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'Age Of Extinction' Was The Most Difficult 'Transformers' Movie To Make

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bumblebee transformers 4 age of extinction"Transformers: Age of Extinction" is a huge success at theaters making more than $300 million worldwide since its debut.

However, the film wouldn't be a reality without the visual effects team at Industrial Lights and Magic (ILM) who has been hard at work for about a year and half bringing the sequel to the big screen.

We recently spoke with ILM's visual effects supervisor Scott Farrar, who has overseen every single "Transformers" film to date. He tells Business Insider the fourth installment of the franchise was the most difficult film to work on yet with the crew working until nearly two weeks before the movie's release date to perfect the film. 

"This one was a lot harder," Farrar told Business Insider. "There were quite a number of new characters. Each and every one has a lot of new characters, but this one has new and more styles of characters just because of colors and construction. [There are] 10 new characters or so but what was hard about this one was that there were more shots than we’ve done before."

transformers age of extinction autobotsAn estimated 500 people worked on the film's visual effects which comprise about 90 minutes of the film's two-and-a-half hour runtime.

"Sometimes another company was involved to do some of the shots. That was not the case," said Farrar. "We did all the shots or were in control of them." 

For the fourth film, the ILM team had to work on more shots in less time. The addition of IMAX and 3D in the film also added to the film's complexity.

"The shots were very very dense," said Farrar. "It wasn’t just a character against a bad guy. In many cases it was two or three robots, all with speaking parts, in scenes where they might be inside the Night Ship and it’s not just a ship and the characters, it’s hundreds of layers of sparks and lighting effects and all these different things to give the space a reality."

"[With 3D] there's all this stuff where you’re rendering two eyes not just one," he added. "It’s not like a simple shape. A robot, you can see inside it - all the little parts - thousands of little things are moving and turning and I think that’s fun for the audience."

The most difficult process though is bringing the Transformers themselves to life which Farrar says could take up to 15 weeks to build.optimus prime transformers 4

"The initial problem with a Transformers character is that you always want them to move fast and as cool in spite of the fact that they’re very very heavy," says Farrar. 

"Optimus is supposed to be about 30,000 pounds, but if you have him lumbering around like a big, slow robot like you see in old movies it's not very interesting," he adds. "A big factor, especially with Michael Bay, is you got to make things look cool."

When coming up with ways to move the different Transformers there's thought put into individualizing each robot.transformers grimlock

"We try to come up with character differences. Inspite of Grimlock, the T-Rex, the spinosaurus looking different, you also want them to act different. Some of the animators think about that as they work out what their characters are," says Farrar. 

Despite the added labor of the latest installment, Farrar says communication with director Michael Bay was easier the fourth time around.michael bay transformers 4 set

"We did a live transmission almost daily, sometimes more than once with him," Farrar explained. "[Bay's] in his office down in Santa Monica. We're up here in San Francisco. We don't all have to be in the same room, but he can call us up and say 'Transmission in 10 minutes, okay?'  We go to our room and ... at any given moment we can pull up any shot that we're working on any piece of a shot, any part or artwork or anything and pull it up. We can look at it and talk about it. We both see it. We see him on camera, he sees us on camera, and we do this live feed every day. Without that, I don't know how we would get this movie done." 

"If I have anything that's a problem, I don't do email. I need to know the answer right now," Farrar added. "I'll pick up the phone, talk to him. He'll pick up the phone, talk to me. We don't have time for email."

More "Transformers": The most annoying thing about "Transformers" is Michael Bay's fixation on objectifying women

SEE ALSO: How much the Transformers cars in the new film cost

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2 Young Actors Were Just Cast In 'Star Wars: Episode VII'

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crystal clarke pip andersen

Add another two cast members to "Star Wars: Episode VII."

StarWars.com announced two more people who will join the film Sunday.

American actress Crystal Clarke and British actor Pip Andersen will join the film in unspecified roles.

Clarke will appear in next year's "The Moon and the Sun" which will star Pierce Brosnan as King Louis XIV.

Andersen is a parkour artist who appeared in a recent ad for "Spider-Man."

Last year, Lucasfilm and Disney held open casting calls for new young cast members in the U.K. and U.S.

In November, these were the roles being cast:

Rachel– was quite young when she lost her parents. With no other family, she was forced to make her way in a tough, dangerous town. Now 17, she has become street smart and strong. She is able to take care of herself using humor and guts to get by. Always a survivor, never a victim, she remains hopeful that she can move away from this harsh existence to a better life. She is always thinking of what she can do to move ahead. The suitable actress should be over the age of 16, according to the announcement, but look young enough to play a 17- or 18-year-old. She must be beautiful, smart and athletic. All ethnicities are welcome.

Thomas– has grown up without a father's influence. Without the model of being a man, he doesn't have the strongest sense of himself. Despite this, he is smart, capable and shows courage when it is needed. He can appreciate the absurdities in life and understands you can't take life too seriously." The actor for this role should be at least over the age of 18 and passable as someone between the ages of 19 and 23. He, too, must be handsome, smart and athletic.

The site also announced "Episode VII" will go on a two-week break from filming in August to accommodate Harrison Ford's recent set injury.

The actor reportedly broke his leg on set of the sequel.

"Star Wars: Episode VII" is still on track for a Dec. 18, 2015, release.

SEE ALSO: Another "Star Wars" actor may be getting a larger role because of Harrison Ford's injury

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'Transformers' Destroys 'Tammy' At The Box Office

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tammy susan sarandon

Melissa McCarthy's dramedy "Tammy" was no match this weekend for "Transformers: Age of Extinction."

Michael Bay's fourth installment of the robot series may have dropped nearly 64% in its second week at theaters with $36.4 million, but it was still more than enough to beat out the three new films out this weekend.

While McCarthy's "Tammy" didn't outright fizzle at theaters, its $21.2 million debut was significantly lower than the actress' recent films.

"The Heat" and "Identity Thief," both debuted to more than $30 million at theaters in 2013.

"Tammy" will not be a box-office disaster for distributor Warner Bros. McCarthy's first attempt at screenwriting cost an estimated $20 million to make. Over the course of the five-day holiday weekend the film managed to make $35.4 million.

transformers 4 optimus prime dinobot"Transformers: Age of Extinction" has now passed the $500 million mark worldwide making most of its money in China.

The other new releases, horror film "Deliver Us From Evil" and children's sci-fi film "Earth to Echo," made $9.5 million and $8.3 million respectively.

All together, the weekend was one of the slowest July 4 holiday weekends at the box office since 1999, according to BoxOfficeMojo.

