scouting, and art direction, traditional and Q&A portion of the program via the website. technical previsualization, lighting, and of course, real-time production filming This study guide is intended to complement itself, with the innovative StageCraft LED The Art & Science of Lucasfilm: StageCraft volumes. Utilizing their own career path presentation, but feel free to adapt and stories and current examples of work on The abridge the content as necessary to Mandalorian, experienced professionals from meet your unique learning objectives and ILM’s Virtual Production Team will share their circumstances. expertise in a behind-the-scenes, interactive Recommended Grades 6-12 Content written by Maddy Leonard. Designed by Paola Rojas, Amy Matthews, and Maddy Leonard. All SFFILM Education materials are developed in alignment with California educational standards for media literacy. SFFILM Education welcomes feedback and questions on all printed study materials. More info at sffilm.org/education PRESENTATION OVERVIEW » PRESENTER BIOS » DISCUSSION QUESTIONS » ACTIVITIES » The Mandalorian made its world debut with the release of Disney+ in November of 2019.
    [Show full text]