|THE LAST JEDIJOHN BOYEGALAST JEDISTAR WARSACTORGREED|
Star Wars: The Last Jedi and its incredible throne room scene remains burned in our minds, even three years after the polarizing film’s release. Now, as we sit twiddling our thumbs and scrolling through Twitter during our self-quarantines, The Last Jedi director Rian Johnson is dropping a few behind-the-scenes photos from that scene, as well as a sweet candid image of Carrie Fisher. See The Last Jedi behind the scenes photos below.The Last Jedi Behind The Scenes Photos
A few lovely ones from the archives spoilers I guess pic.twitter.com/HWgeFkI0qG
— Rian Johnson @rianjohnson March 19, 2020
Shot on Johnson’s Ilford 3200 camera, the black and white photos offer a few glimpses of what it was like behind-the-scenes of Star Wars: The Last Jedi. The third photo is a pretty funny one, showing Andy Serkis, who voiced and motion-capture performed the role of the villainous Supreme Leader Snoke, crying over a prop of Snoke’s bisected body after he had been killed by Kylo Ren Adam Driver. It may come as a bit of a surprise that Snoke’s body was actually a prop and not entirely digital, but we had actually learned this in our oral history of the throne room battle scene.
But while Serkis sheds fake tears over his character’s dead body, you may shed some real tears to see Carrie Fisher and Oscar Isaac who played the rogueish pilot Poe Dameron goofing around in the first image, which Johnson admits had “some funkyness happening with that,” but he liked how it came out nonetheless. It’s amazing that Johnson had time to snap these photos while he was busy directing a tentpole sci-fi film that would go on to rake in $1.3 billion worldwide, but hey, the Oscar-nominated filmmaker is a multi-tasker.
The Last Jedi images come right as the final film in the Skywalker Saga, Star Wars: The Rise of Skywalker, comes on digital and before it arrives in 4K Ultra HD, Blu-ray, and DVD on March 31.Source: Slashfilm.com
Now that he’s done with Star Wars, John Boyega is using his clout to get some new projects off the ground. The actor just signed a deal with Netflix through his production company, UpperRoom Productions, to develop non-English language films, with a focus on West and East Africa countries. The streaming service says its all part of a plan to reinforce its investment in African storytelling with projects developed in African countries.
John Boyega’s UpperRoom Productions is teaming with Netflix to “develop film projects based on stories, cast, characters, crew, literary properties, mythology, screenplays and/or other elements in or around African countries, with a focus on West and East Africa.” Boyega, who was recently seen in Star Wars: The Rise of Skywalker, is next set to appear in Chase Palmer’s Naked Singularity. He’s also set for the Netflix film Rebel Ridge, from director Jeremy Saulnier. Boyega previously came aboard the South African crime-thriller God Is Good as an executive producer and will also oversee the movie’s soundtrack.
“I am thrilled to partner with Netflix to develop a slate of non-English language feature films focused on African stories and my team and I are excited to develop original material,” said Boyega. “We are proud to grow this arm of our business with a company that shares our vision.” Boyega set up UpperRoom in 2016 as part of his producing role on Pacific Rim Uprising.
Netflix wants to increase its African created-based content, having recently announced production on its first original scripted series from Nigeria, the still-untilted Akin Omotoso Project. They’ve also announced other African originals, Blood & Water and Mama K’s Team 4, that will premiere later this year and join Netflix’s first Africa Original, Queen Sono, which dropped on February 28.
“Africa has a rich history in storytelling and for Netflix, this partnership with John and UpperRoom presents an opportunity to further our investment in the continent while bringing unique African stories to our members both in Africa and around the world,” said David Kosse, Vice President of International Film at Netflix.
There’s one particularly telling and effective moment in The Skywalker Legacy, the feature-lenght documentary that’s included on the Star Wars: The Rise of Skywalker home release that sums up much of the ambivalence and consternation that some had with J.J. Abrams’ return to the Star Wars universe. After showing the intricate construction of a giant, practical snake monster, the doc cuts back to footage of Jabba The Hutt, that old analogue beast that slithered its way into our hearts. The sentiment is clear – we’re making movies like we used to! A celebration of practical effects, the dripping of k-y jelly to give viscosity just like the old costume days, it’s all there. There’s excitement on set, everyone talking about how amazing it looks, how lifelike, how this is how you’re supposed to do movies like this.