The summer season has already been down this year and is on track to be one of the lowest-earning summers in the last decade.

In contrast, last summer a record $4.7 billion dollars was made at theaters. That was due in part to massive hits including billion-dollar film "Iron Man 3" and Universal's "Despicable Me 2."

SEE ALSO: Tour the $7.5 million #Avengers exhibit in NYC

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Ben Affleck Is The Most Hated Man In America In New 'Gone Girl' Trailer

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gone girl ben affleck

20th Century Fox released the second trailer for the adaptation of New York Times bestseller "Gone Girl" and it looks like one of this fall's must see films.

The Gillian Flynn novel follows Nick Dunne (Ben Affleck) who is accused of murdering his wife Amy (Rosamund Pike) after she goes missing on the couple's five-year wedding anniversary.

As the case continues, Dunne becomes dubbed "the most hated man in America" by media.

The thriller is the latest from director David Fincher who brought mindbenders "Se7en" and "Fight Club" to screen. Neil Patrick Harris and Tyler Perry also star.

"Gone Girl" is in theaters October 3.

SEE ALSO: The most expensive celebrity homes in NYC

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Marvel Debuted 17 Minutes Of 'Guardians of The Galaxy' Free For Fans And They Loved It

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guardians of the galaxy chris pratt

It looks like Marvel has another hit on its hands.

Disney premiered 17 minutes of unseen footage from its next film, "Guardians of the Galaxy," in theaters across the U.S. Monday evening. 

We won't give any spoilers, but we watched an action-heavy prison sequence followed by an extended trailer for the James Gunn-directed movie that didn't disappoint.

Unlike previous Marvel movies, "Guardians of the Galaxy" will follow a new roster of characters — Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax the Destroyer (Dave Bautista), Rocket Raccoon (Bradley Cooper), and tree creature Groot (Vin Diesel) — who come in contact with one of the powerful Infinity gemstones that has been teased throughout Disney's Marvel cinematic universe.

Before the screening began, fans were asked to share their thoughts on the footage afterward using the hashtag #GuardiansoftheGalaxy.

Fans loved it.

From the small teaser, it's already clear Rocket Raccoon and Groot should be fan favorites. 

The chemistry between the quirky characters works and the entire scene we saw was a lot of fun. Focusing the film on an entire ensemble gives "Guardians of the Galaxy" an almost Avengers-like appeal that feels bigger in some ways than the singular "Iron Man,""Captain America," and "Thor," movies. 

guardians of the galaxy posterMinor details about the film follow.

A few non-Disney friendly moments may not make the film's final cut. Chris Pratt's middle finger, which was extensively blurred in trailers, was front and center for viewing. At another point, Pratt's character calls someone a bastard.

There is also one gimmick that could work in the film's favor or against it depending on usage. 

Diesel's tree-like character can only utter one sentence — "I am Groot." Cleverly placed, the catchphrase will work. One too many deliveries and it could become old real fast. 

However, we trust Gunn knows to use it both smartly and sparingly. 

Our audience loved it every time it was said.

Marvel has since released part of the extended footage shown at the screening.

Check it out below. 

"Guardians of the Galaxy" is in theaters August 1.

SEE ALSO: Disney has Marvel movies planned throughout 2028

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Hollywood Isn't Worrying About The Slumping Summer Box Office

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optimus transformers 4

A feeble July 4 weekend has left the domestic box office down by nearly 20 percent from last season, but the sky isn't falling in Hollywood. As a matter of fact, most of the studios are doing just fine this summer.

No one likes to make less money, and this season's overall grosses are at $2.3 billion so far, down 19.3 percent from $2.8 billion over the same stretch last year, according to Rentrak. But there's not a lot of teeth gnashing and no one is panicking, and it's not a matter of ”what, me worry?”

The short story is that while no film has matched the $400 million success of “Iron Man 3,” there have been far more hits than misses. There also hasn't been a mega-budget bomb — last summer there were four – and some of the high-profile movies that have under-performed domestically will wind up in the black thanks to overseas returns.

Also read: ‘Transformers’ Tramples ‘Tammy’ as Holiday Box Office Tanks

Remember that last summer was the biggest in history with $4.8 billion in grosses, so it was always going to be a tough act to follow and the industry knew that. It was clear that this summer's biggest sequels were going to be hard-pressed to match the grosses of Tony Stark and his pals, “Man of Steel,” “Monsters University” and “Fast & Furious 6.”

There was one animated films with major potential –”How to Train Your Dragon 2” — instead of two in “Despicable Me 2” and “Monsters U.” And the summer's prospects took a major hit when Universal was forced to push “Fast & Furious 7” in the wake of Paul Walker‘s death.

“X-Men: Days of Future Past” ($227 million), “Maleficent” ($213 million) and “The Amazing Spider-Man 2” ($200 million) are the summer's biggest movies to date, and “Godzilla” ($197 million) and “Transformers: Age of Extinction” ($174 million and counting) are close. But their grosses don't compare with last year's leaders at the half-way point: “Iron Man 3” ($406 million), “Man of Steel” ($267 million), “Fast & Furious 6” ($235 million), “Star Trek Into Darkness ($222 million) and “Monsters University” ($210 million).

magneto x-men days of future pastFox is having a terrific summer that stands to get better this week when “Rise of the Planet of the Apes” opens. It scored big-time with the teen drama “The Fault In Our Stars.” But while that film's $12 million budget makes its $112 million total all the more impressive, it doesn't raise the roof in terms of the overall box office.

With the success of “The Amazing Spider-Man 2” and “22 Jump Street,” Sony is a much better place than it was last summer when “After Earth” and “White House Down” were two of the season's biggest disappointments. The domestic total for Spidey was the lowest in franchise history and half of the “Iron Man 3” haul, but it has grossed more than $500 million overseas, second-best in the series.

Disney may not have “Iron Man 3” this summer, but “Maleficent” has been very strong, especially overseas, and it has Marvel's “Guardians of the Galaxy” coming on Aug. 1. Paramount has Michael Bay's morphing robots epic “Age of Extinction,” which will take a run at $1 billion in grosses worldwide, driven by its success overseas and especially in China. Universal has largely sat the summer out, but “Neighbors” was a pleasant surprise.

Also read: 5 Takeaways and 5 Questions From the Sputtering Mid-Summer Box Office

Warner Bros. has had a tougher time of it, with Adam Sandler‘s “Blended” and Clint Eastwood‘s “Jersey Boys” struggling, but things are hardly bleak.

tammy melissa mccarthyMelissa McCarthy's R-rated “Tammy” may not have matched the opening grosses of her earlier hits “Identity Thief” or “The Heat,” but its budget didn't, either. The $20 million R-rated comedy will be profitable by the weekend and could still hit $80 million — or four times its budget, so financially it will be a win. Even the studio's pricey Tom Cruise sci-fi epic “Edge of Tomorrow” has chugged to $90 million domestically, and brought in $250 million from overseas. That may not put it in the black, but it's not a disaster.

