|THE MORNING WATCHDAISY RIDLEYANIMATIONSTAR WARS|
The Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.
In this edition, watch as stuntment recreate a fight scene from The Mandalorian with some low-rent props and visual effects in the middle of a dojo. Plus, Patrick H Willems, or rather some of his collaborators, put together a video essay on Labyrinth and the themes of capitalism in 1980s America, and you can get a lesson on how to draw a Walt Disney caricature.
First up, some professional stuntmen, with the help of some local cosplayers and propmakers, got together in Atlanta Judo Midtown to recreate a fight scene from The Mandalorian in a very low budget style. But the camera work and cheap digital effects make this video from Legend of Micah a little more stylish than your average sweded video elsewhere on the web.
Next up, since things are crazy right now with coronavirus, Patrick H Willems takes a backseat to video essays this week. Instead, his collaborators Jake and Matt took advantage of the situation to do a video essay about the 1980s cult favorite Labyrinth starring David Bowie and how it fights back against the idea of greed being good.
Finally, Walt Disney Animation Studios animation supervisor Michael Woodside sat down to teach you how to draw a Disney-Style caricature of Walt Disney himself. It’s all in honor of the annual caricature show curated by the studio, and it’ll help you pass the time while you’re stick at home with nothing to do. Maybe you can even try to draw a caricature of someone else like this too.
RuPaul’s Drag Race is coming in hot for season 12 with an all-star roster of guest judges who are ready to sashay and slay the Emmy-award winning reality competition which is set to premiere on February 28 on VH1.
As seen in the trailer for the 12th season, this season’s queens will be pledging allegiance “to the drag” of the “United Queens of Ru-America”. Because it is such a patriotic season, it only makes sense that they have trailblazing politician Alexandria Ocasio-Cortez on the judges’ panel this season. Others joining previously announced judge Nicki Minaj include Saturday Night Live alum Leslie Jones, actor Jeff Goldblum, Academy Award-winning actress and View co-host Whoopi Goldberg, music icon Chaka Khan and Star Wars actress Daisy Ridley. Other guest judges include Robyn, Normani, Thandie Newton, Olivia Munn, Rachel Bloom, Daniel Franzese, Jonathan Bennett and Winnie Harlow. The “ru-volution” will be televised with the premiere airing over two consecutive Friday nights.
The 13 queens competing for the coveted title of “America's Next Drag Superstar” and $100,000. will be Aiden Zhane Acworth, GA, Brita New York, NY, Crystal Methyd Springfield, MO, Dahlia Sin Los Angeles, CA, Gigi Goode Los Angeles, CA, Heidi N Closet Ramseur, NC, Jackie Cox New York, NY, Jaida Essence Hall Milwaukee, WI, Jan New York, NY, Nicky Doll New York, NY, Rock M. Sakura San Francisco, CA, Sherry Pie New York, NY, and Widow Von'Du Kansas City, MO.
RuPaul's Drag Race and RuPaul’s Drag Race: Untucked are produced by World of Wonder Productions with Fenton Bailey, Randy Barbato, Tom Campbell, Steven Corfe, Mandy Salangsang and RuPaul Charles serving as Executive Producers. Tim Palazzola serves as Executive Producer for VH1 and Jen Passovoy serves as Producer. Last year, RuPaul's Drag Race won second consecutive Emmy for Outstanding Competition Program and Charles picked up his fourth consecutive Emmy for Outstanding Host for a Reality or Competition Program to tie Jeff Probst for most wins in the category. The franchise has also expanded to become a live stage show in Las Vegas and has made its way across the pond with RuPaul's Drag Race UK.
Check out a sneak peek below of the guest judges and the queens in this “Ru-volutionary” season!
The 60th anniversary edition, set for June 15-20, will instead take place June 14-19, 2021.
The Annecy International Animation Film Festival, and its associated market, has been called off this year due to the novel coronavirus pandemic. The 2020 edition, set to be Annecy's 60th anniversary, was scheduled to run June 15-20. Instead, the event will be held June 14-19, 2021.
Organizers made the announcement "with tremendous disappointment" Tuesday.
"Over the past few weeks, driven by our passion and our enthusiasm, despite the confinement constraints we were nevertheless hoping to maintain the exceptional edition that we had in store for you," they said in a statement. "But today, the rationale and the international situation compel us to act with lucidity and responsibility. To show our respect and our deep gratitude to the health care providers, as well as all those who choose solidarity and the public interest."
Calling the Annecy festival "a party, a family gathering," organizers said they could not bring themselves "to celebrate animation and our 60th anniversary when some amongst you would not be able to attend."
Pushing the festival to a later date this year was not possible, Annecy said, because of other events on the industry calendar. The 2020 Cannes Film Festival, which has been postponed, is eyeing a possible alternative date in late June or early July.
Annecy still plans to unveil its official selections for the 60th anniversary festival April 15, though the films won't be screened until next year. On April 15, organizers said, they will also announce details for industry attendees.
Annecy is the world's number one festival for animated film and has become a favorite event for studios and independents to launch new projects or kick off global marketing campaigns. At last year's festival, Disney screened the first footage of Frozen 2 and Netflix gave a sneak peek at images from several animated projects in development, including Ricky Gervais' The Willoughbys.
Source: Hollywood Reporter
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...