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  • Rooster Teeth in the UK

    1 month ago

    ericherry Eric Cherry

    Hi Everyone!


    Last week we made a huge announcement: Rooster Teeth is expanding through a newly established UK office. They've asked me to head up the project, and so I wanted to start by sharing with you how I fit into the Rooster Teeth Story and give you an overview of what our initial plans are.


    I've been working with Rooster Teeth as a business partner for just over ten years now. At that time there were about ten people at the company, and they had just wrapped production of RVB Season 5 from their office in downtown Austin. I wasn't there. My office was in Melbourne, and I was responsible for selling their DVDs to Australian retailers. After doing that for a couple of years I launched the company Hanabee, and alongside an incredible group of colleagues and the Roo Teeth community (shout out Caiti), we hosted RT guests at conventions, boat cruises, afterparties, animation workshops, pub crawls, press tours and three instances of RTX Sydney. Those ten years put me in a unique place, where on the one hand I've been around the culture and community for quite some time, yet only now I feel it's appropriate to introduce myself. It's nice to meet you all, finally :)


    Regarding our plans for the UK, I've compiled a list of four primary objectives I'm undertaking over the next 12 months which I'll share with you here:


    #1 - Build a roadmap for improving the online store for global customers

    Our goal is to get high-quality products to customers anywhere in the world as quickly and cheaply as we can. We know the product range, customer service and user experience in the UK is a problem, it's also far from perfect in Australia. Adding to the challenge is a world-class team in Austin that is turning out fantastic products, as evidenced by how fast they're selling out! So to figure out how to navigate these challenges, I'm working with the team to model up different logistical scenarios, weigh up our most realistic options and roll them out according to a timeline. It won't change overnight, but you'll start to see improvements over a relatively short period, and we will keep you updated as our plans progress.


    #2 - Provide increased support for the RT community

    By all accounts, the UK community is so passionate it's almost intimidating! With the insufficient support for the UK store, I can see how some members could feel overlooked, which is why I'm here. My first objective is to meet with members in person, learn about their passion, goals and activities - both big and small - and figure out ways to provide increased support to the UK community at national and regional levels. I will be attending most of the MCM events this year, which will take me around the country, and give me the opportunity to at least be in the same town as many of you. I look forward to connecting with as many of you fine folks as I can.


    #3 - Reach out to developers, producers, talent, publishers, distributors and sponsors and figure out ways to work together

    My goal here is to meet as many creative individuals and companies as possible that compliment the Rooster Teeth universe and seek out ways to collaborate. There's no limit; it's a never-ending process that has me travelling a fair bit, and it's a super fun part of the job.


    #4 - Work with the executive team in Austin to decide on the best path towards long-term development for Rooster Teeth abroad

    We have ideas on what we want to do long-term, and the rest of my time this year is spent researching and identifying pathways to make it happen. While we're not ready to announce many of the concepts we're throwing around, nor go on a hiring spree, I can assure you I'm working on all four of the above objectives concurrently with an eye towards exciting developments ahead.


    Just to summarise, It's truly humbling to introduce myself to you all today through this huge and wonderful megaphone called roosterteeth.com. I look forward to keeping you across our plans as they come to light, and I'm super excited to meet many of you throughout the year, wherever you may be.


    - Eric

  • How Do Donuts Made

    1 month ago

    burnie

    This is how do donuts made


  • Full Sail + Rooster Teeth Livestream on May 1

    1 month ago

    Skilltacular Producer @ RT Games

    Hey! Brian Reilly here, back with another update on our partnership with Full Sail. 


    A few months ago, Gus announced that Rooster Teeth will be working with Full Sail students to develop a rad ‘80s fighter game, providing them with our annoying opinions and advice. Last month, we checked in during a visit to Full Sail and focused on what goes into the mocap aspect of video game development. Get ready, because we’re almost ready to preview the alpha build of the game, now known as Fury Strike!


    On Tuesday, May 1, at 1:00 p.m. CDT, Kyle Taylor, Cole Gallian, and I will host a livestream on the Rooster Teeth Facebook page to share what happens as we test the game and talk about it with some amazing people from Full Sail. 


    Back in my day, as a student at Full Sail, one of my favorite projects was a mock design pitch for a game called Drunk Jivers. The project’s challenge was to design a game that allowed sighted and non-sighted players to play together. Essentially, there were no usable visuals to the game, but rather the player relied on audio and vibrations from the controller to navigate the game’s world. The game was about chasing layers of a music track that stacked to create a full song. Basically the player was going from club to club, getting drunker as the game went on, making the visuals too blurry to make sense, thus “Drunk Jivers.” At the end of the presentations, our team was voted to have the best project. Other teams grumbled and contested our victory, because we forgot one key bullet point in the requirements. The game was meant to be for children. Oops. Anyhoo, I learned to be a bit more detail oriented from that and a few other spicy errors during my time at Full Sail. I can’t wait to hear what the devs of Fury Strike are learning. 


    We’ll be back soon with even more updates, so stay tuned!

  • Former bands of Jeremy Dooley

    1 month ago

    Jeremy

    Piggybacking off of this week's Off Topic and the release of 1551's new song "Nobody Gets Left Behind," here's the bands (if they can be called that) that I was in before now, including the titles of some songs by them. I'm also putting an * next to songs I'd like to redo now.


    Attractive Opposites/Bullets 4 Safety: The first 'band' I was in, which was just myself writing music. They were completely done by myself, lyrics, vocals, music, everything. I used a computer program to create the drums, and yes, I wasn't good. It was my introduction to writing lyrics. Most were just depressing and angry. Angsty teen stuff. 

    Songs included:

    Tortuous*

    Cut Through

    The Skin You're In*

    Tracer Round*

    Hate

    Moving On

    My Plight


    Give Them Hell: A band I was briefly a part of with other people from my high school. We worked on one song, didn't like how it sounded, and I was kicked out of the band after that. I'm not gonna argue with the decision. I hadn't figured out the type of music I was best at, yet, and what they were going for wasn't for me.

    Songs included:

    Cut Through (revamped)

    Moving On (revamped)


    Covert Ascent: What I would consider my first "real" band. This was myself and my best friends. It lasted for about three years and we performed at a few Battle of the Bands at my high school. We placed 4th the second year when we moved onto a heavier sound. Almost all of my vocals were screaming/growling, and the lyrics really didn't make much sense. I wasn't a huge fan of the sound, but it got my hooked on making music.

    Songs included:

    Before the Dawn

    Sunrise*

    Rapture

    Failing Again*

    The Skin You're In (revamped)*

    BYOB (cover)

    Guilty


    L.D.R.: This was my return to making solo music after Covert Ascent. I honed my skills in writing lyrics, drums, and guitar and got very close to the sound I achieve now. I still went for vocals that were way out of my range, leading to some really bad notes, but still, there was an attempt. I pretty much kept releases of these songs on facebook so my friends could hear.

    Songs included:

    Get Up

    Out in the Cold

    Turn Up The Hell

    Four Showers in Two Hours*

    Lyrical Liberation


    RT Music: This is music I have done that doesn't involve my current band-mate, Spencer Crewe. These are pretty limited, but they do exist.

    Songs Included:

    Camp Camp Rap Rap

    Adventurer Inside


    1551: My current band. 1551 essentially started when I posted a fake AH Rap Battle on this site and received a message from Spencer Crewe. Spencer asked if he could make music for the battle. I said yes, but ended up using music I made instead. However, he then went on to make music for future rap battles, and our music adventures took off from there. After making several rap battles together, Spencer and I took a break after I got hired. We made an unreleased X-Ray vs Vav rap battle, and that was it for a while, until we joined up again to make T.O.P. We made more music for Rooster Teeth before settling on attempting to make rock music on the side. We settled on the name 1551 after Spencer suggested it, stating that he came up with the name because the cities in which we live are 1551 km apart. In fact, to this day, I still have never met Spencer in person, and have only spoken to him once. All other communication is done through twitter and email. Spencer and I continue to write for 1551 and hopefully will release an album one day. As much as I'd love to do a live show/tour with 1551, I don't think that's ever going to happen, seeing as Spencer and I live so far apart, and Spencer handles literally all of the music. Guitar, drums, bass, it's all just him. We'd need to form a full band for such an adventure.

    Songs included (buckle up):

    RT Related:

    Ruby vs Tex

    Joel vs Caboose

    Barbara vs Caleb

    Mad King Ryan vs Podcast King Gus

    Church vs Sarge

    AH Rap Battle (the newer one)

    X-Ray vs Vav

    T.O.P.

    Game Failed

    Terror Eyes

    Lazer Team (unreleased)


    1551 Exclusive:

    Sometimes

    Break The Mold

    Bring it On

    Nobody Gets Left Behind


    I'm sure I've forgotten a lot of songs, but these are the ones that stuck out to me. Hopefully the list will be a lot longer after a few years.

  • CinemaCon: First Footage From The Suspiria Remake Is Brutal, Intense and Mean!

    1 month ago

    ericvespe

    On this busy last day of CinemaCon I went to Amazon's presentation specifically because I was hoping to see something from the Suspiria remake.



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    Dario Argento's original is considered by many to be a true masterpiece of horror. From a production design, tone and music standpoint it's hard to disagree with that. Argento's gothic, colorful movie about witchcraft at a dance school gets under the skin.


    Over the years a few different directors have approached this project, like David Gordon Green. His movie didn't happen, but he ended up with Halloween, so don't feel too bad for him. Luca Guadagnino is the one who was able to get this remake off the ground.


    He's an interesting choice for this. He's known for very emotionally charged dramas, most recently Call Me By Your Name. The fact that he's following that sensitive gay romance drama with frickin' Suspiria is bonkers by itself. What's even more bonkers is he shot Suspiria BEFORE he did Call Me By Your Name.


    But what the hell was a Suspiria remake going to look like? Well, today I got to see a little piece of it and it was sure something.


    The footage was graphic, brutal and a little mean. That's a good thing, by the way. Guadagnino ties witchcraft to dance, which is interesting. The footage began with a girl trapped in a mirrored room and then cuts to Dakota Johnson's character about to practice a dance for her instructor, the great Tilda Swinton.


    As Johnson does her routine, her movements have an impact on the poor girl trapped in the mirrored room. I didn't get the impression that Johnson knew the connection was there, but the more intense her dance got the more damage she was doing to the girl in the mirrored room. With each jerk of the Johnson's arms or twist of her body the girl is thrown around the room, her limbs contorting in unnatural ways, bones cracking, jawbone slowly dislocating, until it culminates with Johnson finishing her dance and the girl is left a crumpled, drooling ball of twisted legs, arms and torso.


    When I say the footage was mean, I'm not kidding. This scene went on for a long while. Maybe three or four minutes long and when it ends the girl in the mirrored room isn't dead. Oh no. She should be, but that mound of body parts is hitching for breath, drool spilling out of her broken mouth.


    Tonally that was right on. Visually it was radically different from Argento's movie. It's a good thing that Guadagnino isn't copying the original, but his choice seems to be to go in the complete opposite direction. 



    suspiria.jpg


    The footage I saw was stark and almost colorless. The walls and floor were white, the clothing was all muted, light colors.


    I only saw one little sequence, so who knows if he gets crazier with the colors later in the movie, but I don't see how you remake Suspiria and don't, you know, use color. That's like doing Superman without John Williams' score or a Jaws movie without a shark.


    That said, the most important thing for Guadagnino to nail is tone and boy did he.

  • Filmhaus this week aka Infinity Warz

    1 month ago

    AdamKovic

    Hey all, just a heads up Filmhaus will be late for First members this week as we won't be recording until late Friday evening after we all see it. I know we tried this last time with Last Jedi but then I got sick and we ended up being a week late anyway.


    But not this time GOD! You hear me you giant head in the sky?! I refuse to go down without giving you people our EXPERT opinions on multi-billion dollar franchises about rich people pretending to be slightly-richer people.


    Unrelated info: the office is getting painted this week, we're shooting On the Spot here in LA for the first time, Sugar Pine is moving in and about 1000 other cool things are happening. Like I said, this is all unrelated, I just thought it was cool and wanted to share some info with y'all.

  • Funhaus TV Schedule

    1 month ago

    sirlarr

    FUNHAUS TV SCHEDULE

    FUNHAUS TV SCHEDULE (ICAL FORMAT)


    The day has finally arrived! Starting next week, we'll be cutting into the 24/7 stream of old Funhaus videos with live content!


    These blocks will be different than our usual recordings, since they by and large won't be re-purposed for edited content. The goal is to just chill with you guys and play some games.


    But WHICH GAMES? I have some loose ideas for what these blocks will be --


    PS2 ROULETTE - We draw a random PS2 game and play it for an hour.

    N64 ROULETTE - Same thing, but with a random N64 game.

    IN REVIEW - We informally review a recent release.

    IN PREVIEW - On the rare occasion we play a game before release, we can talk about our impressions or share any pre-release capture.

    GET HARD - We tackle a really difficult game or play on the hardest setting.

    TRAILER TRASH - Communal viewing of new trailers for movies, tv shows, and games.

    COMMUNITY GAMEPLAY - We play with you guys!

    GAMER ZONE - Online, competitive matchmaking (think Street Fighter, Overwatch).