“I think that the studios know better than anyone that this business is cyclical,” BoxOffice.com vice-president and senior analyst Phil Contrino told TheWrap. “I'm sure they are assuaging any panic with daydreams about how massive summer 2015 is going to be.”

The summer of 2015 is already jammed with Marvel's “The Avengers: Age of Ultron,” (May 15), “Jurassic World” (June 12), “The Terminator” reboot (July 1), “Despicable Me” spinoff “Minions” (July 10), The “Man of Steel” sequel (July 17) and a movie adaptation of the hugely popular video game, “Assassin's Creed” (Aug. 7).  As “Captain America: Winter Soldier” did this year,  ”Fast & Furious 7” will provide a preseason spark when it rolls out on April 3.

SEE ALSO: 'Transformers' Destroys 'Tammy' At The Box Office

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Steven Soderbergh Explains Why He Gave Up Directing Movies

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Steven Soderbergh

Few filmmakers have left behind a body of work quite like Steven Soderbergh. The skilled storyteller and Oscar winner bowed out last year after his last theatrically-released film, Side Effects, instead opting to dabble in television, artwork, and occasional side endeavors. Prolific to the very end, Soderbergh hasn't been linked to any directorial projects in almost two years right now – normal for other filmmakers, but not for him. We really aren't going to get any more Steven Soderbergh-directed movies for a long time, and for a very basic reason. 

In an excellent, probing interview with Esquire, Steven Soderbergh elaborates on why he backed away from movies. Promoting the new television series The Knick starring Clive Owen, Soderbergh simply, and tragically, credits the fact that filmmaking was no longer any "fun." 

"The bottom line when people talk about all the reasons, you know the biggest reason? It stopped being fun. It just stopped being fun. It really wasn't. That's a big deal to me. It may sound like 'Why do you have to have fun to go to work?' I don't know. I like to be in a good mood. The ratio of bulls--- to the fun part of doing the work was really starting to get out of whack."

Soderbergh was never the sort of anti-establishment rebel who scoffed at big studio pleasures. After all, this is the guy who made three lively Ocean's Eleven movies to refill his commercial cred. But it's impossible to hear that quote and not think of the muted responses to his later work. Ocean's Eleven ended and he disappeared into the wilderness to make the two-part Che epic Guerrilla and The Argentine, but neither critics nor the general audiences got behind the dry, academic films that nonetheless were titanic cinematic achievements. Soderbergh was very open about feeling that he had lost the plot with those films, but they're still highly fascinating documents of a frustrating moment in global politics, featuring a stellar performance by Benicio Del Toro. 

Soderbergh was also facing the ghettoization of independent film. Now alternate revenue streams could guarantee that a niche product can be profitable. But such specialization meant that it would reach its core audience, but not connect with newer fans that represented the future of cinema. Soderbergh attempted to connect with those fans with a deal to make off-the-radar digital films for VOD release, but a six-film agreement with HDNet only resulted in Bubble and The Girlfriend Experience, the latter of which at least stands to gain a second life from an upcoming TV adaptation. Soderbergh's issue was that indie films were expanding their reach, but not as exponentially as big studio entertainment, most of which is dedicated to the younger audiences he had no interest in courting. Even when he tried to play ball, studios were not receptive to his visions for properties like The Man From U.N.C.L.E. favoring younger, hipper pitches. 

Not to worry: The Knick looks great, and the talkative Soderbergh hasn't completely vanished from the film world, giving snappy interviews like this. Make sure to read the whole thing.

SEE ALSO: Channing Tatum Instagrams His Inspiration While Writing 'Magic Mike 2'

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3 Things To Know About The Thrill-Seeking Actor Just Cast In 'Star Wars: Episode VII'

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pip andersen Pip Andersen just landed the role of a lifetime as one of two actors cast in "Star Wars: Episode VII."

The 23-year-old British actor was selected from an open casting call for an unspecified role in the sequel out next year.

While you may not know him, Andersen already has some fans.

Here's what you should about the young actor.

1. He’s a professional freerunner and parkour artist.pip andersen parkour

The 23-year-old has been a professional parkour artist and freerunner for five-and-a-half years. Andersen got involved with the sport seven years ago and is considered one of the best freerunners in the world.

Known as Piptrix in the parkour community, he’s currently part of Storm Freerun, a professional London-based freerunning team started in 2010.

Together, Andersen and five other members perform in TV ads, movies, music videos, and stunt work.

Not familiar with Parkour?

One of the easiest explanations for the sport was offered on NBC's comedy "The Office" when Jim Halpert's character described it as getting "from point A to point B as creatively as possible."

To do achieve this, people will launch themselves over objects and scale walls among other practices often incorporating gymnastics with only their bare hands.

It's much easier to be see for yourself.

parkour pip andersen 2011
Andersen has been doing parkour for the past seven years. 
pip andersen parkour

The sport requires an incredible amount of upper body strength.parkour pip anderson sign

... and takes a lot of practice to perfect. parkour practice

Parkour and freerunning have become so popular that they have inspired international events. Here, Andersen's performing in the 2011 Red Bull Art of Motion freerunning competition in London.

pip andersen jumping parkour 2008

Even though he offers some tutorials, it's definitely not something you should just try at home.

You can check out full video of Andersen performing stunts on his YouTube channel, Piptrix, here.

2. He has appeared as Spider-Man and Peter Parker in an ad for Sony.

Andersen’s parkour abilities help him look like a natural Spider-Man. Sony noticed this and placed him in an ad where he played the webslinger.

He has also worked with Adidas, Nike, Microsoft, Mountain Dew, and Red Bull among other brands. 

3. He’s married.

Sorry ladies. The future “Star Wars” actor has been married to his wife Becky from Somerset, England since 2009.

SEE ALSO: 2 young actors were cast in "Star Wars: Episode VII"

AND: Meet the rest of the film's cast

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The 'Sharknado 2' Trailer Is As Ridiculous As You Expect It To Be

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sharknado 2 chainsaw

“Let’s go kill some sharks!”

The Ian Ziering battlecry sums up the basic attitude of the first official trailer for “Sharknado 2: The Second One.” 

The made-for-tv movie is SyFy’s followup to last year's social media hit of the summer, “Sharknado.”  