Cut to Visual Effects Supervisor Roger Guyett who shatters the myth, letting us know the creature was replaced by a CGI version in post.
Guyett’s resume is mighty. Having made his bones on groundbreaking films like Twister and Casper, he helped Spielberg bring the events of D-Day to screen in Saving Private Ryan, helped bring to life the best looking film in the Harry Potter series, Alfonso Cuarón’s Prisoner of Azkaban, and even made the theatrical version of Rent feel more than a stage production. Guyett has had many collaborations with Abrams – from the Star Trek Reboots through The Force Awakens and The Rise of Skywalker he was even second unit director on the former, as well as working with George Lucas on Episode III to round off the prequels. He’s in a unique position to speak to these changing landscapes of epic filmmaking.
We spoke at length about the apparent contradictions and indulgences in making a Star Wars film, and he made the case for why nothing was wasted and all contributed to the final presentation. He was erudite and open to the discussion, making for a dream conversation with a man who quite literally has helped shape what amazes us on screen for decades.
The following has been edited for clarity and concision.
We see practical effects being championed as almost a marketing ploy with the “postquels” as a mix of nostalgia and an attempt to delineate from Lucas’ second trilogy. In some ways the love of the practically-realized snake undercuts the extraordinary CGI you and your team accomplished, and raises questions about why the need to fetishize the on-set inclusions when they’re replaced anyway. Could you talk about that ethos, that somehow doing stuff on a computer is a “cheat” while doing an effect practically is not?
I think at the end of the day we’re all trying to do the best that we can, trying to make the best, most dramatic or emotional movie we can visually. I’m coming from figuring out how do you get the most...
He also played the police chief in 'Beverly Hills Cop II' and mogul Louis B. Mayer in 'Gable and Lombard.'
Allen Garfield, the New Jersey character actor who specialized in playing nervous types while appearing in such films as The Conversation, The Candidate, The Stunt Man and Nashville, has died. He was 80.
His sister, Lois Goorwitz, confirmed his death in a brief conversation with The Hollywood Reporter.
Earlier, actress Ronee Blakley posted the news of Garfield's death on Facebook, saying that he had died Tuesday and that the cause was COVID-19. Garfield and Blakley played husband and wife in Robert Altman's Nashville 1975.
Garfield suffered a stroke as he was set to appear in Roman Polanski's The Ninth Gate 1999, then suffered another one in 2004 that led him to reside at the Motion Picture Country Home and Hospital in Woodland Hills. A spokeswoman for the MPTF facility did not know if Garfield was there at the time of his death.
Born Allen Goorwitz on Nov. 22, 1939, in Newark, he went by his real name in several films, including The Brink's Job 1978 and One From the Heart 1981, midway through his career.
Garfield boxed as an amateur, worked as a sportswriter and studied with Lee Strasberg and Elia Kazan at the Actors Studio in New York. He appeared often onstage before making his film debut in Orgy Girls '69, followed by other big-screen appearances in 1971 in Woody Allen's Bananas and The Organization, starring Sidney Poitier.
Often playing jumpy types, he worked for Francis Ford Coppola in The Conversation 1974 and The Cotton Club 1984 and for Wim Wenders in A State of Things 1982 and Until the End of the World 1991.
He also portrayed Louis B. Mayer in Gable and Lombard 1976 and police chief Harold Lutz in Beverly Hills Cop II 1987, and his résumé also included roles in Teachers 1984, Desert Bloom 1986, Dick Tracy 1990, Destiny Turns on the Radio 1995 and The Majestic 2001.
"The reason I didChief Zabu is that Allen Garfield is from the Actors Studio, I'm from the Actors Studio, and we worked together there on stuff," actress Marianna Hill said in a 2016 interview with Shaun Chang for the Hill Place blog. "Allen Garfield happens to be a great actor. He's a really underrated actor. Allen was the hardest-working actor, but nobody realizes that about him because he seems to be a natural."
Source: Hollywood Reporter