    The goal is that all of these blocks will be uploaded to Fullhaus and be publicly viewable on the Rooster Teeth website for every stream.


    Any questions / suggestions / concerns? Post em below!

  • This Week at ScrewAttack - 04/26/18

    1 month ago

    JoshuaKazemi @joshuakazemi

    Top 10 Avengers That Should DIE in Infinity War - Writer & Editor Notes 


    (NO SPOILERS) 


    • #10 - Vision - I LOVE the MCU. Let's just get that out of the way. But honestly, I have this strong (and concerning) desire for this movie to be a gruesome blood bath. Like I would love if Thanos just walks up to Vision and effortlessly rips the Mind Stone out of his head ... all within the first 10 minutes. I may have a problem. 
    • #9 - Drax - Sincerely, I think this would be a good death. What more is there for Drax beyond Thanos' death? Perhaps Infinity War will set something up for him or of course something in Guardians V3. 
    • #8 - Star-Lord - I do miss chubby Chris Pratt and Parks and Rec in general - that doesn't justify his death. Please accept my sincerest apologies. It funny doh. 
    • #7 - Pepper Potts - Again! I think this would be a legit death! If Pepper dies, what does Tony have to live for? maybe it'll push Tony to finally "lay down on the wire" 
    • #6 - Loki - SOMEBODYSSSSSSS DEEEEEEEAAAAAAADDDDDDD! 
    • #5 - Hawkeye - Seriously, where is he? DON'T ANWSER ME UNTIL AFTER I SEE THE MOVIE ON FRIDAY NIGHT!* 
    • #4 - Phil Coulson - I legit miss old school Coulson. He is one of my favorite parts about Phase One. I guess in a sense he did really die in The Avengers because the character he is in Agents of SHIELD is so different. Also, just FYI, I have seen the first three seasons of AOS and have a love/hate relationship with it. 
    • #3 - Captain America - Okay, seriously, I meant every word of this entry. When I finally saw the finished project with the music, the footage and Nick's performance, I got emotional, like for REAL! I love Cap! 
    • #2 - Tony Stark - Get to the chase Marvel and just kill Tony and make him an AI assistant to the next Iron Person. Like the new JARVIS. We know it's coming. 
    • #1 - Iron Fist - Lol
    • #11 - Nick Fury - Lolol 


    *Story Time: In 2012 I was insanely excited about The Avengers (like every good American) I bought tickets to the midnight screening and gathered a big group of friends. Unfortunately my best bud couldn't make it (his GF's birthday was the same day) He asked me to wait to see it with him and I DID NOT. Instead, I went into our dorm room when he wasn't around and I grabbed HIS Avengers masks for me and my friends to wear. #NOREGRETS. Flash forward to now. I live in Austin and he lives in Dallas. I told him to drive down to see it with me but he made me promise to wait to see it with him as payback. SO I WONT BE WATCHING IT TONIGHT AS SOON AS I COULD BE! I'll be waiting until Friday night like a chump. #SQUADGOALS  


    Watch the video: RT | YT

  • Once More With Feeling

    1 month ago

    patrickmatthewz RTX Events Coordinator

    Ahoy Nerdz, Turtles, and Hippies!


    It's that time again! We are doing another Live Events AMA on Thursday, May 3rd at 5:00 PM Central.  


    Just like last time we are going to give you one week to ask questions. If you have a question please comment below. If someone else already asked your question, but you really want to know the answer give it an upvote.


    During the week we will comb through your questions and update our FAQ. Then we will post the answers on the 3rd as well as answer any new questions. 


    If  you want to see the bright shining faces of: 

    @Bethany@Clarissa.Gonzalez@nicolew@shelbyengquist, and myself then tune in roosterteeth.com at 5:00 PM Central Time. See you there!


    xyz


    Patrick

  • On-set Interview: Chris Pratt Talks About Jumping through a T-Rex's Mouth from the set of Jurassic World: Fallen Kingdom!

    1 month ago

    ericvespe

    When I got the invitation to the Hawaii set of the Jurassic World sequel I had already booked a vacation... In New Zealand. Of course I couldn't say no, but the timing was such that I flew from Austin to Wellington, New Zealand, which is about a total travel time of around 20-ish hours, get to sleep for a night, and then get right back on a plane and fly halfway back home, spend a few days in Hawaii and then fly another 8 hours back to New Zealand to enjoy the rest of my vacation.


    I mention this only because in that day and a half I was in New Zealand I found a bag of Doritos... a special bag of Doritos. I know, any bag of Doritos is a special bag of Doritos, but this was a limited edition Guardians of the Galaxy vol 2 Doritos flavor that was only available in the southern hemisphere. Naturally, being the thoughtful guy I was, I picked up a bag of these green chips with Chris Pratt's face on it and hauled it all the way to Hawaii to give it to Chris Pratt himself.


    This interview was conducted in a tent on a dock where they were shooting a scene involving a big truck surrounded by fire racing to the water. The tent next door housed Bryce Dallas Howard. How do I know this? Well, she cameos in this interview after covertly dropping some eaves. You'll see.


    Right before this interview started I delivered unto Mr. Pratt his Doritos and, as expected, he was super nice about it and thanked me for bringing them to him and said he was going to either A) Destroy the whole bag or B) Save them for posterity and eat them in 20 years, which was either going to result in his death or him getting high as fuck.


    Pratt was every bit the magnetic dude you'd imagine him to be. Very laid back, but clearly super charming. You understand why he's a movie star when you meet him. The dude's funny, never put on airs and was just an overall pleasure to talk to.


    As a reminder, I conducted this interview with Slashfilm's Peter Sciretta, who joined me on this trip, so don't be surprised when you see his name pop up in the below interview, which covers a lot of ground. We learn more about where Owen is at, what he's been doing in the years since the events of Jurassic World, how Pratt deals with fanboying out over the legends he works with and much more!


    Enjoy the chat!



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    Peter Sciretta: It's been a few years since Jurassic World. What has Owen been up to?


    Chris Pratt: I have an idea as to the backstory. What I know and what Bryce and I and JA have all decided on... We hint at it a little bit through the interaction between Owen and Claire, but I think he's been running away a little bit. Where we landed in terms of my backstory and our relationship is that something has broken us. We're not together. The thing that has broken us is that Claire feels as though she has to do something to make it right and Owen feels as though there's no way to make it right, so you have to move on. I think that's the thing that destroyed us.


    Claire is now working for this organization and she's pouring all her energy into trying to save these dinosaurs and my character is like “let's go on a road trip. Let's forget what's happened. You keep obsessing about this.” It all came from the idea that he's a combat veteran. He's been through some stuff beforehand, so this isn't the first time he saw something really terrible happen. He's come to realize you have to sometimes accept what you've gone through and realize there's no way of changing it. That's what broke them. It's a control thing between the two of them.


    So, what he's been up to is he's been building a cabin by a lake, off the grid a little bit, probably drinking a little bit of beer and listening to music, hanging out... being solitary.


    Eric Vespe: We know part of Owen's motivation for returning to the island is to help Blue. Can you talk a little bit about how Owen might be different this time around considering the experience he had last time around. Has his point of view changed at all?


    Chris Pratt: Through the course of this film it will change, but it happens now, not between the two movies. He's coming to terms with his responsibility in working with the raptors and ultimately what the final intention with these things could be.


    We do this cool thing... It's this video log from early on in the Raptors' lives. Owen kept a video diary tracking their progress, so we see the Raptors as hatchlings to two months old, then six months old. It's this way to look into just how mammalian they are in their intelligence levels and their cognitive reasoning skills. They exhibit behaviors of empathy. He starts to realize that they've created these things that look like raptors, but they're much more.


    This movie really does open up a whole new concept for the Jurassic movies moving forward. You get an understanding that he knew a little bit more about these raptors than he'd want to let anybody know. I think he's cynical about Hoskins from the first movie, In-Gen, what their intentions are about creating animals this dangerous and this intelligent. You can assume what somebody bad would want to do with animals like that. Part of him feels as though the best case scenario is that they all die. When this island goes up in smoke it might be the right thing and maybe finally his responsibility for potentially creating a disastrous result with these animals will go away.


    So, in a way he thinks it's a natural thing for the dinosaurs to go away, but what brings him there is not so much saving the dinosaurs, it's protecting Claire; his love for her. He knows she's too big-headed. He knows she's going to go. He's not going to let her go on her own, so it's his love for her that brings him back to the island. At first. Through the course he realizes there's a little bit more to his relationship with Blue. And that he's a robot. (laughs)



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    Eric Vespe: Yes, a learning computer. He's Arnold from Terminator 2, not Terminator 1.


    Chris Pratt: Yeah, T2! (laughs)


    Peter Sciretta: The last film had a couple animatronics, but this one has a lot more. What was it like meeting these dinosaurs? I mean, I touched Blue and I almost cried.


    Chris Pratt: I know! It's really great. Because of the scenarios contrived in this film we have these passive dinosaurs. When you see the movie you'll see why they're not always running or jumping or leaping or doing things that animatronics aren't good at. They're sitting still. We did that in the first film with the Apatosaurus as it was dying in our arms. That was a real animatronic and it was amazing to hold this thing that felt living and breathing, its eyes were opening and closing. As many advancements in CGI that they've made since '93 when the first film came out they've also made some serious advancements in animatronics. These things are really very, very lifelike.


    Because of these situations we have a T-Rex and a Raptor that are full animatronic puppets. You got a dozen guys operating them and it's really cool. It's much easier as an actor to have something to react to. It's been great. Blue is awesome.


    Eric Vespe: How cool is the Rex? We've only heard about that build. We weren't able to see her in person.


    Chris Pratt: There's an awesome moment where Claire essentially rides this passed out, drugged T-Rex, which wakes up and I have to dive through its jaws. It's a really crazy sequence...


    (From next door, through the thin tent flap) Bryce Dallas Howard: SPOILER!


    Chris Pratt: Hey, I read the talking points. It said I could talk about it!


    (Still from the tent next door) Bryce Dallas Howard: Even the T-Rex?!?


    Chris Pratt: It what it says right here! (to us) Of course, Bryce is over there listening.


    Bryce Dallas Howard: (laughs) And I wouldn't call us broken, Chris!


    Chris Pratt: You've got to read the talking points.


    Peter Sciretta: Bryce was talking about how JA will play music between takes and sometimes during takes. You're used to that. James Gunn does that on the Guardians films. How is it different here with this movie?


    Chris Pratt: It's a great tool. I love it, I'm in full support of playing music through a take, even if it comes at the expense of the dialogue. Having a rhythm that's resonating through each person caught on screen is very, very helpful. You can forget that it's mid-third act and we are running for our lives. You're making this million piece puzzle and you may spend all day shooting something that takes 5 seconds. You get bored, you're sitting there annnnd action! Cut! You forget you're supposed to be breathing heavily. You forget when it's linked together it gets very manic and suspenseful. The music really helps with that.


    (JA) uses that a lot and he uses it for jump scares. He has this whole playlist that's always wired in, including a T-Rex roaring. From time to time he'll play it and we'll all react to it naturally because we don't know it's coming. He loves to manipulate us in that way, which is really helpful as an actor. He'll scare us out of nowhere or do something unexpected.


    Eric Vespe: Like play a fart sound?


    Chris Pratt: (Laughs) Not yet. We're almost done, but he hasn't done that quite yet. But I like that. It's a good tool to use to get people excited or scared or give a sense of wonderment. Especially when he plays the John Williams score. (hums the main theme) Oh my God! It allows you to do nothing because in this film we are actors and we contribute so much, of course, but there are characters we don't even see because they're going to be animated, but they're going to need to have their moment or the score will need to have its moment. It's a big collaboration and sometimes you need to sit back and let the music take center stage. When you play that music it reminds you “Oh, I don't need to try to upstage this with acting or faces or anything. I don't have to do anything here, just let the music guide me and the audience to what we're supposed to be feeling.”


    There's some great stuff, like when we're flying to the island for the first time and we're looking out the window and he's playing this music and it puts you in the scene, like you're an audience member. It's really cool. I like it a lot.


    Eric Vespe: JA was telling us that there's a heavy focus on suspense in this film. There was a little bit of that in the first Jurassic World, but it was more focused on the spectacle of the new park and the disaster movie aspect of things going wrong. Hearing that this one was going rely more on suspense did that make you more excited to do this? I can imagine the worst thing for you to do is read the script and think “We just did this.”


    Chris Pratt: It was really exciting to understand we were doing something really different. I was thrilled when I got the script. I think people have high expectations for sequels. I think with this one those expectations will be met, if not surpassed. It does something different. It opens up a new chapter. It's called Fallen Kingdom. The Kingdom of this movie is people stuck on an island with dinosaurs freaking out and killing everyone. That is falling and we're moving onto something else.


    The first one was a disaster film. Shifting the tone over to suspense is really nice because I think with suspense you can do a lot with very little. You don't see Jaws for a good 2/3rds of the movie. You know he's there, there's music, you see the evidence of it... Not to say we're doing exactly that. I don't think that necessarily works as much anymore. I was just watching Jaws the other day with my son and he's like “Where's the shark?”