Just when you think nothing can top last year’s chainsaw shark kill, guess again.  

This time around returning stars Ziering and Tara Reid face off against the sharks (and tornadoes) in New York City where they’ll be joined by a string of celebrity cameos ranging from Andy Dick, Matt Lauer, Perez Hilton, and Kelly Osbourne. 

Let’s walk through some of the absurdities shown off in the trailer that you can look forward to viewing.

Raining sharks. sharks falling from skyraining sharks

Sharks on fire. sharks on fire

Sharks attacking the Empire State Building. empire state building sharknado 2

... and the subways. subway sharknado 2

Basically everything and everyone is at the sharks’ mercy. shark attack sharknado 2

Unless they're getting electrocuted.ian ziering electrified sharknado

And, of course, there will be chainsaws. ian ziering sharknado 2

And flying.sharknado 2

“Sharknado 2: The Second One” premieres July 30 at 9 p.m.  

SEE ALSO: 3 things to know about the thrill-seeking actor just cast in "Star Wars: Episode VII"

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Part Of 'Star Wars: Episode VII' Is Filming In IMAX

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star wars home

We've been hearing rumors about Star Wars: Episode VII possibly filming with IMAX cameras since September of last year, but only now has the format been 100% confirmed. And we're getting an early look at what is probably the planet Tatooine in the process. 

As you can see, the Tweet above comes from the official Bad Robot account, and while the photo doesn't have much of a caption (#bestformatever) it still shows us some very interesting stuff. For starters, this is now the second time that J.J. Abrams has employed the use of IMAX cameras, having previously done so for 2013's Star Trek Into Darkness. While Star Wars: Episode VII is filming in 2D, it will be converted to 3D in post-production for release next December. 


Pajiba has added in a few very interesting details about the camera you see in the image. Sources have told the site that Star Wars is using three of only four 65mm 2D IMAX cameras in the world for their production. The fourth camera is currently being used by Zack Snyder on the set of Batman v Superman: Dawn of Justice. I wonder why they need so many. 

While I can never get myself pumped up for news about a new 3D movie, I am always very excited to hear about sequences filmed with IMAX cameras. Filmmakers like Christopher Nolan and Brad Bird have proven that no other format has its immersive capabilities (I can still remember being stuck to the side of the Burj Khalifa in Mission: Impossible - Ghost Protocol), and I can't wait to see how they capture the terrains of Star Wars: Episode VII

Speaking of the terrain, the desert you see in the shot above is almost certainly from the film's time in Abu Dhabi - which is standing in for the desert planet Tatooine inStar Wars: Episode VII. This means that this is an older photograph, as the production has since moved to Pinewood Studios in England, but that doesn't mean it's any less cool. All the same, I do wish it gave us a look at Luke Skywalker once again trudging through the sand... 

Star Wars: Episode VII is based on a script by J.J. Abrams and Lawrence Kasdan, and features a cast that includes Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, Kenny Baker, John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Domhnall Gleeson, Lupita Nyong'o, Gwendoline Christie and Max von Sydow. The movie is currently shooting, but is scheduled to take a two week hiatus in August as to allow Ford to recover from an on-set injury. Still, everything is reportedly on track to have the film come out on December 18, 2015 in both 3D and IMAX

SEE ALSO: It Looks Like The Millennium Falcon Will Be In 'Star Wars: Episode VII'

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Christopher Nolan Predicts A New Era Of Filmmaking In WSJ Op-Ed

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Christopher Nolan

The skeptics and cynics have it all wrong; the movie business will be just fine.

Christopher Nolan, one of the most successful directors in modern moviedom, penned an op-ed in the Wall Street Journal about the future of movies in which he rejects widespread pessimism about the future of film.

Movie studios, producers and theater owners will have to work for it, demonstrably improving the experience of going to a movie theater. Bigger theaters, expensive projection and new directors will usher in a new era of film.

Also read: Universal Chief Jeff Shell: Jeffrey Katzenberg Is Wrong About Future of the Movie Biz

“The public will lay down their money to those studios, theaters and filmmakers who value the theatrical experience and create a new distinction from home entertainment that will enthrall — just as movies fought back with widescreen and multitrack sound when television first nipped at its heels,” Nolan wrote.

Too many people are devaluing film, Nolan said, viewing it as just another kind of content, “jargon that pretends to elevate the creative, but actually trivializes differences of form.”

People who are not creative often use content to describe the work of creative people. YouTube, Netflix and Hulu host content. Filmmakers produce movies and TV shows.

Also read: ‘Transcendence’ Director Wally Pfister on ‘Frustrating’ Technology and What Chris Nolan Taught Him

While people can watch content on any device, in any location, the future of movies rests in delineating the theatrical experience from your home theater and your mobile phone.

Bigger, grander movie theaters and with more expensive projection systems will bring exclusivity back to the theater. Nolan rejected recent efforts as “cost-cutting exercises disguised as digital ‘upgrades’ or gimmickry aimed at justifying variable ticket pricing.” Substantive changes to the moviegoing experience require real innovation.

Nolan is also banking on fresh filmmaking voices that will help propel the industry forward. He referenced filmmakers such as Lars von Trier and Quentin Tarantino, who injected new life into the cinema during the early 1990s.

“It's unthinkable that extraordinary new work won't emerge from such an open structure,” Nolan wrote. “That's the part I can't wait for.”

SEE ALSO: Taylor Swift Wrote An Op-Ed In The Wall Street Journal, And It's Filled With Fascinating Insights

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Disney Is Working On A Live Action 'Dumbo' Remake

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Dumbo flying

Surprising but, at the same time, not surprising. Disney is planning a live action take on Dumbo to be penned by Transformers: Age Of Extinction writer Ehren Kruger (to be fair, he was under some non-narrative marching orders on that one).  Oblivion producer Justin Springer will co-produce alongside Kruger.

If you’re like me and it’s been decades since you’ve seen the original Dumbo, you may not have easily recalled that this elephant can fly.  He can.  No matter, Disney is said to be confident that modern CGI can take care of such things.  I’m sure it can, but doesn’t a live action flying elephant seem like an aesthetic nightmare come to life?  Hit the jump for more on the new Dumbo remake.

According to The Hollywood Reporter, “the new take involves the adaptation of original movie adding a unique family story that parallels Dumbo’s story.”  Which makes sense. I sort of doubt this one will be a musical like the original, but that would (in my estimation) add to the wearily bizarre nature of this project in almost a pleasant way.  I’m already trying to imagine the facial animation a real life elephant would require (of course, there’s a chance the entire elephant is CG and the family surrounding it is real life, à la Scooby Doo last decade).

