|STAR WARS: THE RISE OF SKYWALKERTHE RISE OF SKYWALKERRISE OF SKYWALKERBOX OFFICESKYWALKERSTAR WARSREVIEWCATS|
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...
Week three of no theatrical releases. That will technically change soon — Universal’s premium VOD-opening “Trolls World Tour” has a handful of still-open drive-ins to play don’t expect any grosses reported. But it was a week full of important stories, with particular interest in a series of release date adjustments. However, no date can be realized if theaters aren’t open, and nobody knows when that will be.
• Exhibitor trade organization NATO held a webinar Friday. President John Fifthian raised hope that some theaters might be open by late May or early June. AMC Entertainment CEO Adam Aron, who oversees the most screens in North America reiterated his hopes for mid-June.
• With the COVID-19 still in its early stages of national spread, uncertainty about the curve flattening, and signs that in China, which had the earliest outbreaks three months ago, that viral decline doesn’t equal viral defeat, the reality is it could be weeks before anyone can make a reasonable assessment on reopening.
• Countering industry optimism that after weeks indoors, people will flock to theaters is a survey by Performance Research about public attitudes on return to public events. It saw 49 percent of respondents saying feeling safe about returning to theaters ranged from in a few months to never, with 28 percent saying if they do return, it will be less often. That said: This is a snapshot taken nearly two weeks ago, and shouldn’t be considered predictive. It showed similar or worse results for sporting events, concerts, and theme parks.
• Sports league executives spoke with President Trump, who urged resumption as soon as possible. However, Dr. Alan Sills, chief medical officer for the NFL, cautioned it is premature to believe that football can return this fall. Governors in some states that aren’t fully shut down, like Nebraska, encouraged voluntary compliance — with the threat that if the virus isn’t contained, their ardent fans might not have a season. Sports, of course, demand close player and spectator contact, and are more vulnerable even than theaters to the ongoing threat of contagion. But the idea that it is conceivable the country could have a year with no more sports is even more shocking than disruption to theaters.
• The key takeaway from multiple studio release schedule changes is, in re-dating titles, they don’t expect theaters to be fully operational until July at the earliest. Though key June and July titles like Pixar’s “Soul” and Christopher Nolan’s “Tenet” remain in those months, “Mulan” on July 24 is the earliest rescheduled date for any major title. Other date changes act as a diversion while theaters are closed, but the reality is everything is written in pencil, not pen.
SPOILER ALERT: If you are among the few who haven’t actually watched Netflix’s Tiger King docuseries, this review contains a lot of details about what goes down in the sad big cat saga.
With Netflix poised in the coming days to cash in and crank the base up a notch with more Tiger King, it's time to come out and say it: I hate the Red State porn that is the crash and burn of Joe Exotic
The initial seven episodes of this septic and shallow patchwork of trademark infringement, sex, guns, labor exploitation, song, drugs, mullets, betrayal, animal activism, revenge, and a lot of big cats may be much binged over these weeks of coronavirus lockdown, but that doesn't mean it's actually worth watching.
Now, I get it, I sound like I'm just a dour critic who hates anything that isn't prestige premium cable or aspirational. C'mon man, you want to say, Tiger King: Murder, Mayhem and Madness is just so unbelievable, I can't look away.
I respectfully disagree, and in fact, propose Tiger King isn't just bad, but dangerous in a divided America persistently looking to reduce the other side to caricature.
In a presently ailing nation where TV is more voluminous and vital than ever, the truth is the March 20 launched Tiger King is a clawed white trash misery index. Gawking at some clearly fragile and damaged people like would-be reality TV star Exotic and their below the Mason-Dixon line antics, the series subsequently provides a cultural circus for those smug bicoastals under stay at home orders and screaming to rise up in moral superiority.
Essentially, the tale of big cat collector, self-styled Oklahoma zoo proprietor and 2016 Presidential candidate Exotic AKA Joseph Maldonado-Passage and his ultimately unsuccessful attempt to have rival Carole Baskin knocked off by a hitman hired for $3,000, Tiger King is in that context more a zero-sum game, literally and figuratively, than hitting the zeitgeist.
Obviously, Netflix are pretty damn good at gauging and dragging the public mood over the years, as the likes of the then phenomenon of 2015's Making A Murderer or 2018’s Wild Wild Country prove. Yet, for all the attention it has drawn, this unfocused murder for hire exploration of sorts emerges as a bastard child of Cops, a million Dateline segments from the 1990s and Fox’s short-lived Murder in Small Town X reality show from 2001.
Not exactly the prestige product that the home of Roma, The Irishman and American Factory likes to brag about at award shows. Then again, with the knowledge that the Romans sold out the Colosseum every night feeding Christians to the lions, the bottom line based House of Hastings surely loves the subscription sign up that the currently incarcerated Maldonado-Passage and the accompanying motley gaggle of...
A rumor cropped up online recently that Cats, Tom Hooper‘s huge flop featuring horny cat people introducing themselves for 110 minutes, originally had CGI buttholes on all the feline behinds. And even though Cats is already a fever-dream to begin with, we weren’t entirely sure how much credence to lend that story. Now, an intrepid journalist has done the legwork, and turned up the true story of the Cats butthole cut.
It’s official: the Cats butthole cut did, indeed, exist. The Daily Beast has the scoop, and let’s just say the true story is even wilder than we could’ve predicted. Per their report, Cats was halfway complete when someone finally noticed the buttholes. “We paused it,” a source who worked on the film’s visual effects said. “We went to call our supervisor, and we’re like, ‘There’s a fucking asshole in there! There’s buttholes!’ It wasn’t prominent but you saw it… And you [were] just like, ‘What the hell is that?… There’s a fucking butthole in there.’ It wasn’t in your face—but at the same time, too, if you’re looking, you’ll see it.”
What the hell is that, indeed. The source goes on to state that no one flat-out ordered buttholes added to the digital cat people – it just sort of happened. They materialized organically – as buttholes do sometimes. Unfortunately, when the buttholes started to be noticed, it fell upon one visual effects artist to go through and erase every sphincter.
Beyond the story of the butthole cut, The Daily Beast story paints a portrait of a terrible behind-the-scenes process for the visual effects folks working on the film. One source even goes so far as to compare it to “slavery.” And director Tom Hooper only made things worse, primarily because he didn’t seem to understand how VFX even worked:
Before visual effects artists fully render sequences for animated films, they normally show directors playblasts—preview renderings that feature characters without color or texture. That allows the director to evaluate the motion before hours of work are done to flesh out things like color, texture, and lighting. Hooper, however, did not seem to grasp that process. Any time the visual effects team wanted to show the director any animatics, the source said, they had to fully render it. Otherwise, he’d say things like, “What’s this garbage?” and “I don’t understand— where’s the fur?”
Sources describe Hooper as “disrespectful,” “demeaning,” “condescending,” and “horrible,” and add that he talked to everyone like “garbage.” In short, the experience of working with Hooper does not seem like it was the cat’s pajamas. It wasn’t even the cat’s meow.