    Eric Vespe: And you're like “Disowned!”


    Chris Pratt: Yeah, disowned! Get the fuck outta here! He's four and during the third act battle I was like “I'll show you the shark, get in here!” He was like “Aaaaaaaaahhh” and I was like (sternly) “You'll sit and watch! You earn this!”


    Peter Sciretta: What's it like working opposite Jeff Goldblum?



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    Chris Pratt: Man, he's amazing. A huge part of the success of Jurassic World was the success of Jurassic Park. It all started in '93 with them and with him. I know that we had the blessing of Steven Spielberg and Universal and fans, but it's nice that he signs up to do this movie because in a way it's giving it his blessing. That was really cool. He's a terrific actor and maybe the kindest actor out there. He's really cool and smart and funny and interesting. It's really awesome to have him in this movie.


    Peter Sciretta: He has such a unique rhythm in how he plays things. He's different from everybody else. I feel like if I was in a scene with him I'd just become the kid that saw Jurassic Park and I'd be watching him instead of being in the scene.


    Chris Pratt: I feel like if I answer that I'll be giving away too much, but you do have to get it out of the way when you work with someone like Jeff Goldblum or I just did Guardians with Kurt Russell... You work with these people who are icons... It's a two step process. First, you have to be authentic and let them know just how crazy about them that you are. You make that really short and brief. You get that out of the way so you're not a liar or the guy that doesn't acknowledge them. You pay your respects.


    After that you immediately move to step B which is you become a peer and a collaborator or else you lose their respect. If every time you see them you go “Dude, this is so crazy!” you might not be the right guy for this job. Even when you're feeling that the third, fourth, fifth, sixth day you work together you kind of have to bury that and get right to the work.


    It's a strange thing being famous. I'm certainly not an icon like a Kurt Russell or a Jeff Goldblum. They are icons and maybe one day I will be, but if their journey is similar at all to mine you don't really feel that way about yourself, so if people feel that way about you it's kind of an uncomfortable situation that you politely and patiently wait for to be over so you can get back to being normal again. So you get through that stuff. You go “Oh my God, I love you! I can't believe we're working together!” and then you get to work.


    Peter Sciretta: All the great Michael Crichton stories had a little something on their mind. They weren't just adventure plots. They always had some kind of commentary. What do you think is on this movie's mind?


    Chris Pratt: (Pauses) It feels relevant to now and I think part of that has to do with technology, which is not necessarily something that doesn't serve the greater good, but is valuable. Maybe we put aside moral dilemmas because you can make money. It has a little to do with greed. That's a theme that resonated in the first movie as well and continues to resonate in this series. It's a cautionary tale against greed and over-ambition and a lack of respect for the natural order and confidence in our ability to control that which we can't control.


    Eric Vespe: Which is Dr. Malcolm's stance in that first movie, so it makes sense that he's back in play here.


    Chris Pratt: Yeah, that's right.


    Peter Sciretta: Who are the real monsters: the humans or the dinosaurs?


    Chris Pratt: That's a good question! (laughs)



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    So that's the interview! Still got a couple more, with the two new faces in the group Justice Smith and Daniella Pineda, coming up plus my detailed set report where I tour the island, see some dead dinos and also some very much alive (read: amazing animatronic) dinos and so much more!


    Stay tuned!

  • RvB Season 16

    1 month ago

    gus Elite Staff

    I spent all day working on something for an upcoming episode of RvB 16.  I think you all are going to love it.  Keep an eye out for it soon.

  • CinemaCon: JJ Abrams Says Bad Robot's OVERLORD is NOT a Cloverfield Sequel!

    1 month ago

    ericvespe


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    Hey, everybody. At the big Paramount panel at CinemaCon this afternoon JJ Abrams appeared on-screen to introduce some footage from Bad Robot's Overlord, a WWII horror movie directed by Julius Avery. First, he said that Overlord is Bad Robot's first R-rated movie and that it's "batshit crazy."


    Then he said contrary to what you may have heard on forums and Reddit Overlord is NOT a stealth Cloverfield movie. In fact he said they're developing a "true, dedicated Cloverfield sequel" according to JJ. That means it's not one they retrofit into the universe late in the process like both 10 Cloverfield Lane and The Cloverfield Paradox. 


    So, what is Overlord. Like I said it's a WW2 horror movie about a small squad of soldier shot down over enemy lines during the Normandy Invasion. From the footage it seems like the survivors stumble across a bunker with some real messed up shit inside. We're talking Re-Animator stuff involving syringes with red stuff in them that can seemingly bring people back to life, seemingly undead monstrosities and other nightmarish things. Those Nazis are never up to any good, are they?


    The standout sequence in the footage was one of the soldier approaching a gurney with a woman on it, obscured mostly by a curtain. She's begging for help in French. The soldier pulls back the curtain and reveals the head is about all that's left. It's just her head, still asking for help, and her spinal column. Everything else has been stripped away.


    So, it's gonna be gnarly. That's very much my kind of horror movie, so count me on board with this one as well!

  • CinemaCon: First Footage From Halloween Is Screened! Michael Myers Comes Home And Jamie Lee Is Ready For Him!

    1 month ago

    ericvespe

    Universal's presentation at CinemaCon was pretty spectacular. Yes, they had Cher there to Fernando in celebration of the Mama Mia sequel. Yes, they have video introductions by people like The Rock and Peter Jackson... but the thing I was most looking forward to was the very first look anywhere of the new Halloween movie.


    And boy did they deliver.



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    Producer Jason Blum brought out the great Jamie Lee Curtis to introduce the footage. The set up is that after Loomis shot Myers at the end of the first movie he was eventually captured and re-institutionalized and Laurie has been waiting and preparing for the last 40 years for him to escape. She's with her daughter and granddaughter the Halloween he does get out.


    So the footage definitively states that none of the Halloween sequels matter. Everything that has been made after the events of the first film is out the window. There was even a scene with teenage characters talking about Laurie Strode and Michael Myers. “Wasn't it her brother that killed all those people?” “It wasn't her brother. That was something people made up.”


    In the footage we see a couple of reporters or documentarians visiting the asylum where Myers is and they approach a man standing in an open courtyard, back to them, chained to the ground. Of course the dummy reporter guy pulls out the mask. I can't tell you whether or not Michael responds to that (because we didn't see any more of that scene), but it introduces the mask and Michael certainly gets it back at some point.


    My biggest takeaway from the footage was that they were taking everything very seriously. If you were wondering if having Danny McBride co-writing this with David Gordon Green meant we were getting a more comedy/horror thing you were fuckin' wrong.


    There's an insanity to Michael this time out that is really off-putting. He's not going crazy, but his body language and actions are just “off.” Super creepy.


    Jamie Lee Curtis' Laurie Strode is no damsel in distress here. In fact I don't think there was one shot of her being afraid. Quite the opposite. She's not only prepared for this moment (having rigged her house with various safe rooms, weapons and hidden compartments), she's been hoping for it. At one point she even says that she prays he gets out someday so she can kill him.

    From the footage I can say that when he does get out (looks like a bus crash lets loose a lot of the inmates) Laurie is hunting him just as much as he's hunting his victims.


    There was a great scene where a woman (I think maybe one of the reporters/documentarians?) is in a bathroom stall and you see Michael's boots walk in. She's like “Occupied” and his hand reaches over the top of the stall door and drops a half dozen bloody teeth down on her.

    That's the kind of crazy we're dealing with here.


    The footage ended with a kid in bed asking his mom (or maybe a babysitter?) to close the closet door. The door is open a crack, the light from inside spilling out. She pushes it closed, but it bounces back. She does it again, it bounces back open. Third time it bounces she opens it fully revealing Myers, knife in hand.


    Very much a straight horror movie and I can't wait to see it. The mask looked right, the tone was right, Jamie Lee was super fired up. I'm super psyched about that footage and I can't wait to see the movie.

  • Infinity War Predictions

    1 month ago

    Kdin

    So we're a day away from Infinity War and I wanted to put out my few predictions of the overall end game that Marvel could be going with before I see the movie just to test and see how well I know the MCU's schtick at this point.


    I'm going to mark the rest of this post as SPOILERS, even though I haven't seen the movie yet...but still read at your own risk!  Also, let's keep those comments spoiler free too, ok?  Thanks.


    LAST WARNING!


    TURN BACK NOW!

    OKAY SERIOUSLY, HERE WE GO!

    3...


    2...


    1...


    Scenario 1:


    I call this the "It Ain't Happening" scenario.  The Avengers and Guardians, despite the odds, pull everything together and beat Thanos, but in a last ditch effort, Thanos gets the Time Gem and resets everything (save for his gem count) and prepares for a re-match in the next film.


    This isn't going to happen, at all, no way in hell.  But it'd still be cool to see our heroes actually show off their collective strength and teamwork to pull off a miracle right out of the gate.


    Scenario 2:


    Let's call this one the "New Kids On The Block" scenario.  Very simple.  Despite their best efforts, Thanos wins, everyone dies.  I mean everyone.  No Thor, No Cap, No Iron Man, nobody.  Everyone is gone...except the ones unaccounted for that we've seen:  Captain Marvel and Adam Warlock.  Setting up the next film to introduce an unusual (but not unheard of) team-up for these two to warp reality and bring the heroes back for a re-match.


    Way more possible, but still pretty unlikely.  Adam Warlock was originally going to show up in Infinity War, so him showing up in the next film isn't out of the cards, but still going to say a "Probably Not" to this one.


    Scenario 3:


    Similar to the last one, but let's call this the "Reboot it!" scenario.  Heroes lose, Thanos wins.  Everyone dies.  But that's -our- reality.  In another reality we have a similar set of heroes -WIN-, but Doctor Strange sees that this is only one outcome and the Alternate Universe heroes set out to fix our reality.  


    REALLY cool idea, but NEVER going to happen.  Re-casting or "side-casting" Captain America, Thor, Iron Man, etc as some of their alternate incarnations (Bucky or Falcon as Cap, Jane Foster as Thor, Riri Williams as Iron Heart, Ben Reilly or Gwen Stacy as Scarlet Spider/Spider Woman, etc) would be a ridiculously well kept secret that I don't think even Marvel could get away with at this point. I'd still love to see it though.


    Scenario 4:


    Alright, this is a "Two Sides of the Same Coin" sort of scenario, so let's call this version "Cap's Coin".  Everyone dies except Captain America, Thanos kills everyone and leaves Cap to suffer.  Thanos destroys half the universe, gets what he wants, and takes time to torment the MCU's "Good Boy" with the loss of all his friends, including for a second time, Bucky.  But again, half the universe is still around, and we know Marvel is ramping up Captain Marvel, so we'd launch right into "Part 2" with a Captain America/Captain Marvel team up (maybe Adam Warlock too?).


    I think, of the two "Same Coin" theories, this one is the less likely of them.  Cap has gone through a lot, and while it would be awesome to see him be the last one standing and be the cause of the re-birth of the MCU (which he, in this incarnation, will not be a part of) would be a great sendoff for Steve...but...


    Scenario 5:


    All that leads us here, with the final of my scenarios, which I call "Tony's Coin".  Here we see Thanos kill everyone again, but this time, Tony Stark is the last one standing.  Thanos lets him live because of...reasons?  Maybe they argue and it's punishment, maybe he gets lucky and isn't part of half the universe that's destroyed, or maybe he (or anyone) makes a deal with Thanos to save one hero from destruction and Thanos just chooses Tony out of spite (these could also be possible for the "Cap's Coin" scenario).  No matter the outcome, the result stays the same just with a hero swap, in "Part 2" we'd have Iron Man teaming up with Captain Marvel (still have some hopes for Adam Warlock to show up, but that's a long shot) to save the MCU.


    Iron Man started the MCU, he'll be the one the end it...well, this part anyway.  While Captain America makes a logical choice here too, Tony is my bet.  He's taken to mentoring Peter, dealt with his demons, and even went to "war" against his fellow heroes.  He's done it all and is still standing.  So to see him kneel to Thanos and have his ability to save anyone taken away in the last moments would be an incredible finale to this "Part 1".


    Not to mention Tony Stark and Carol Danvers have a bit of a history in the comics, and having this relationship be the bridge of this era of MCU into the next, with Carol taking over Tony's role as the leader would be pretty appropriate since she's lead more than a couple variations of "Avengers" in her time.


    All in all, "Tony's Coin" is my bet.  We've got the most invested in him, screen-time wise, but it really is a toss up between "Cap's Coin" and "Tony's Coin" for me, with how Marvel makes their movies.


    Those are my theories, I have a few others, but these are my "Most Likely" of them because of how they'd make sense in the MCU.


    Either way, I'll see you all on the otherside after we've all seen Infinity War!



  • On-Set Interview: Bryce Dallas Howard On What To Expect From Jurassic World: Fallen Kingdom!

    1 month ago

    ericvespe

    I've been lucky enough to have run into Bryce Dallas Howard many times over the years. I remember interviewing her at Comic-Con waaaaaaay back for Spider-Man 3. She's always been nothing but gracious, kind and a thoughtful interview.


    The first thing I noticed when I walked into her trailer were the tall adventurers boots she was wearing. Of course a crack had to be made about the meme of her running around the jungle wearing high heels in Jurassic World and she rolled with it, saying it was in her contract that she had to suitable footware this time out.