The popularity of live-action remakes is nothing new.  Tim Burton’s take on Alice In Wonderland made over a billion dollars worldwide and Disney is already knee deep on a similar spin on Cinderella, which hits theaters early next year.  I can’t really pretend to be mad or up in arms over this repurposing of IP, but I can’t pretend to be all that excited either.

More as it comes in. Where are you guys on this? Shocked? Outraged? Excited? Numb to all news of remakes? 

SEE ALSO: 'Frozen' Songwriters Explain Disney Ban On The Word 'God'

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The First Trailer For Ridley Scott's Hugely Ambitious Next Film 'Exodus'

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exodus movieWe've been waiting for this trailer for a long time.

Christian Bale is trading in the Caped Crusader costume for gladiator gear in Ridley Scott's next big epic, "Exodus: Gods and Kings."

20th Century Fox released the first trailer for the movie Tuesday night exclusively on Apple.

The movie stars Bale and Joel Edgerton ("The Great Gatsby") as Moses and Ramses in the familiar Bible tale famously brought on screen in "The Ten Commandments" starring Charlton Heston and Yul Brynner.

Here's the official synopsis:

"From acclaimed director Ridley Scott (Gladiator, Prometheus) comes the epic adventure 'Exodus: Gods and Kings,' the story of one man’s daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses (Christian Bale) as he rises up against the Egyptian Pharaoh Ramses (Joel Edgerton), setting 600,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues."

The film is the latest in a string of faith-based movies that have seen success at theaters this year after break-out “Heaven is for Real.” Darren Aronofsky’s “Noah” released in March with Russell Crowe brought in $359.2 million worldwide. 

"Exodus: Gods and Kings" is in theaters December 12. 

Everything about the film looks grand from the elaborate sets to that last ocean wave teased at the end ...exodus setwave exodus

However, there's one thing that stands out in particular with the trailer.

It may be one too many TV re-runs of “Gladiator” but the film feels a lot like Scott’s 2000 Oscar-winning flick which watched a slave rise through the ranks to not only fight for his freedom (and avenge his family) but also the freedom of other slaves.christian bale moses exodus

SEE ALSO: Why Hollywood is inserting these two huge Chinese actresses into its summer blockbusters

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'Batman V Superman' May Not Appear At San Diego Comic Con

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batman v superman dawn of justice

Earlier yesterday, Warner Bros. announced its full Comic-Con 2014 line-up which includes upcoming blockbusters The Hobbit: The Battle of The Five ArmiesMad Max: Fury RoadJupiter Ascending and even an entire screening of Into the Storm. While that sounds like a decent enough presentation, many fans were disappointed to see that there was no mention of Warner Bros.' biggest upcoming movie Batman v Superman: Dawn of Justice on the schedule. Nor were any future DC Comics movies teased in the tiniest way. But does that mean fans won't see anything from Warner Bros.' upcoming DC line-up at this year's Comic-Con?

That's highly doubtful!

All we have to do is look back to what happened last year, and realize that when it comes to DC Comics, Warner Bros. and the Con, the studio likes to play it close to the vest, saving any hint of an announcement for their actual presentation in Hall H. It's all about the element of surprise. And anyone who was around in 2013 may remember that no DC Comics movies were announced before the Con began, with Warner Bros. revealing a similar schedule to what we see happening this year, touting only their non-superhero movies.

But right at the end of their big Hall H presentation, Man of Steel director Zack Snyder (who was not scheduled to be there) and one of that movie's stars, Harry Lennix, took the stage to announce that Man of Steel 2 was going to feature the first big screen pairing of Superman and Batman when it hit theaters in 2015. And the rest was history (some of which has changed dramatically, like the 2015 date and the fact that Batman v Superman: Dawn of Justice is no longer a sequel to Man of Steel).

Here is that groundbreaking announcement: 

What we can take from this is that Warner Bros. and DC Comics probably have another big Batman v Superman: Dawn of Justice surprise waiting in the wings. What will it be? Our first look at Gal Gadot as Wonder Woman? Our first look at Jesse Eisenberg as Lex Luthor? Or will DC and Warner Bros. truly announce their rumored line-up that was said to include Shazam! and Wonder Woman stand-alone movies, the Sandman adaptation, the super hero ensemble Justice League, a never before heard of team-up featuring The Flash and Green Lantern and the true Superman sequel Man of Steel 2?

Last year, the surprise Batman v Superman: Dawn of Justice announcement was leaked a day early. Before the news slipped out, no one expected any kind of announcement at all. This year, we're all expecting something big. Especially since this is 'Comic'-Con, emphasis on the Comic, and Batman and Superman are two of the biggest superheroes of all time. With their new movie now in production, the first big screen team up in their history, it would be highly disappointing if at least one tiny new detail didn't emerge. But maybe we're expecting too much?

Disney may be pulling a similar tactic with Star Wars: Episode VII. They've gone out of their way to make sure we know the J.J. Abrams directed sequel won't have a presence at this year's Comic-Con. The difference between Disney and LucasFilm, and Warner Bros. and DC, is that Disney and LucasFilm have proven that they mean what they say by refusing to bring Star Wars: Episode VII to any of the past events where it was suspected to have a presence.

Bottom line, we'll definitely see something new from DC and Warner Bros., even if its as small as Laurence Fishburne's new Perry White wardrobe. Star Wars: Episode VII on the other hand? Any new piece of video or a photo of any kind would come as a complete shock.

henry cavill supermanWe also have to keep in mind that on Saturday Night, DC and Warner Bros. are planning their 'all DC Entertainment night' in Hall H, which finds Warner Bros. Television treating attendees to a three-hour special event designed specifically for DC Comics fans and featuring some of DC Comics' greatest characters.

The event will feature the world premiere of the highly anticipated new drama series Gotham, followed by a screening of the complete pilot of The Flash, and exclusive video presentations from returning hit Arrow and new thriller Constantine.

While this is solely focused on the TV side of things, it's possible that the DC Cinematic Universe could get a mention. Though, if we are to look to past Cons, its been pretty obvious in the past that DC and Warner Bros. want to keep their film and TV properties separate. Unless they are finally ready to announce a merging of these small screen and big screen worlds, which would set The CW's Arrow and The Flash up for an appearance in Justice League. Is that at all a possibility? Who really knows?

What do you guys think? Are we going to see Batman v Superman: Dawn of Justice at Comic-Con 2014? No matter what this Warner Bros. press release says? We think so.

Batman v Superman: Dawn of Justice comes to theaters May 6th, 2016 and stars Henry CavillBen AffleckAmy AdamsDiane LaneLaurence FishburneGal GadotJesse EisenbergJeremy Irons. The film is directed by Zack Snyder.

