|SONIC THE HEDGEHOGSTAR WARSTHIS WEEKBAD BOYSSONIC|
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...
EXCLUSIVE: Grace and Frankie may have suspended production on its seventh and final season because of the coronavirus crisis, but the Emmy nominated Netflix comedy is back this week with a special live treat for fans and a spotlight on seniors in need during these troubled times.
The Jane Fonda and Lily Tomlin-led series will be having an online table read this Thursday to help Meals On Wheels COVID-19 relief program, I've learned – though you can make donations right now via the link here.
While other shows have taken a similar digital approach in recent weeks, the long running Marta Kauffman and Howard J. Morris showrun series is adding some originality. The April 9 presentation will feature an episode from the yet unaired seventh season, as well as a live Q&A afterwards moderated by Kauffman.
Along with Oscar winner Fonda and Oscar nominee Tomlin, fellow G&F cast members Sam Waterston, Martin Sheen, June Diane Raphael, Brooklyn Decker, Baron Vaughn and Ethan Embry will be participating in the reading of the Kauffman and Morris-penned “The Fallout” episode on Thursday.
Starting at 5 PM PT/8 PM ET, the whole shindig can be seen live and direct on the Netflix is a Joke YouTube page LINK HERE on April 9.
“While we’re sitting here afraid, unsure and isolated, we wanted to come together and do some good,” Kauffman told me of the decision to take the show online in a new form and with a peek into the future.”
“All we’ve got is time on our hands and technology at our fingertips,” the Friends co-creator added as production on Season 7 was temporarily suspended late on March 12 as restrictions on large gatherings tighten in the City of Angels. “So we decided to use both of those assets to raise money for Meals on Wheels, which brings food to food-insecure and isolated seniors. They are among our most vulnerable right now and need our help.”
“Our cast is all in and super excited,” Okay Goodnight founder Kauffman also says of her superstar packed team. “And Netflix and Skydance have been particularly supportive. As far as giving the fans a peek into Season 7, we figured more people would tune in to new content and it would, hopefully, be a draw for fans of Grace and Frankie. The hope is: more eyes, more money raised for Meals on Wheels.”
Produced by Skydance Television, which launched in 2013, Grace And Frankie was one of the first original series for Netflix. Though in a pause period right now, like everyone else in Tinseltown the seventh and final season is still set to premiere next year, which will make the series the longest running comedy in the streamer's history.
As of last night, there are 6360 confirmed case of the coronavirus in L.A. County and 147 deaths....