    Claire has evolved quite a bit from the cold, uncaring businesswoman at the start of Jurassic World. She begins Fallen Kingdom as a political advocate, passionately fighting for the rights of the dinosaurs to exist. She's trying to make some amends for the part she played in the disaster at the park in the last movie.


    Howard talks a bit about this turn for her character, where Claire goes in this film and what the future potentially holds for her. Plus I get to recommend one of my all-time favorite movie series to her, so keep your eyes peeled for that! Enjoy the chat!



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    Bryce Dallas Howard: Obviously I haven't been able to talk to anybody else about this movie! You guys know a lot about the movie now, right?


    Eric Vespe: We know a little bit. We certainly know a lot more than we did yesterday!


    Peter Sciretta: It sounds cool. I'm glad that they're returning to the island. I was afraid it was going to move directly into militarized dinos or something.


    Eric Vespe: I like the set up. It reminds me of Son of Kong. Back in the day King Kong was a huge success and they rushed out a sequel about them going back to Skull Island, but they do it because the island is sinking and they're trying to rescue the last Kong. Of course that doesn't go well...


    Bryce Dallas Howard: These things never do!


    Eric Vespe: But I like that premise here because of what it means for your character. In the first movie Claire goes from someone who is cold and disconnected to realizing the implications of what she's been doing. JA told us you start this movie as a dinosaur rights activist, which means Claire gets to start the movie from a proactive position.


    Bryce Dallas Howard: It is. And going back to speak to what you were saying about being glad that it's back on the island, I feel the same way. Having shot so much of the movie in England... On the last movie we started in the jungle. We shot all in the jungle and then we went to New Orleans. For this one, we shot so much of it (in England) and then came here and Chris and I were like “Yeah, now it feels like Jurassic. Thank God!”


    Without human beings entering into a space that is dinosaur turf it doesn't feel like the Jurassic experience. That's a lot of what this movie is about. Up to this point the entertainment value of these films is that the most dangerous thing is the dinosaur where the truth is it's really human beings that are the most dangerous species. Finally in this movie we're having that clash. We've been on their turf and now they're coming on ours and ours is becoming theirs and what does that mean? That's the question.


    What I'm talking about right now isn't actually the plot. I'm not tricking you, but from a thematic standpoint that's the movie. The wish-fulfillment of Jurassic is the question “What if human beings and dinosaurs coexisted simultaneously? What would happen?” There are various permutations of what could occur. That's what these stories are examining.


    Peter Sciretta: They told us this takes place 5 years after the last one. What has happened in your character's life in those five years?


    Bryce Dallas Howard: I keep thinking 3 (years), but anyway!


    Eric Vespe: We were told it's 5 years from the end of the first movie and three years from events of the prologue in this movie. Does that make any sense?


    Bryce Dallas Howard: I'm gonna ask some questions! What I'm imagining is that it's been roughly the same amount of time that audiences have been away from this story. It's like everything has been occurring in real time, basically. When we watch this movie it's as if it takes place in 2018.


    To speak to what you were saying regarding Claire and the way she's shifted, her internal self and her external self are starting to become one whereas in the last film her behavior, her actions were really out of alignment with her values. That was the inner conflict with the character and by the end of it her power is being used for good; her righteousness is being used for good. The very thing that was leading her astray is the very thing that saved Chris Pratt and two cowering children surrounded by stuffed animals!


    Where we are now, I think, is we're seeing a woman who is definitely stepping into her power. She's fighting for these dinosaurs. She's taking responsibility and trying to basically present the argument that there's lions in the world and there are dangerous species of snakes and sharks... there's all these dangerous creatures and yet if those creatures are threatened with an extinction level event we protect them. So, guys, we have an endangered species here. They're actually here. This is now reality.


    Eric Vespe: It doesn't matter that they were genetically created by man.


    Bryce Dallas Howard: Yes. They're afforded the same rights as any other endangered species. That's her point of view of the situation and this is her cause.


    Eric Vespe: We know there are some newcomers and you'll be with Chris again onscreen, but tell me how Claire reacts to Ian Malcolm.


    Bryce Dallas Howard: Oh my gosh. I have a real hard time separating my own personal reaction to Dr. Ian Malcolm from Claire's reaction.


    Eric Vespe: So you just keep seeing the shot of him with his shirt open from Jurassic Park?



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    Bryce Dallas Howard: Exactly! That glistening chest, black shirt and perfect golden tan. Totally bronzed. I know that shot vividly! I could probably guess the lens they were using, but anyway... (laughs) I met him a couple of years ago. I mean, I didn't meet him, I saw him across a crowd. I saw him and he was his charming self, but I never met him because he was across the crowd, but we had a connection from the start.


    Then I met him in the UK. I think that Claire would absolutely have the utmost respect for his approach and his logic and his certainty and confidence. He's also very tall and did I mention he's tan and I happen to know he also sings and plays music...


    Eric Vespe: And cooks!


    Bryce Dallas Howard: And cooks food. But where does Jeff Goldblum end and Dr. Ian Malcolm begin, really? Wouldn't it be so crazy if the twist of the movie is that Claire ended up with Dr. Ian Malcolm? Forget about the dinosaurs, people!


    Eric Vespe: Well, we know he's always on the lookout for the next ex-Mrs. Malcolm.


    Bryce Dallas Howard: Yes! Yes! Yes!


    Eric Vespe: And the ultimate arc of these films is seeing him get married and divorced over and over again.


    Bryce Dallas Howard: Yeah, who he goes through. That's the real journey. Oh my gosh, that would be really funny.


    Eric Vespe: But from a character perspective Claire in the first Jurassic World seemed to not have any nostalgia for the original park or the goings on there. I imagine she might have a different reaction to Malcolm then as she would now.


    Bryce Dallas Howard: He's a character who is the voice of reason. He's Michael Crichton, in a way. He's the philosopher. You're right, at the beginning she was disconnected, but now it's a different story. I've never actually thought about what Claire would think about him. That's interesting because she would have known about him. Ugh! I didn't do my homework!


    Peter Sciretta: So, what is the plan? The plan is to save the dinosaurs, but bring them where?


    Bryce Dallas Howard: I mean, that's part of the question. If you can imagine what you would do in real life, that's the dilemma. Where do you bring them? Do you put them in a zoo? Do you create a private sanctuary? Do you do this all over again with another island? What's the plan exactly?

    It's so weird the way art mirrors life. The challenge that we're having with emerging technologies and the consequences that we're needing to live with because of these paradigm-shifting technologies that are getting introduced. Figuring out policy about these technologies from a government perspective is almost impossible.


    Our government was designed to move slowly so that our lives didn't change abruptly, yet our lives are changing abruptly because of free trade and the open market is evolving so, so quickly. We are experiencing this moment where we are having to regulate ourselves, hence this Dr. Ian Malcolm being the voice of reason and representing, thematically, what this movie's about.


    Where do we bring the dinosaurs? You can imagine the government would get involved with something like that, but would they figure out what they're going to do quickly enough? If not, what do you do?


    There's a lot of activism happening right now to accelerate the solutions. Anyway, I'll step gently off my soap box... (laughs)


    Peter Sciretta: I do love that this film seems to be going back to the Michael Crichton style of having a political commentary, of saying something about us.


    Bryce Dallas Howard: Yeah, absolutely. He's like Isaac Asimov or HG Wells. He's a futurist. He was a scientist and he understood what was going to be happening in the future. He had an analytical mind that he used to help propel his imagination. He was one of those guys, one of those thought prophets.


    The moral questions of the first Jurassic Park provided a lot of substance, but those questions are really what we're dealing with presently that feels so urgent and so personal. To get to make a Jurassic film where at the center of it is Michael Crichton's philosophies so we can have that mirror moment, that's when movies get to do more than what movies typically get to do. A little bit. If we can. Because it can't be didactic.


    What Crichton did was he never pushed an agenda at all. He presented a dilemma. That's what sci-fi is! Sci-fi is all about “what if?” I don't have to tell you guys what sci-fi is... (laughs) But it's not about the answers, it's the questions.


    Eric Vespe: The genius of the initial concept of Jurassic Park is... I want to go there! I'm on the side of the people making the park because I want to see a T-Rex. When you're reading it you realize “Ahh, I'm kind of the bad guy for wanting this...” There's a level to complexity to that initial idea and it sounds like you guys are expanding on it.


    Bryce Dallas Howard: Yeah, it is the dilemma. If something can be a little bit thought-provoking and a lot of fun then even that's enough. It's when things don't have a point of view (they fail.)


    Peter Sciretta: What is Claire's relationship now with Owen?


    Bryce Dallas Howard: That's... that's... that's a question, for sure.


    Peter Sciretta: We've been told that one of them moved on and one of them didn't.


    Bryce Dallas Howard: Okay.


    Peter Sciretta: Which one moved on?


    Bryce Dallas Howard: You know what? That's a question that they ask one another. (laughs) You guys will know what that means when you see the movie! It's based on an improv that Chris and I had in a room early on.


    In the trailer this morning I announced to the trailer “I'm going to start a Google Doc and if you guys have any ideas for the next movie, if there is one, fingers crossed, let me know, no matter how wild.” My makeup artist was like “You know what? You know what I really miss? Like I Love Lucy and the dynamic between Ricky and Lucy and how you would never think that they belong together, but they have each others back no matter what. The circumstances, the comedy, comes not from a lack of understanding, but from a lack of ability to communicate initially.” She said this and I was like “I'm putting it in the Google Doc.”


    There's something about the dynamic between these characters that both plays into and against the tropes of movie relationships. It's always fun to think about that. Chris and I were talking through what kind of parents Claire and Owen would be and that lead us to talk about what kind of parents we are, are we helicopter parents or not, the ways in which we could be better and blah-blah-blah.


    I was thinking later on, “You know what? I feel like Owen would be the helicopter parent and Claire would be chill and cool and be like you need to let them be what they're going to be.” That would show the evolution of Claire. It's fun to consider those things and have room for those things. You set up the trope and then you play against it. You set up the trope and then I'm with a flare outrunning a T-Rex while he's cowering with children. I like to mention that every once in a while, at least three times in every interview. (laughs)


    Eric Vespe: Can I give you a suggestion for your Google Doc? My favorite movie husband and wife of all time: Nick and Nora Charles in the Thin Man series. Myrna Loy and William Powell are the leads and they're an upperclass husband and wife duo who decide being rich isn't enough and they decide to solve murders on the side. To make it even better they're both drunkards.



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    Bryce Dallas Howard: That's so cool!


    Eric Vespe: They love each other through and through, but toss out barbs at each other all the time.


    Bryce Dallas Howard: Oh, dude, thank you so much! That's what we were talking about this morning! Someone else mentioned Castle and someone else mentioned Sherlock Holmes and Watson. It's so great when it gets to the point where's it's about partnership.


    This is interesting. In this movie, for Owen and Claire it is about partnership. We've talked about it a lot because that's what Chris and I feel like with one another. We always say “We make a good movie team!”


    JA and Belen (Atienza), his producing partner, are an incredible team. This story of what it takes to be a team and what it takes to become partners is encapsulated somewhat in the defying of the gender tropes.


    Eric Vespe: It'd probably be good to talk about JA since he's the main new ingredient here. We know that he likes to play music. He told us there was a specific scene where there was no dialogue and you were looking at something and he played three different pieces of music: a romantic one, a scary one and a funny one and he said you ended up playing it three different ways.


    Bryce Dallas Howard: I'm shocked that I've never thought of or experienced doing that before. Joe Wright plays music on set, but it's more for levity between scenes. JA doing that changes everything instantly. This whole generation of actors came up as cinephiles. That's why we love making movies because we're obsessed with movies, so for him to play these classic scores and different kinds of music just instantly gets you into that headspace and you understand what the scene's about.


    Also, we're working with a young actress... this is her first movie. She's naturally very gifted and extremely cerebral, so she's fantastic, but the music helps her just as much as it helps us. The premise of it was he was like “I'll do it for Izzy because it help her,” and Chris and I were like “Oh my God, this is amazing!”


    Something about JA that is crazy... we met each other years and years and years ago. We had a general meeting that was for a movie he didn't end up directing, that I didn't end up acting in, but he was attached as a director and we had this meeting at the Chateau that turned into this two-hour dinner and I just fell in love.


    Peter Sciretta: He's so charming!


    Bryce Dallas Howard: Oh my gosh! He's so charming and passionate and adorable. When the movie didn't happen, I honestly and kind of jokingly referred to him as “The One Who Got Away.” To all my friends! Like “The one who got away did another amazing movie without me!”


    When Colin (Trevorrow) was sharing with Chris and I who were the frontrunners he was hoping to work with and he mentioned JA I was like (gasp) “Dude, he was the one that got away!” He was like “You had a relationship with him?” “No, no, no.”


    I love Colin so-so-so-so much and it was such an incredible experience working with him and I was super bummed he wasn't going to be directing this movie, so it was really crazy to me that he mentioned JA who was literally the person I've been joking about for 10 years as the one that got away.