SEE ALSO: The First Photo Of Henry Cavill As The Man Of Steel In 'Batman V Superman' Looks Foreboding

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North Korea Has Taken Its War With Seth Rogen To A New Level

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Rogen and Kim Jong-Un

North Korea's polarizing leader, Kim Jong-Un, is at the heart of Seth Rogen and James Franco's new movie, "The Interview," and that's not sitting well at all with the controversial country.

Now North Korea is going so far as to send a letter to U.N. Secretary General Ban Ki-Moon demanding that the movie be banned, according to Reuters.

The letter is dated June 27, but Reuters just got their hands on it.

They say the letter accuses the U.S. of sponsoring terrorism and committing an act of war.

The premise of "The Interview" revolves around an American TV-host and his producer getting an interview with Kim Jong-Un. That's when the CIA recruits them to kill the polarizing North Korean dictator. 

The letter to the U.N. came from North Korea's U.N. Ambassador, Ja Song Nam, who wrote, according to Reuters, "To allow the production and distribution of such a film on the assassination of an incumbent head of a sovereign state should be regarded as the most undisguised sponsoring of terrorism as well as an act of war."

On June 25, when the story first came out, Rogen took to Twitter to address the dispute:

 

SEE ALSO: Ireland Is Having A Meltdown, And It's All Because Of Garth Brooks

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'Fast And Furious 7' Releases Candid Message To Fans After Finishing Filming

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vin diesel fast furious 7

"Fast and Furious 7" has officially finished filming and is set for release in theaters next April.

Production released a very candid message to fans on its Facebook page Thursday thanking fans for their support of the film during a difficult shoot to mark the occasion.

The letter doesn't come as a surprise. Since the passing of Paul Walker last fall, the cast and crew have been extremelyopen with fans throughout the entire filming process.

"Fast and Furious 7" will be released April 3, 2015.

Read the letter in its entirety below:

We made it.

Today we completed the last shot in the production of FAST & FURIOUS 7.

We wanted to take this moment to express how thankful we are for your support. We felt the love and strength from our fans throughout this journey, and it’s because of you that we got here. 

There was a time when we didn’t know how we could go on, or even if we should. But we listened to you, and you inspired us not only to keep going but to try and make the best FAST & FURIOUS movie yet.

Our FAST family has been together for almost fifteen years now and has grown a lot in that time. From the start, Vin has been our leader who feels what’s right for FAST in his gut and in his heart. When we had to stop production last year, Vin gathered us back together and moved us forward when we needed it most. He led us to this day. 

Some of us have been here from the very beginning. Vin, Michelle, Jordana and our producer Neal all go back to that first little movie we shot on the streets of LA. We came back to LA in FAST 7, and it was an especially emotional homecoming for those who’ve grown up with each other since that first shoot. 

There are those we count as brothers who we gathered along the way and are with us again: Dwayne, Tyrese, Luda, Lucas and our writer, Chris. We’ve got some new additions this time in Jason, Kurt, Djimon, Nathalie and our director, James. Caleb and Cody joined us to honor their brother and help complete his work. 

Our family is big and strong but it won’t ever quite be whole again without Paul.

All of us -- those who’ve been here from the start and those whose first FAST film is 7 -- wanted to create a special film for him and for you. We believe we have.

Thank you for being there for us. You are the biggest part of our family, and we couldn’t have gotten here without you.

The countdown to April 3 begins.

With love,
Your FAST & FURIOUS Family

SEE ALSO: Vin Diesel says it's been "awkward and uncomfortable" adjusting to Paul Walker visual effects in "Fast and Furious 7"

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PLANET OF THE APES: What It's Like To Direct A Remake Of A Movie You Were Obsessed With As A Child

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Serkis, Planet of the Apes, motion

When some actors and directors promote an adaptation or remake they’ll pretend they’ve always been fans of the original movie or the comic. You can generally tell when they’re lying, trying to pander to fans. Thankfully, real die-hard fans often get to be a part of properties that actually mean something to them. Dawn of the Planet of the Apes director, Matt Reeves, is one of those people.

Like most kids growing up in the ’80s, the New York-born filmmaker gravitated toward E.T., Close Encounters, and Star Wars. For Reeves, though, those films never held a candle to Planet of the Apes. “That was my obsession. That was my Star Wars,” he tells us over the phone, counting the hours until the film opens this Friday.

When it comes to the Apes franchise the original film and, the strangest of the series, Beneath the Planet of the Apes, are his favorites — Reeves is still shaken by the image of the mutated humans removing their faces in the latter film. He also has a deep fondness for the television series which only lasted, to his surprise, three months back in 1974.

“I thought for sure it was on for years because it took up so much of my childhood. I had dolls, the records, and these comic books. I was so obsessed with that world.”

Beyond playing with dolls, he made short films inspired by Apes. When most kids were playing cops and robbers, there was little Matt, playing an Ape in his own 8mm film. “I had a best friend named Mark Sanderson,” Reeves shares. “We’d call each other on the phone and say, ‘Let’s go play apes!’ We would act out Planet of the Apes. I made a Super 8 movie with the title ‘Galactic Battles‘.”

Quite the title for a film starring aliens wearing ape masks. That Super 8 film likely doesn’t match the production value of Dawn of the Planet of the Apes, but it’s an experience Reeves remembers fondly, even though his camera was stolen and he never had the chance to complete his unfinished masterpiece.

It wasn’t the last movie he tried to make as a child. In the 1970s a public access channel in Los Angeles aired short films made by young aspiring filmmakers. One night Reeves discovered the channel when he caught a Super 8 horror movie made by a 13-year-old. He jumped at the chance of having one of his own shorts aired.

The man who ran the show, Gerard Ravel, not only loved Reeves’ film, but he also introduced him to J.J. Abrams (future screenwriter behind Forever Young and Regarding Henry), and they’ve remained pals ever since.

Matt ReevesNeither of them are making their films for a public access channel these days. Abrams rebooted Star Trek and is now taking a crack at Star Wars, while Reeves has signed up to make two Planet of the Apes films starting with Dawn. The experience has put the Super 8 and ape mask back into his hands.

“It’s weird how much the same it feels, but of course it’s different,” Reeves says. “The pressure of doing a big movie is thrilling, but it’s also terrifying. I always resisted doing a tent-pole movie, because I was worried I wouldn’t be able to find my way in.” Reeves has turned down some high-profile projects for that very reason. If his heart ain’t in it, he won’t be on set yelling action.

His first feature film, 1996′s The Pallbearer, was deeply personal. Reeves, like the late 20-something main character of the film, was living with his mother, struggling to find his way and was deeply affected by the death of a high school friend. Naturally, all of that experience led to writing and filming what could be called a romantic comedy set at a funeral. After his directorial debut Reeves worked in television, not returning to feature films until 2000 with The Yards –a dramatic genre flick he co-wrote with one of his best friends and its director, James Gray. The old-fashioned drama was a box office disappointment, but it remains Gray’s best work.

Although the two personal films Reeves worked on didn’t blow critics and audiences away, when he made his found footage monster movie, Cloverfield, he stuck to his guns. “In my experience of making it, it was about my anxiety of being at the center of events that were larger than us, and being stuck in that terror,” he says. “I learned you could make a film like that personal.” The same goes for his remake of Let the Right One In. A potential rehash and cheap money grab was transformed by Reeves into an exploration of the isolation he felt as a child. Like Let Me In‘s young and disturbed protagonist, Reeves was also a child of divorce who suffered at the hands of bullies.

In the case of Dawn of the Planet of the Apes, his connection to the material went beyond his fandom and into his family life as well. “When I rewatched Rise of the Planet of the Apes I had that revelation of seeing my son in Andy’s performance, and that gave it a personal impulse that was important for the rest of the film,” he explains. “That’s one of the reasons why family was so important to me in the story. It was important for me that Caesar have a newborn son, and to see the preciousness to protect that child. That’s even true on the human side, imagining what it’d be like to lose members of your human family.”

While I speak to Reeves, he’s still pinching himself over the fact he made a $150m potential blockbuster all about family. When we discuss the heavier side of Dawn of the Planet of the Apes – an Akira Kurosawa-influenced set piece, the brutal violence, and the quiet character moments – he can’t help himself from laughing at what he was able to get away with. After Fox approved his pitch, he had to ask, “What’s the catch?” A quickly approaching release date was their answer. Reeves delivered the sequel on time, while also making a movie on his own terms.

Dawn of the Planet of the Apes is a movie made by a true fan, sticking to the moral complexity of the series and its penchant for dark realities. Imagine if someone told 13-year-old Matt Reeves he’d get to make The Planet of the Apes he would want to see. The kid who once “really dug apes on horses” is now filming those apes on horses. His unfinished childhood fan film has jumped out of a long-lost Super 8 camera and onto an IMAX screen.

SEE ALSO: New 'Dawn Of The Planet Of The Apes' Trailer Will Make You Jump

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Scenes From 'Dawn Of The Planet Of The Apes' Were Directed Over Skype

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caesar dawn of the planet of the apes

"Dawn of the Planet of the Apes" swings into theaters this Friday along with some of the most state of the art motion capture visual effects.

While the film's technology allowed actors like Andy Serkis to bring the planet of the apes to life, it also allowed director (and avid "Planet of the Apes" fanboy) Matt Reeves to tinker with the film's ending via Skype.

According to /Film, Reeves was able to redo the end of the film by directing Serkis over the message service:

"This is the first movie where I’ve ever directed scenes over Skype. And mo-cap enables you to do that. And actually that last shot, when I realized that that was not the right ending, I went to [visual effects studio] Weta and I said, okay, so we gotta do something different. And they’re like, well you’re gonna need a performance. So we did a thing where Andy was in London and he was at [his performance capture studio] the Imaginarium. And we hooked up via Skype and I looked at a big plasma and I talked him through what was going on in that last sequence as he’s coming down those steps. And we basically did it over Skype."

Reeves used Skype to make last minute changes to other scenes as well. For example, Reeves was able to direct actor Jason Clarke and Serkis simultaneously while Clarke was in his hotel room shooting another film in Rome and Serkis was in London.

For Reeves, Skype allowed him to put together these minor reshoots with only six weeks until the premiere and with his cast and crew scattered around the world. It also allowed him to be one of the first to put a film together using the application.

"I don’t know if we’re the only one, or if we’re the first movie to have done a scene on Skype," Reeves added. "But it’s certainly the first time I’ve done it."

SEE ALSO: New 'Dawn Of The Planet Of The Apes' Trailer Will Make You Jump

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This Is Why You Should Definitely See 'Dawn Of The Planet Of The Apes' In 3D

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ape planet of the apes sequel

Caesar from 2011's Rise Of The Planet Of The Apes is back with Dawn Of The Planet Of The Apes. The second part of this prequel series has him as the leader of a large community of apes, living in the forests outside of San Francisco. But with a pandemic having wiped out much of humanity, their last gasp at survival puts mankind at odds with apekind. 

Our theatrical review will weigh in on whether or not this new release is worth your time, while this column will focus solely on the film's use of 3D. Considering seven separate categories, To 3D Or Not To 3D evaluates the full scope of the 3D viewing experience. Think of it as a consumer's guide for your movie-going, complete with a viewers poll where you can weigh in on how you plan to see Dawn Of The Planet Of The Apes

FIT SCORE
 
I've seen nearly every Planet of The Apes movie, and this one has more spectacle than any I can recall. From sweeping scenes of ape armies attacking, to explosions, and sky-high showdowns, there is plenty of opportunity for 3D to add some extra pizzazz. 
 
PLANNING & EFFORT SCORE
 
As you probably know, much of Dawn Of The Planet Of The Apes' apes are CGI creations, based on motion-capture performances. This means their composition layers would have been easy to isolate in post, and manipulate within the 3D look. Notably, director Matt Reeves not only took advantage of the CG, but also shot in native 3D, all the better to capture the true depth and richness of his various exterior locations in the rainforests of British Colombia. 
 
BEFORE THE WINDOW SCORE
 
This is the element of 3D where the things on screen seem to be coming at you. And Reeves and his team take pretty full advantage. Rain appears to flutter out into the audience, while apes lunge forth, guns point menacingly right to camera (and us), and explosions and debris flew out enough that I caught myself blinking defensively. Basically, Dawn Of The Planet Of The Apes' Before The Window throws the action out at you. 
dawn of the planet of the apesBEYOND THE WINDOW SCORE
 
Conversely, this element of 3D is where the world of the film seems to reach deep beyond the screen. Reeves was very mindful of his compositions for this category, offering not just shots that reveal long stretches of untamed forest or ruined streets of San Francisco, but also one that peer up and down. We're given glimpses of apes and they tear through the trees at dizzying heights. We follow them to the top of the Golden Gate Bridge that looks down on the ruins of San Fran. And in the tower-set climax, the 3D intensifies a tumultuous final battle. 
 