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    That's it for this one. Still more Jurassic World goodies to go! A young fella by the name of Chris Pratt will be tomorrow. I began the interview by gifting him a limited edition back of Guardians of the Galaxy Doritos, so you know he was in a good mood for that chat.

  • Han Meets Lando In Footage Shown At CinemaCon

    1 month ago

    ericvespe

    Today was a big day at CinemaCon. STX, Warner Bros and Disney all had their big panels and since we're so close to release of Solo: A Star Wars Story they actually treated us to a nice, juicy full sequence from the latest Star Wars movie.


    The scene had Emilia Clarke's Qi'Ra leading Alden Ehrenreich's Young Han Solo through some dingy gambling den to meet some mystery person, who is said to have slipped through the Empire's fingers more than just about anyone else. He has a ship they need for whatever they're up to. Star Wars fans know what's coming up.


    They pass a ring in the center of the smoke and alien-filled hive of scum and villainy where beat up droids are murdering the shit out of each other and then they get to the high stakes table where, yes, Mr. Lando Calrissian is playing some Sabacc with a bunch of scoundrels.


    Han walks up and the angle is low, catching his trademark DL-44 blaster at his hip, his legs framing Lando for this iconic moment of two charming rogues meeting each other for the first time.



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    Donald Glover as Lando is everything you want it to be. He's so at ease in this role and naturally charming. It's like he was meant to be Billy Dee Williams' heir. He has some line as Han walks up where he's talking to one of the aliens at the table and it was something like “There are no liars in this game, just players.” Simple line, but the way he delivered it felt so authentically Lando that I was instantly won over.


    Ehrenreich as Solo I'm still iffy on. He's got the charm factor and the swagger, but something felt a little forced about it. I'm not sure if I'll feel the same way seeing his character in the context of the full movie, but he didn't feel as natural a fit to me as Glover did playing Lando.


    They have a great interaction to start. Han: “Is this seat taken?” “If the seat's empty, it's not taken, friend.” Han introduces himself, Lando returns the favor.


    Han wins his first hand of Sabacc (“Beginner's luck,” he says)... the game seemed to be played like poker, where there were rounds of betting before revealing your hand. Lando wins the next one and a conversation develops about their ships... Han's laying the groundwork for a big bet where he bets his ship (whether it exists or not) against Lando's, which we know is going to be the Millennium Falcon.


    That moment eventually comes, but not before Lando needles Solo a little bit, calling him “Han,” not “Hawn.” Han corrects him. Lando repeats his mispronunciation and that made my inner geek stand up and clap a little bit. I wondered if they were going to address that since Billy Dee's Lando always mispronounced Han's name in The Empire Strikes Back. Now there's a character reason for it.



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    So, the big bet comes and Lando puts his ship on the line and then... I don't know. The footage cuts off.


    If I'm a betting man I'd say they did that for a reason. Han will win the Falcon from Lando, but I have a feeling this is a case where they're going to throw a twist on your expectation. Or they don't and I'm wrong, which happens all the time. But something in my gut is whispering that there's going to be something more to this scene.


    I'm a little bit of a tougher sell on these spin-off movies than most. I love a lot of the detail of Rogue One, but I couldn't shake the fan-fiction feeling I got from the movie. This Solo footage was fun, had great, colorful Star Wars-y feeling sets, wardrobe, aliens and characters, but I got some of that same vibe here.


    That's not necessarily a bad thing. People loved that feeling in Rogue One, just like people ate up the EU books. It's filling a niche and I can't begrudge those fans.


    For my part, it looked fun. If that's all the movie is I'll be happy. I just want it to be fun.


    Make sure to keep an eye out for more CinemaCon coverage as this crazy fest goes on!

  • Jurassic World: Fallen Kingdom On-Set Interview: Director JA Bayona Ups The Suspense And Scares The Shit Out Of His Actors For The Blockbuster Sequels

    1 month ago

    ericvespe

    Welcome to Day 2 of Jurassic World: Fallen Kingdom set reports! Yesterday I ran the interview I co-conducted (alongside Slashfilm's Peter Sciretta) with the film's producers and today I have our chat with director JA Bayona.


    Now, JA has been on my nerdy radar since the beginning. I remember interviewing him for his very first film, the Spanish language creepfest The Orphanage, which was produced by Guillermo del Toro and rocks pretty damn hard.


    Between now and then he's been turning out some great work, including The Impossible, which introduced the film world to Spider-Man's Tom Holland, and then the recent tear-jerker A Monster Calls.


    While visiting the set during their Hawaii shoot Bayona was able to carve out some time during his lunch break to talk with Peter and I. Naturally we had some questions.


    In the below chat you get a good handle on Bayona's priority as a director, the reasoning behind taking the Jurassic universe widescreen, his working relationship with his actors (both human and dino) and some of the director tricks he utilized while making this movie.


    It's a good chat and Bayona's passion for storytelling is unquestionably at the forefront. Hope you enjoy!



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    Eric Vespe: Thanks for having us out. This is really cool.


    Peter Sciretta: Thanks for putting up with us while you're on your lunch break. So, a lot of your movies have young people in horrific situations. Does this movie follow that trend?


    JA Bayona: Yeah. Very young people in problem again.


    Eric Vespe: What do you have against the youth of the world?


    JA Bayona: (laughs) Well, I mean, it's... I mean, all the movies I've done I end up very close from the POV of the kids. I don't know. It's a natural thing. It's not planned. I mean, the three movies I did so far you can tell that they're about childhood and dealing with growing up. This is very different, but of course you have a kid in the film, because there's always been kids in the Jurassic movies, you know? And the movie pays tribute and keeps the legacy of the movies that we've seen so far and we love.


    Eric Vespe: Can we talk a little bit about the where you're starting off in this one? Frank Marshall told us a little bit about the setup for the story and I think it's really interesting because it gives you a completely different sense of urgency than we've seen in these movies so far.


    JA Bayona: And what did Frank tell you?


    Eric Vespe: We know about the extinction level event, the volcano . And the sense of the characters returning to try to save the dinosaurs. So we at least know that beginning part.


    JA Bayona: Well, the first time Colin pitched me the story, I was very intrigued, very surprised, because it's true that it keeps the legacy of the films we've seen so far, but there's a twist. It's not humans trying to save humans from dinosaurs anymore. It's humans trying to save dinosaurs from the island and I thought that was very interesting. And there's a twist in the in (second) half of the film and the film becomes something very different from the first section of the movie. I thought that was very interesting, too. I was very interested, very intrigued. I really enjoy the pitch and I think the development that we did so far, I'm very happy with it.


    Peter Sciretta: Colin already had the story when you came aboard. How do you put your own stamp on that?


    JA Bayona: Well, I think one of the things I always enjoy the most in designing the films are the set pieces and Jurassic movies they are perfect for designing set pieces. When I think about the old Jurassic movies that I think about the T. Rex scene in the first one or the scene with the truck hanging off the cliff in the second one. So the first thing I had was “Okay, we're gonna try to design the best set pieces possible.” And I really enjoy that. I really enjoy to design shot by shot. For me every camera position matters. Every movement of the camera. Every shot is a step in escalating of the tension. It's very Hitchcockian. When you see the T. Rex scene in the first one, the gyrosphere scene in Jurassic World, they feel designed shot by shot in a very Hitchcockian way and I and for me movies are about that.


    Eric Vespe: Yeah, I was gonna say, the two you described were suspense moments.


    JA Bayona: Yeah, it's true. There's going to be a very big action scene in the middle of the movie, but then the whole film plays more the idea of suspense and I really like that. I think somehow the first Jurassic was like that. You had the big T. Rex scene in the middle and then it plays with the suspense of the kitchen scene with the Raptors. We tried to follow the same pattern.


    Eric Vespe: Yeah. It's a nice combination. There's a sweet spot between awe, suspense and humor.


    JA Bayona: Exactly, yeah. And I think that they'll be a lot of humor in this one. It's going to be a lot of fun, too. It's gonna be suspenseful. It's gonna be probably a little more scary, but it's gonna be a lot of fun, too.


    Eric Vespe: It's good to be a little scary.


    JA Bayona: Yeah.


    Eric Vespe: Well speaking of that, is that why you chose to bring back the animatronic element a little bit because there's something scarier about seeing something in a movie that's really there?


    JA Bayona: Yeah. We love animatronics. Colin and I, we talk about how can we bring back more animatronics in the game and there was a space for that in the story. I came with the experience of doing A Monster Calls where we design a huge animatronic and at the end, you can, you need to use CGI more than what you will want, because the audience is so used to CGI that they are kind of like reluctant to animatronics, but at the same time when you have something real, you appreciate the soul. There's a reality that you don't have with CGI. So there's plenty of animatronics in this one. But the story somehow made things easier for us to use animatronics.


    Eric Vespe: Who's building them for you? What company?


    JA Bayona: Neal Scanlan who's been working on the Star Wars movies. It's been great to work with him. You know, it was kind of surprising the first time we had an animatronic on the set. I was with Bryce (Dallas Howard) and Chris (Pratt) and they were so shocked, so happy to have animatronics. I said, come on! You've done a movie so far, but then I thought about it and of course there was almost no animatronics in that movie.


    Peter Sciretta: They just had that one.


    JA Bayona: Yeah, but and it was funny to see the actors that were in the first one reacting so excited.


    Eric Vespe: Geeking out, yeah.


    JA Bayona: They were so excited in front of the animatronic.


    Peter Sciretta: It seems like you've worked very closely with Colin. I'm wondering about Spielberg. When we were on the set of the first Jurassic World movie Colin told us how Spielberg had this whole suggestion with the water scene of the seats going down below the water level. I love hearing these stories how Spielberg will “plus” something. Do you have any stories where he threw out a suggestion that changed the movie?



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    JA Bayona: We don't have any scene, a specific scene, but it's true that Steven has been always very encouraging and he is the sort of person that empowers a director. He makes him feel good and he makes him feel prepared. I wanted to meet him as much as possible. I tried to watch all the pre-vis that we did together. And it was fascinating to show him the stuff and hearing back his ideas. And so there was lots of details here and there.


    Eric Vespe: Little flourishes.


    JA Bayona: Yeah. I don't remember any specific scene, but I think that there is not any specific scene, but there was a lot of details here and there. He was very, very encouraging all the time and very supportive of our ideas.


    Eric Vespe: So he was pretty hands on I would assume during the development.


    JA Bayona: Mm-hmm.


    Eric Vespe: I know Colin's been on set a lot, but it seems like they put a lot of trust in you. So is that stressful for you? I don't wanna make it sound like that you don't feel supported...


    Peter Sciretta: This was a hundreds of millions of dollars movie, right?


    JA Bayona: Yeah. I always admire Steven and, I mean, and my movies, a lot of people used to talk about them like they're very Spielbergian, you know? So I feel so comfortable being in this territory that I don't have any problem in that sense, you know.


    But the truth is that I've been lucky of being able to sit down with all the previous guys and design the scenes together shot by shot and Steven has been always very supportive. He loved all the stuff that we did and I consider that there was not any pressure totally. Completely the opposite. It was totally the opposite.


    Eric Vespe: When you have somebody like Chris Pratt as your lead too he brings so much like natural chemistry and a sense of spontaneity. Have you had freedom to be able to be play a little bit loose and so you're not a slave to the pre-vis?


    JA Bayona: A lot, a lot, a lot. Yes. And I always try to give him as much space as possible, because this is the way he works. The other day I was referring to him as a Jazz musician because he's very organic and he does every take totally different from one before. He does it the way he feels it, he's always very truthful to himself and every take is different. And every take there's something new that you love.


    It's going to be difficult in the editing room to decide what are the best moments because he's great in all the takes. I'm all the time trying to give the actors a lot of freedom, even though these movies are very designed before they shoot. I always try to keep them alive and keep them organic on the set, so I always show the pre-vis to the actors. We talk about it and a lot of times we change them on the set.


    Peter Sciretta: You have Jeff Goldblum coming back and reprising his role. What can you tell us about him and working with him?


    JA Bayona: I think it's great to find links between the new Jurassic World movies and the old Jurassic Park movies. So there's details all over the film that are referring not just of course to the first Jurassic World, but also the first Jurassic Park movies. Having Malcolm was a great idea that Colin had and I think somehow he setups the tone, the theme and the atmosphere of this film.


    Eric Vespe: Okay. That's cool. It's embracing kind of what the trend that audiences like now and I think TV had a big part of that. They like the long form storytelling aspect. Marvel has been taking advantage of that in a big way. But people have stuff like Game of Thrones and they love watching a story develop. The trick is being able to pull that off and give them that feeling of living in a world and seeing a world that they're familiar with without just making it a whole bunch of like “Hey, remember when you liked this moment?” I think they did a pretty good job in the last Jurassic with that.


    JA Bayona: Yeah and I think that Colin keeps doing it in this film. I think he's created the story one step forward. At the same time, paying respect to the original Jurassic World and the original Jurassic Park movies. But the story continues in this one and we keep going in the next, following a story that is longer than the film we're gonna see.


    Peter Sciretta: We are back at Isla Nublar, but Frank (Marshall) said it's only in the movie for like 25%. So, where does it go from there?


    JA Bayona: I don't know if I can talk about that. This is one of the big surprises and I think that's one of the things that I really appreciate when Colin told me the story the first time. That we go to the island, but then we go to somewhere else.


    Eric Vespe: You talked earlier about building a suspenseful scene shot by shot. Can you talk a little bit about what that scene is so people like who might read the interview and then see the movie later will understand which scene that you are talking about?


    JA Bayona: Yeah. Well I think there's plenty of scenes. It's not only one. I think that the second half is gonna play a lot on suspense. And suspense is all about not accumulation, but escalating the tension. It's not just putting lots of stuff on the frame. It's more escalating the element in order to get the pace and the tension that puts the audience at the edge of their seats. This is the dream for me, in terms of the storytelling.


    Eric Vespe: So it could be personal stakes, it doesn't have to be like world ending, 50 dinosaurs in a single shot kind of thing?


    JA Bayona: No, it's not like that. It's not like that. It's quite the opposite. I mean, you'll have, you will have 15 dinosaurs in the same frame more at the beginning of the film and then at the end it's more about the suspense and not seeing them. That's more interesting, always.


    Peter Sciretta: You mentioned that this is the second of a trilogy that's planned. Can you talk about the balance of creating a complete story, but you're setting up a third act as well?


    JA Bayona: Mm-hmm. I don't know how much can I talk about the story, you know?


    Peter Sciretta: Okay. I'm not looking for detail. I'm just saying like how does that, how do you balance that? Like how do you…


    Eric Vespe: How do you tell a complete story in and of itself here but also know that you're also leading into another movie?


    JA Bayona: I think it's like when you talk about television, it's a little bit like that. I remember when I did Penny Dreadful, I did the first episode and I really didn't know where the series was heading to. It's a very interesting experience because you're playing with the storytelling yet you really don't know where it's heading to. It's not the case of doing a Jurassic movie. I think that Colin has designed more than only one film, you know. He's the guy who has all the answers.


    Eric Vespe: Has he shared that with you so you know you're not making some decision on the day that could contradict what he's planning in the future?


    JA Bayona: No, but there were moments that Colin said, “I would love if you can introduce this detail in that scene and that detail in that scene because I'm thinking this is going to pay off in the third film.” You know, you're collaborating and including details on a story that is bigger than the one you're doing.


    Eric Vespe: Do you think that you'll come back for the third one? Or do you think that Colin might come back? Did you guys talk at all about that? (This was way before it was announced that Trevorrow would return to direct Jurassic World 3).


    JA Bayona: We talk a lot about a lot of things.


    Eric Vespe: Would you want to come back for the third film? I mean, you're not gonna sit here and go, “Man, I'm having a miserable experience” even if you were, but would you be interested in like seeing the franchise through to the next movie?


    JA Bayona: Yeah. I'm really enjoying the experience of doing a Jurassic movie. I'm really enjoying it. It's not painful at all to come back, I can tell you. I think it's a lot of fun. I love to work with these actors. It's great. They're so creative and it's great to be in the set working with them. And also this is the kind of stories that I like. Emotion and visual effects, great music. I love it.



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    Peter Sciretta: Can you talk a little bit about B.D. Wong's character? He seems to be the big thread that from the last one that kind of launches into this one. At least apparently.


    Eric Vespe: He's one of the big hanging threads.


    Peter Sciretta: Hanging threads, yeah.


    JA Bayona: How can I talk about it without spoiling anything? I think it's true that there is this character in the shadows that is playing an important role in the story. And it's there. I mean, we have B.D. in there. Again, it's a connection with the old films. It's not only a connection with the Jurassic World movie, but also with Jurassic Park. And there's details, there's more details, not only characters, but there are things that are in contact not only with Jurassic World, but with Jurassic Park.


    Peter Sciretta: I was a little nervous, to be honest, that this franchise was gonna be militarized dinos in a war. I thought this movie was gonna be that and I'm so glad that you return to the island. Can you talk a little bit about that?


    JA Bayona: Yeah. Colin and I were on the same page. We wanted to make it feel like a very classic Jurassic film. We go back to the island, but at the same time we go to new places. You bring the story to places that people is not expecting and we are closing some chapters and we are opening some new chapters.


    I mean, it's like you say, it's more like the narrative of a TV show, where you are closing some lines and opening new ones. And I think that feels very exciting and I think that this is one of the big things that television is bringing to the movies. There's a lot of bad things that television is bringing to the movies, but there are good things and one of those is that people more and more is more prepared (for) the twist, is more prepared to things that you will not buy in the '80s and now you buy them, you know?


    I mean, you can kill Han Solo right now in a Star Wars movie and I think there's a little bit of responsibility in television to blame for that.


    Eric Vespe: Yeah. I mean, when you have shows like The Walking Dead and Game of Thrones just kind of showing…


    JA Bayona: Exactly.


    Eric Vespe: That's one of the things I love about TV now, because it keeps you on your toes as a viewer, because nobody's safe and they'll kill a fan favorite or whatever. I love that kind of shock.


    JA Bayona: But at the same time we wanted to make it feel very classy. One of the first things I ask and I have the support of everyone was that we are shooting in CinemaScope. We are shooting in 2.40 and never a Jurassic movie has been like that.


    Eric Vespe: Yeah, the first one was 1.85, right?


    JA Bayona: Yeah. But I thought that we wanted to make it bigger and we wanted to make it more epic. So I had the support of everyone. And I can tell you it looks amazing.


    Peter Sciretta: What are you shooting on, Arri 65?


    JA Bayona: Yeah. And it looks amazing. I think that the island looks beautiful.


    Eric Vespe: With the widescreen format, did you look at any particular cinematic inspiration for that? I mean, Leone shot that wide and David Lean famously shot very wide, too.


    JA Bayona: Yeah. Exactly. I think one of the things I'm telling all the time to the camera operator is that we need to do a movie that cannot be seen in a plane. So we are using all the format, from the extreme right to the extreme left. So we are filling the frame in a beautiful way. You have references like, I mean, Vilmos Zsigmond, the movies he did with Michael Cimino. When you see the frames of these movies and they look like paintings, you know.


    Eric Vespe: Yeah. There's fore, mid and back, there's always there's layers, yeah.


    JA Bayona: Exactly. And Steven, all the Indiana Jones movies and the frames, they look like paintings. And I wanted to have that in this in a Jurassic movie, so we created this big canvas. And we are playing a lot in making interesting compositions.


    Eric Vespe: Talk a little bit about the tone. We know that there's more suspense in this, but was there a target for the tone throughout that you were going for? Like leaning more on action or more on suspense?


    JA Bayona: I think when you do a movie like this, it's a movie for a big audience, so it has a lot of things to everyone. It has suspense, but it has action, it's a lot of fun, too. It's a little bit darker than the previous one, but it's a lot of fun, too. It's quite challenging because you have a lot of different tones and you need to blend them in a single story.


    Peter Sciretta: Michael Crichton always had some themes that reflected society and it seems like you guys are kind of dealing with animal cruelty...


    Eric Vespe: And bureaucracy too. Because we, Frank said that there's like the decision from the world's governments are pretty much just to leave them alone.


    JA Bayona: I think so, yes. I really like that from the story that Colin planned for this one, that he talks about the moment we live in, in a very obvious way when you see the film. I think that's very interesting. It plays with the idea of how we use science, not blaming science, but the use of science that some people do. And this has been part of the legacy of the films in the Jurassic movies and I think nowadays it's a theme that is out there right now.


    Peter Sciretta: Can you talk about Justice and Daniella? When I was talking to Colin, he said they were the secret sauce of this movie. What does he mean?


    JA Bayona: (laughs) You will see. I mean, they're new characters and they're bringing a very specific personality to the film. You will see. I think they're very Colin's world. It's been very interesting because he has, you can tell the sense of humor of Colin through these characters and I really enjoy working with them. They're excellent and a lot of fun to be with on the set, you know. I cannot tell you much about it. But they're very interesting characters.


    Eric Vespe: Now, I mean, I know that Chris said on the press tour for the last movie that anybody of our age that grew up with Jurassic Park, it was a big moment for people. I mean, I was 12 when it came out and I vividly remember the day I saw it. Like not just watching the movie, but like the lead up to it. My Grandma dropping me off at the theater and how the lines were around the block and how that was on the news the night before and I wasn't sure if I could get in. It was an event that was like a big landmark for me. So when you have somebody like Goldblum coming back in the role and he's surrounded by people who grew up with this, was that like a moment, the first scene with Ian Malcolm? Could you tell that people were geeking out about it?


    JA Bayona: The truth is that I remember that the first day of shooting... I used to shoot all the time with music on the set. So, of course the first music that (I played on Jurassic World 2) was the Jurassic Park theme from John Williams. It was so much emotional in that moment on the set. So there's a lot of that. But the truth is that there's so much work to do that you're not really, at least I can tell you, you're not into that nostalgia. You have your characters in front of you. You have so much work to do every day that it's when you come back home and you say, “Oh my God, I've been doing a Jurassic Park movie!” That's the moment that you are aware of it, but I haven't been that nostalgic in the set.


    Eric Vespe: Not yet.


    JA Bayona: No, not yet.


    Eric Vespe: It'll all hit you when you wrap and you're in the editing room.


    JA Bayona: Yeah, and I think that's good because it gives you a distance from the material. You're doing something new. I mean, it's something that you need to be aware that you are trying to move the story a step forward, so you wanna pay tribute to the old movies, but you want to move forward at the same time.


    Eric Vespe: Yeah. You don’t wanna be too wrapped up in them. I mean, even Steven himself has kind of fallen prey to that with like Kingdom of the Crystal Skull.


    JA Bayona: Totally, yeah.


    Peter Sciretta: You talked about the filming in scope and these movies have been shown in IMAX, so I assume this is going to be in IMAX. Are you gonna expand or do you want it to just be shown in scope?


    JA Bayona: There's been some conversation about it. The idea would be to keep the aspect ratio. This is what they've been doing with the Star Wars movies. I think when you design a film, when you design a shot, it's kind of like going against the film if you change the aspect ratio.


    Eric Vespe: And it takes you out of the movie. I just watched the new Transformers and every other shot's switching aspect ratios.


    JA Bayona: Yeah. No, no, no. I mean, I am very, very specific with a shot in the set. This is probably, I mean, apart from the work with the actors, I am very specific in where the camera should be and how the camera should move. For me, this is as important as performance or even a line in the dialogue. So for me, breaking that it would be like going against the film.


    Peter Sciretta: You mentioned playing the music. Is that in between setups or... ?


    JA Bayona: No. Sometimes we play while we shooting.


    Peter Sciretta: While you're shooting. Oh, like an action scene if people are like running and stuff.


    JA Bayona: Yeah, an action scene or you just play sounds.


    Peter Sciretta: Are you playing dinosaur sounds?


    JA Bayona: I'm joking all the time with Justice because I'm playing sounds to scare him during the takes. So it's been a lot of fun to work with him in that setting.


    Eric Vespe: Well, at least you're only doing sounds. Some of the old school directors, like John Huston, would actually shoot guns in the air to startle their actors.


    JA Bayona: Oh wow.


    Eric Vespe: Not even blanks. Like he would have his gun there.



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    JA Bayona: I remember a shot once with a gun in my hand during The Orphanage because I had to scare the actors. We were shooting not in a soundstage, but in a place that was full of birds, so they had these guns to scare the birds. And I said, “Give me one of these guns.” So I was in the video village with a gun in my hand. There are some references in the behind the scenes. It was a pretty bizarre image. Yeah, no, I'm not using that.


    Eric Vespe: So, you're saying you used guns to scare children in your early career.


    JA Bayona: No, it was for the lead actress!


    Eric Vespe: Okay, good.


    JA Bayona: It was for the lead actress.


    Eric Vespe: That won't look as bad.


    JA Bayona: It was for the lead actress. No, but I like music. It helps a lot in creating the mood, sometimes the tension. Sometimes you play light music to make the actors feel good in the set and the lines come with a freshness that maybe you would not get in a different way.


    Eric Vespe: Is that something that you used on previous films and brought into this?


    JA Bayona: All the time. Every time, yes. I love it.


    Eric Vespe: That's awesome.


    JA Bayona: I love it. And the actors normally they love it.


    Eric Vespe: “Normally?”


    JA Bayona: Yeah. Normally they love it. I mean, I haven't found any actor yet… No, they love it. They love it. I'm thinking, is there any actor who asked me not to play music? No.


    Eric Vespe: The only time I've actually really seen that a lot was Peter Jackson did that on his King Kong a lot with Naomi Watts. But it was like always very romanticy music and to kind of set that romanticized '30s time period.


    JA Bayona: I understand. For example, I remember one take with Bryce was very interesting. There was no dialogue in that scene. It was all about the way she was looking at a determined thing, you know? And it was very fun, because I played three pieces. Every piece very different from the other one. So one was like one was a romantic music, the other one was a scary and she played three different performances in every take. It was very interesting.


    These are the kind of things I do enjoy bringing to the story. These movies they're so big, they're so pre-designed that you want to get to the set and break that.


    Eric Vespe: Yeah, you wanna have a little emotional truth.