BRIGHTNESS SCORE
 
3D glasses can dim the image to the point of distraction if the 3D print doesn't compensate accordingly. With all the clear attention put to Dawn Of The Planet Of The Apes's 3D, it wasn't going to snared in that damned dirty trap. 
 
GLASSES OFF SCORE
 
The most rudimentary way to see how much 3D you're getting in a given scene is to remove your glasses and observe the blur. Dawn Of The Planet Of The Apes scored high in this test, offering long shots, establishing shots and complex compositions that made noticeable use of 3D. However, as Matt Reeves has a predilection for close-ups, there are swaths of the movie where there's little room for noteworthy 3D. 
 
AUDIENCE HEALTH SCORE
 
Bad 3D can actually be bad for you, causing nausea, eyestrain and headaches. Though I blinked at some of the in-your-face uses of 3D in Dawn Of The Planet Of The Apes, that was more a part of fun of the ride than it was a problem. 
 
Final Verdict: The verdict should be pretty clear. If you're aching to see Dawn Of The Planet Of The Apes, you really should spring for the 3D ticket. Matt Reeves shot in 3D, with 3D in mind, and it shows. The awe-inspiring landscapes he captured have an enhanced depth, adding to their majesty. The wild action sequences will lash out at you. And the careful considerations of how to use 3D didn't force me to squint or bring on any adverse side effects. Overall, the 3D definitely adds to the experience here. 

SEE ALSO: 'Dawn Of The Planet Of The Apes' Actors Had To Learn Ape Vocalizations For Sequel

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How 4 Minutes Of CGI Dinosaurs In ‘Jurassic Park’ Took A Year To Make

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jurassic park dinosaur

Before the 1990s, most visual effects in movies consisted of stop motion and people in suits. 

While computer animation was used in “Star Wars” and “Tron” and in title sequences like 1978’s “Superman,” it wasn't until "Terminator 2" (1991) and Steven Spielberg’s "Jurassic Park" (1993) that a movie used lots of computer-generated imagery, or CGI, and mixed it with live action. 

There are only 14 minutes of dinosaur visual effects in "Jurassic Park," about four of which were made with a computer, but its lasting effect on movies has been monumental. 

Two years later, 1995's "Toy Story" was the first full-length computer-animated movie.

Today just about every film — from James Cameron's "Avatar" to summer blockbusters like Michael Bay's "Transformers" series — owes credit to CGI.

But what is CGI, and how is it used in movies? 

The simplest way to explain computer graphics without getting overly technical is to think of typical hand-drawn animation or stop motion, which consists of a series of drawings or photographs to create the illusion of movement.

peter panSimilarly, a lot of CGI animation in movies involves series of drawings or renderings on a computer screen. These are used to create that same illusion to make something look photo-realistic.

Business Insider recently spoke with Steve “Spaz” Williams, who was a CG Animator at Industrial Light & Magic (ILM), the visual-effects studio that helped bring “Jurassic Park” to life.

Here, with Business Insider, Williams breaks down the steps it took to bring the dinosaurs from paper and pad to the big screen in CGI.

1. They begin with drawn designs and prosthetics of the different dinosaurs. 

The production used CG for velociraptors, brachiosauruses, and the tyrannosaurus rex, which Williams worked on primarily.

T Rex joint image2. Next, those renderings needed to make their way into the computer.

They scanned models, including ones for the T. rex and the velociraptors, into the computers.trex stan winston, jurassic park"In order to get it into the computer we actually fire a laser at the three-dimensional rubber prosthetic model and extract the data so the computer had it essentially," says Williams.

Williams explains it's like the opposite of 3-D printing with them taking an object and turning it into data.

3. They then reconstruct the data to make it work in the computer.

These are two images of T. rex data from Williams' monitor using software called Alias.

dinosaur t rex Jurassic Parkt rex dinosaur

4. An animation piece of software called SoftImage 3D is used to figure out the joint placement on the dinosaurs. 

jurassic park softimageHere, you can see one of the Brachiosauruses in the beginning of the film.

jurassic park softimage
5. After that, the data has to be "rigged" with a digital armature in wireframes. 

This is the framework for the dinosaur that helps provide its structure allowing it to stand up, move, and run.

"This is the first shot I animated for the movie after I built all of the T. rex data," says Williams. "It took me months to get this run right, but once done, we reused the run data for the rest of the jeep-chase shots and ultimately for the following two 'Jurassic Park' movies."dinosaur t rex jurassic parkBelow is another wireframe for one of the raptors in a kitchen scene where the two children are trying to outsmart the dinosaurs.

wireframe raptor jurassic park6. Next, the dinosaurs get their skin. 

"We used a program called Viewpaint, which allowed us to actually paint the texture of the skin in the computer so now we have this textured map," says Williams.

7. To put all of the separate images together, they needed to be rendered by massive graphics computers.

"Now we substitute in this high-resolution mesh data into a low resolution wireframe. That's all being done in computer," says Williams. "It pretty much took 10 hours to calculate one frame. You have to remember film is 24 frames per second. So it would sit there and crunch all night."

Williams built and animated the image below of the first fully rendered T. rex test. It was this video that convinced the producer Kathleen Kennedy and Steven Spielberg that "Jurassic Park" should be made in CGI rather than stop motion.

initial skin test t rex jurassic park Williams also animated all of the shots in a famous T. rex Jeep-chase sequenceHe says each frame in the entire sequence took an estimated 12 hours to render. 

The point where the T. rex breaks through the log is 75 frames long. 

jurassic park jeep"I animated all those shots where the T. rex is chasing the jeep. It took me four months to animate it, just to get the running to work properly," says Williams.

8. From there, the dinosaur needs to be put into a scene through a process called compositing.

This is where all the pieces to the puzzle are assembled together. CGI shots are combined together with live-action shots and any background and foreground imagery referred to as plate photography.

In this case, live-action shots of actors were combined with photography shoots in Kauai and ILM's work on the brachiosauruses and birds.

jurassic park composite

Here's the final shot with the added dinosaurs:

jurassic park composite with dinosaurs
9. Once it's put together, the images are reviewed to make sure they work. When everything looks good, the scene is put to film.

Final images are reviewed on a high-concentrated projector before translated to film.

All together, Williams says it took about a year to bring the dinosaurs to life.

“Basically May of ’92 to May of ’93 was the entire build and composite time for probably 40 shots,” says Williams. 

After $1 billion at the box office, you can't argue with the result.

jurassic park stampede You can watch Williams and others from ILM speak more about the creation of the dinosaurs in a featurette from the Academy of Motion Pictures below:

SEE ALSO: Find out why 'Age of Extinction" was the most difficult "Transformers" movie to make

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