    JA Bayona: Exactly, yeah. And Bryce, she's very organic. So I told her, “Listen, I'm gonna play three musics and the performance is going to be according to the music I'm playing.” And she was like “Okay, great.” We did three takes and the three were different. The three were good. And that gives you options in the editing.


    Peter Sciretta: Do you plan these mixes ahead of time or are you just on set with an iPod or whatever?


    JA Bayona: I'm with my iPod all the time. And I'm connected to the Internet, so it's all about, like, remembering a piece in that moment and look for it and play it.


    Eric Vespe: What kinds of music? Was it scores or was it pop songs?


    JA Bayona: Many scores, yes. Yeah, in this one there's been a lot of (Michael) Giacchino, of course, because he's gonna do the score and of course John Williams.


    Eric Vespe: Any Jerry Goldsmith sneaking in?


    JA Bayona: Jerry Goldsmith has been playing a lot. Total Recall.


    Eric Vespe: Oh, Jerry Goldsmith is one of my all time favorites.


    JA Bayona: And Basic Instinct. We play a lot of this, too.


    Eric Vespe: That's a good one.


    JA Bayona: It's a lot of fun, yes.


    Eric Vespe: Awesome, well thank you so much again for taking the time for when you could have been relaxing for a little bit, but instead you were talking to us nerds.


    Peter Sciretta: Thank you very much.


    JA Bayona: See you soon.


    Eric Vespe: Yeah, I'm looking forward to watching you work.


    JA Bayona: Oh, thank you so much. Enjoy the shoot!



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    Tomorrow brings some more on-set interviews, our first with some of the actors. We begin with the enthusiastic, energetic and super excitable Bryce Dallas Howard and on Wednesday you'll hear from Chris Pratt and then Justice Smith and Daniella Pineda before this week is done!


    Stay tuned!

  • CinemaCon: Leonardo DiCaprio and Quentin Tarantino Talk About Once Upon A Time In Hollywood!

    1 month ago

    ericvespe

    The biggest surprise of the Sony panel was when head honcho Tom Rothman brought out Quentin Tarantino and Leonardo DiCaprio to talk about their next movie called Once Upon A Time In Hollywood. 


    They played a little tone trailer that pretty much looked like slightly moving Mondo art (kind of an Olly Moss style) that showed iconic moments from Tarantino's past movies, all against bright neon yellow and pink and blue backgrounds and ending with that same style on the title Once Upon A Time In Hollywood with Brad Pitt and Leo DiCaprio's faces next to it. As this little kinda-but-not-really trailer played the music behind it was Indian Reservation by Paul Revere and The Raiders.





    They haven't shot a frame of the movie yet, but Tarantino vowed to make a big, sweeping LA-set -period epic and that he'd be spending the summer transforming huge swaths of LA into a 1969 version of itself. He also said that this script skews closest to Pulp Fiction in that you have the leads and a huge amount of crazy colorful supporting characters that bring texture to the movie as they go on their adventure.


    DiCaprio chimed in saying that he's a huge Tarantino fan, loves all his stuff and believe this is the best script he's ever written.


    High praise, indeed. I know I'm always down for a fired up Tarantino flick.


    Tarantino said that Pitt and DiCaprio play on-screen buddies in the same mold as Butch and Sundance. No mention of Margot Robbie, who is rumored to be in contention to play Sharon Tate, so I suppose that deal isn't done yet.


    They also dropped the news that Once Upon A Time In Hollywood will be hitting cinema screens August 2019, so we're not too insanely far away.


    So that's that! Be back tomorrow with some more CinemaCon funstuffs!

  • The Venom Trailer, Now With 100% More Venom, Hits The Net! Plus Some Extra Footage Details From CinemaCon!

    1 month ago

    ericvespe

    Sony just kicked off CinemaCon with a long, long, long presentation featuring everything from first looks at Sicario: Day of the Saldado to Hotel Transylvania 3 to some voice-over lost dog movie whose title I've already forgotten to Spider-Man: Into the Spider-Verse and, of course, Venom.


    Tom Hardy appeared on stage with Michelle Williams, Riz Ahmed and director Reuben Fleischer and said that the trailer was going to drop tonight online, but we'd get to see it first. 


    The interesting thing is the trailer they dropped online was significantly different than the one they showed tonight at The Colosseum here at Caesar's Palace, something I didn't find out until well after I shot the video diary I hope you all check out. In that video diary I say you've seen the same trailer I have, but I was making an assumption.


    Here's the online trailer and I'll tell you about some extra stuff not seen here after it:





    So we didn't get any of the Jenny Slate explaining the symbiotes stuff, but we did get the full scene that leads up to the "We Are Venom" reveal. Eddie Brock wipes out on his motorcycle and is skinned up, leg broken, hand all smashed up as the bald bad guy approaches. The symbiote begins to spread across his body, snapping his broken leg and fingers back into place, eventually forming the full suit around him and getting to the "We Are Venom" line.


    So, now you know a little extra then the average fan! Good for you!


    Keep an eye peeled for more CinemaCon reports, write ups, reviews and some video diaries from the ground here in fabulous Las Vegas!

  • Kinda Funny Championship -- A Heartfelt Thank You

    1 month ago

    ElyseWillems

    This is it. The end of the “Kinda Funny Best Friend Whos-a-What’s-It March-through-May Madness Vote for G.O.A.T Tim Schafer Spooktacular Super Bowl XXVII.”


    Let me preface everything below by saying, with complete sincerity: I am honored, flattered, humbled, and privileged to be the recipient of this inaugural first annual award.


    As the old adage goes, “Tell me who your friends are, and I’ll tell you who you are.” If this tournament shows us anything, it’s that Kinda Funny is a magnet that attracts great friends. BEST friends.   


    When Greg first told me I’d be included in this tournament, I wasn’t sure what to expect. Then, I saw the esteemed company I was against, and I was shaken. Needless to say, this tournament featured an incredible group of people (and brands), many that I know personally. Good friends. Colleagues. Creators I admire. Delicious, cheesy snacks I’ve eaten in and around my car.


    I’ve never considered myself on the same level as any of these people, so to see myself included among them was surreal. Still is. I was a winner the second Kinda Funny considered me worthy of being in their company.


    And that was enough. To be on that placard, in the tournament at all, was more than enough. First round in, I was up against the Commish himself: the incomparable and wonderful Xavier Woods. Then and there I resolved that my tournament tenure would be short-lived. I was happy to be nominated, and even happier at the prospect of losing to someone as kind and supportive as Xavier Woods. Someone who has such a strong and positive presence in the Kinda Funny community.  


    WELL, THINGS DIDN’T EXACTLY UNFOLD AS I EXPECTED, neither did any of the rounds that followed. I can’t make sense of it, but here I stand -- somehow -- at the end of this tournament. I’m shocked as to how it happened, but I’m grateful nonetheless. There’s more emotion behind it than I can accurately describe, or do so without sounding horribly cheesy. But I’ll say this: the sheer amount of love and support I’ve received over Twitter in the last week outweighs the prestige of any actual title. Fans and voters have made me feel like a champion, and so have my “opponents,” who have been nothing but sportsmanlike and encouraging. I admire everyone on that placard and I’ve witnessed both at a distance and first-hand how much each and every one of them care about the Kinda Funny community. All of them are deserving of an equal honor, if not more.


    As you grow older, the idea of a “best friend” loses a certain exclusive superlative, once you realize that “best” can apply to the many special people who have a profound impact on your life and a unique place in your heart. There’s a reason Kinda Funny bestows that moniker to their community members and collaborators. Over these last few weeks you’ve touched my heart and put me on a pedestal I don’t entirely feel worthy of. But I’m so grateful. It’s very difficult for me to see myself with any prestige or acclaim, so I’m very fortunate to be lifted up by you.


    Thank you to everyone who voted and sent kind words. Especially to those who kept the mood friendly and positive. You mean so much to me and I’m incredibly moved by the gestures made over the last few weeks, and the outpouring of support. Funhaus and Kinda Funny have the best communities out there.


    Thank you to Barbara Dunkelman, a unique and dynamic woman who is the champion to so many, and touches so many lives. She’s someone I care about and I was proud to be in her company at the end. She’s an extremely accomplished individual with an incredible reach and passionate fanbase. I’m fully aware she went easy on me in the final, because she’s ALSO an incredibly tactful person. She’s just the best.


    Thank you to Commissioner Xavier Woods for imbuing me with his power going forward. He’s the real champ, in the ring and out.


    Thank you to Tim Schafer, Geoff Ramsey, my brother Adam Kovic, Shuhei Yoshida, Brandon Jones, Alfredo Diaz, Dan Ryckert, Brian Altano, Mike Drucker, Fran Mirabella, Chastity, Grimecraft, Lorne Lanning, Sean Finnegan, Hunter Pence, Rahul Kohli, Burnie Burns, Anthony Carboni, Tonedeff, Sisqo, Dave Fennoy, Troy Baker, Napa Smith, DiGiorno, Hot Cheetos, Oreos, Wing Wings, Portillo’s, Taco Bell, and La Croix. Double thank you to Taco Bell, actually. They know why.


    To Kinda Funny, thank you for being wonderful people, and thank you for thinking the best of me. I love you guys, and I can’t wait to come back.



    Thank you from the bottom of my heart,


    - The True Champion, Tim Schafer (as seen wearing an Elyse mask)



    P.S. I’m still not convinced that this wasn’t the product of some grandiose prank or troll -- when it comes to light that it in fact was,  in your face, Andy.


  • On-set Interview: Producers Frank Marshall and Patrick Crowley Discuss Animatronic Dinosaurs, Jeff Goldblum and Making Jurassic World 2 Scary!

    1 month ago

    ericvespe

    Frank Marshall is one of the biggest producers in Hollywood. Name a movie you loved from about 1978 to today and odds are Frank had a hand in it. Back to the Future, Poltergeist, Indiana Jones, Who Framed Roger Rabbit, The Sixth Sense, Gremlins, The Goonies, The Warriors and, of course, the vastly underappreciated Arachnophobia to name a few.


    Oh, and Jurassic Park. Can't forget that one.


    As one of the cornerstones of Steven Spielberg's Amblin Entertainment Marshall has made movie magic for decades and he's still going strong.


    I got to sit down with Frank and his producing partner Patrick Crowley on the Hawaii set of Jurassic World: Fallen Kingdom last summer. To set the tone, this interview was conducted in a sweltering tent on a dock somewhere on the west coast of Oahu while the crew was prepping a shot of Chris Pratt on a big truck racing up the dock with fire surrounding everything.


    Not a bad gig, right?


    Anyway, this interview was conducted by me and Slashfilm's Peter Sciretta. We had just come from the practical effects tent where we got to interact with real, breathing, actually-there dinosaurs. There was a full sized Blue, Pratt's best friend Raptor from the last movie, and a fully articulated baby Stegosaurus head. The puppeteers were there working the practical effects so a baby Stego sniffed me and nudged my hand with its snout and Blue (drugged out with a tranq dart and lying on his side) groggily looked me over, mouth opening and chest expanding as it took deep breaths.


    In short it was just about the coolest thing ever for this '80s kid who grew up worshipping at the altar of practical effects. Peter was on Cloud 9, too, so going into this interview we were gushing about seeing actual real life dinosaurs. That's where we start, we talk about using practical effects versus CGI, we talk about a ton of stuff: animatronic dinosaurs, the new characters, working with JA Bayona and why they chose him to direct this sequel, how Steven Spielberg helped them solve a location issue, the villains (both human and dino) and a bunch of other stuff.


    Enjoy the chat and stay tuned. I'll be dropping new on-set interviews all week as well as a big, detailed set report from my time in Hawaii. Spoiler alert: I saw dead dinosaurs, “live” dinosaurs, brought Chris Pratt some Guardians of the Galaxy-themed Doritos and took a stroll down down the wrecked main street of Jurassic World.


    Here's the interview!



    frank-marshall.jpg



    Frank Marshall: Where's Pat? My partner in crime.


    Eric Vespe: I don't know. I think he ditched you.


    Frank Marshall: That's usual.


    Eric Vespe: Yeah, so those animatronics were unbelievable.


    Frank Marshall: They're pretty cool.


    Peter Sciretta: Seeing that Raptor, Blue, I mean, I almost cried. Like really it's incredible.


    Frank Marshall: Yeah, it's, I mean, the obvious thing is it's so much better for the actors when they have something to act with. Yeah. It's that delicate balance. Sometimes the CG is better. It flip-flopped. It used to be animatronics was always better. And now it's like this. But you like to have something you can touch.


    Peter Sciretta: I think it's a thing that like… at least from what I've seen on set visits and the final product is like when there's something here and even if they do set extension, the something there helps the set extension.


    Frank Marshall: Yeah, absolutely.


    Eric Vespe: You're a magician, Frank, so you know it hides the trick.


    Peter Sciretta: Yeah.


    Frank Marshall: Absolutely. That’s why you want as many solid pieces that take your eye away from what's not real and not solid. So you're right. Misdirection.


    Eric Vespe: Misdirection, absolutely. You don't know where the seam is. You might know that there's an illusion and you can't figure out how they did it.


    Frank Marshall: Yeah.


    Eric Vespe: Growing up, that's what I loved. I loved not knowing the trick and then finding out about it. You know, like finding out about the bladders in American Werewolf In London and how that's what made the skin puff out and stuff like that.


    Frank Marshall: Yeah. Well Gremlins, I mean, we had all kinds of that stuff. It was really fun.


    Eric Vespe: Poltergeist is another great example where there's just every kind of practical effect in the world used on that movie.


    Frank Marshall: Yeah. On that movie, yeah. And we built that backyard with the mud and all that.

    Eric Vespe: And threw in real skeletons!


    (Patrick Crowley enters the tent)


    Patrick Crowley: Hi, I'm Pat.


    Frank Marshall: Here he is. Notice he's much more stylish than me. He's got the beard, he's got the pants, the hat.


    Patrick Crowley: I've been sitting out here all day.



    Frank+Marshall+Patrick+Crowley+Bourne+Le



    Peter Sciretta: So when you were developing this and Colin (Trevorrow) came in, what was the pitch for Jurassic World 2?


    Frank Marshall: Well, I mean, we knew we had to get off the island. I think he's been thinking about this since Jurassic World, where we're gonna go in 2 and 3. So it was just a question of how far we were gonna go in 2. So he kind of had it all sketched out. And basically from what I remember brought a treatment in. I mean, I don't think we sat down and talked to him about it.


    Patrick Crowley: Boy, it was interesting 'cause without revealing too much of it, he wanted to go much further in the second one. And we all sort of looked at it and said, I don't think everybody's ready for that. Pull it back a little. It was just in terms of the length of the time of the storytelling. He had started here and went all the way to there.


    Frank Marshall: Well we really felt we needed to spend time to get to know Chris and Bryce again. Where they'd been in three years. Because as you'll see, I mean, there's some changes... well for her mostly, there's a big change in her. She's realized that she made a mistake and that it was her responsibility, not her fault, but she was part of what happened. So she's now trying to make up for it, trying to do better and Chris is pretty much still a loner on his own. Not wanting to deal with anything. So we had to set that up.


    Eric Vespe: It must be interesting from your perspective since you not only have to hear the director's vision, but then also kind of think about it not only in the wider terms of the franchise, but also how to actually execute it in real life. So was there a particular element that you can talk about that got you really excited about his thing?


    Frank Marshall: Well, that challenge is at least for me what I get all excited about is how we're gonna do this. Where are we gonna do it? How are we gonna do it? And how we're gonna pull it off. And there's some locations in this one that are... we're not just on stage. Although on the last one we were here, but we went to New Orleans, so how do we do it and do the magic trick of having people believe we're where we are, but do it for the best price? And so it's always exciting to sit down and say, well should we go here, should we go to Atlanta. It just so happened that I knew how to get some stages at Pinewood Studios. 


    (Marshall's longtime partner in crime and wife, Kathleen Kennedy is spearheading all the Star Wars stuff for Lucasfilm, which shoots at Pinewood)


    Eric Vespe: Yeah. You might have been able to negotiate that a little bit.


    Patrick Crowley: Or not!


    Frank Marshall: (laughs) Yeah, or not.


    Eric Vespe: Yeah, that might have backfired on you too.


    Frank Marshall: Yeah, it could have, yeah. So it all worked out very well.


    Patrick Crowley: It was very interesting 'cause then Steven got into the mix. And with Steven would sort of go, 'cause we're on Isla Nublar, which is off the coast of Costa Rica. And it was like okay, well you need to get from there to somewhere in a relatively short period of time. So we had kind of a conceit about the location where we were gonna end up. And Steven goes “no, it's not possible. You can't do that.”


    Frank Marshall: It's not possible to do it in that amount of time.


    Patrick Crowley: In the amount of story time that we needed to have.


    Frank Marshall: Yeah.


    Patrick Crowley: They get on a boat in order to get off and that's what we're doing here. And so they need to get on a boat and then they gotta get somewhere. Rather than making it a movie about traveling on a boat, which is not very exciting, you needed to get to the new place.


    Eric Vespe: And it couldn't have been like “Two months later...”


    Patrick Crowley: Yeah. And Steven was going, well… if you wanna get to, we end up in Northern California, I think if you wanna get to Northern California that's gonna take too long. So then we were putting out scouts into Peru and Ecuador and just all kinds of places that we thought (could work.)


    Frank Marshall: I wanted to go to Cabo San Lucas. (laughs)


    Patrick Crowley: It just didn't work for the story. So then you go “Okay, how can we make those stages at Pinewood work?” And we essentially came up with a really good idea.


    Frank Marshall: Yeah. And I think that on this one we do have a lot more interior scenes than we've had on any of the other movies. So it made sense to be on a soundstage. A big soundstage, which Pinewood was perfect for.


    Eric Vespe: But, I mean, that's kind of in the DNA already of the franchise, 'cause some of the best moments from the original movie are like the Raptors in the kitchen.


    Frank Marshall: Yeah, in the kitchen, yes.


    Eric Vespe: Stuff like that and my understanding is that this one's a lot more suspenseful.


    Frank Marshall: Well you've seen the photo in what I call the museum.


    Eric Vespe: Yeah.


    Frank Marshall: Well that's a huge set. So yeah, so you just take the elements and you figure out how best to use them.


    Peter Sciretta: Who is that in the photo? We don't know much about that little girl.


    Frank Marshall: I don't know. It's some little girl.


    Patrick Crowley: She just wandered in. And see the other thing we had to do is we had to come up with sets big enough because the evil dinosaurs is bigger than the Raptors in the kitchen. I mean, the Raptors are like human size and they can sort of scurry around, whereas this one couldn't. So then the scale of everything had to be bigger to be able to have those kinds of scenes. To have them work. So somehow there were things that were driving the design of the movie that we hadn't anticipated.


    Eric Vespe: So do you guys have a like a main threat animal in this one? 'Cause the last few have had like the Spinosaur and Indominus and stuff like that.


    Frank Marshall: Yeah. We have a bad dinosaur that, of course, is released before it's ready.



    FrDx6rJ.jpg




    Eric Vespe: Yeah.


    Peter Sciretta: Of course.


    Patrick Crowley: Not quite ready for primetime.


    Eric Vespe: Well, if it was then I'm sure it would be sweet and gentle.


    Frank Marshall: Yes. No, and to be fair, you guys, the little girl's name in the movie is Maisie.


    Peter Sciretta: Maisie?


    Frank Marshall: Maisie, yeah.


    Patrick Crowley: M-A-I-S-I-E.


    Frank Marshall: And her Grandfather... she shares a love of dinosaurs that her Grandfather has, so that was his museum. And they're connected to Lockwood.


    Peter Sciretta: And that's John Hammond's ex-partner?


    Frank Marshall: Yes. Yes. We like to play with the adults' and kids' love of dinosaurs as it exists in the world today.


    Patrick Crowley: And another thing that was just driven by the story is, as Frank was saying, we're in rooms, we're in buildings with dinosaurs. So we're closer to dinosaurs than for a longer period of time than we've ever been.


    Frank Marshall: And they're in cages, but still they're really close.


    Patrick Crowley: So one of the things that happens is if you go and you touch a dinosaur, okay, you don't try to touch a digital dinosaurs 'cause it doesn't work. So you then end up with more animatronics than there's been in 25 years.


    Frank Marshall: I think since Jurassic Park. We've got more animatronics than any of the other movies. Except for Jurassic Park.


    Patrick Crowley: So and it's an amazing thing to work with Neal Scanlan, who has done all of the stuff for Star Wars.


    Peter Sciretta: How'd you get him?


    Frank Marshall: I, you know, just made a phone call. No, breakfast. Breakfast. We'll work this out.


    Patrick Crowley: A late breakfast.


    Frank Marshall: Maybe that was dinner. Maybe a bottle of wine for that one. (laughs)


    Patrick Crowley: But I hadn't worked with him before. You hadn't worked with him before. But just the stuff that he brought to it. And we saw stuff like this (snaps fingers). It would be “So, what do you think it's gonna look like?” “Well, come down to the shop.” And he would already have done renderings and sculpting and gone through the whole process. So, Blue as a character, we are so much closer to Blue.


    Frank Marshall: Yeah. And I have to say the process of the animatronics is so advanced now from what it used to be. What they're able to do now is fantastic. And it's so much faster to see what you're gonna have. So that made it really cool.


    Eric Vespe: So, your life size Rex isn't gonna have the shivers like the old one did?


    Frank Marshall: No.


    Patrick Crowley: No. 'Cause they were working with hydraulics. And everything now is mostly servos and stuff like that. And there's guys at joysticks, but there are still puppeteers making it breathe and making that head turn and doing all the rest of that stuff. These guys they're all dressed in black and you know they spend a lot of time in yoga studios, 'cause they're like that (strikes an awkward pose) for hours at a time. It's amazing. They're really talented.


    Peter Sciretta: And this film introduces a whole new cast of people.


    Frank Marshall: Yeah.


    Peter Sciretta: What can you tell us about them? Because we haven't heard much.


    Frank Marshall: You know, it's a great variety. We have a great new cast.


    Patrick Crowley: Claire basically runs a “How do we protect dinosaurs society.”


    Frank Marshall: It's a Dinosaur Protection Group.


    Patrick Crowley: The Dinosaur Protection Group, the DPG. Okay? And she has surrounded herself with young, environmentally conscious, hard working, unpaid people.


    Frank Marshall: Also yeah, what do I wanna say? Not Internet savvy, but yeah, I.T. kind of savvy people who know how to raise awareness within the right age groups and--


    Eric Vespe: Like a grassroots political movement.


    Frank Marshall: Yeah, what you would put together for a campaign.


    Patrick Crowley: So there's Justice Smith, okay, and he plays a character named Franklin. And he is the essentially the I.T. guy for the group.


    Eric Vespe: And we hear reluctant guy, he doesn't seem to wanna come on this adventure.

    Frank Marshall: He's a reluctant adventurer. He loves being there at his computer and his keyboard, but he doesn’t wanna go out and be Indiana Jones. He's not interested in that.


    Patrick Crowley: So, he doesn't like to fly, he doesn’t like bugs, he really doesn’t like being outside.


    Eric Vespe: So, he's the perfect person to go on this adventure.


    Frank Marshall: Absolutely.


    Patrick Crowley: And then there's Daniella Pineda, okay, who plays Zia. And Zia is a paleo veterinarian. Okay. She's studied it, went to university, but has never actually seen a dinosaurs yet. Since they're all on Isla Nublar, this will be her first exposure to real flesh and blood dinosaurs.


    Frank Marshall: She's pretty fiery in her defense of dinosaurs. “Dinosaurs are like the rest of us and they need to be preserved and we have to keep him from being, becoming extinct.” Save the gorillas, you know. Or the dolphins or whatever we're saving this month.


    Peter Sciretta: And Colin told me that those two are the secret sauce of this movie. That's the words he used.


    Frank Marshall: Yeah. They're, they keep things moving. They're the characters you haven't seen and are unexpected. They're… court jesters, whatever you wanna call it.


    Eric Vespe: They can add a little brevity without being too silly.


    Frank Marshall: Yeah, exactly. They're believable but they make it fun and exciting and real.


    Patrick Crowley: 'Cause then you've got Chris and Bryce and they're basically still reliving It Happened One Night, which was totally Steven's idea. We sat down when we did the first one and Steven said, have you guys all seen It Happened One Night? He said, let's bring some of that.


    Eric Vespe: We want a little of that Clark Gable swagger.


    Patrick Crowley: A little of that, just that jousting.


    Eric Vespe: Can we talk a little bit about JA and how you guys decided he was the right one for the job?


    Frank Marshall: I'll tell you the story.


    Eric Vespe: Yeah. Please do.


    Patrick Crowley: It's what we're here for! (laughs)


    Frank Marshall: As a matter of fact… I called him for the first one.


    Eric Vespe: Oh yeah?


    Frank Marshall: Yeah. I love The Impossible and I love The Orphanage and I thought “Oh God, he can handle action and characters... who is this guy?” And so I called him and we met and it turns out he was this huge Jurassic Park fan. Sort of like Colin. This is before Colin.


    But we were on the fast track. And he said, “I need a lot of time. I know what I need. I need my prep time. I have a certain process I go through and all that. And I just don't think I can do it.” 'Cause we had that other script. And he said, “I've got this other movie that I'm thinking of doing, too. So thanks, but no thanks.” And so I filed that in the back of my brain. And then found Colin.


    So when we were starting to talk about the next one, I called JA and Belen and we met in England. At the time they were on World War Z 2, I guess it was. Right?


    Patrick Crowley: Yeah.


    Frank Marshall: Yeah, and so he wasn't really available. But we had a really great dinner. And then you know what happened, he decided not to do that. They called me and we were still looking for a director. The good news is Colin and Derek were writing the script as opposed to the last one, where we didn't have a script we liked. So the timing worked out perfectly for them to come on and for him to have the time to do his process.


    And because it's the middle movie it needs to be a little more suspenseful and scary and he just seemed to be perfect. It seemed to be perfect timing for having him come in.


    Patrick Crowley: And also Colin is very onboard with it, right? So Colin was the architect of the second one and the third one and he and JA hit it off, so JA then felt much more comfortable that one, he liked the original Jurassic World and he knew the direction Colin wanted to go in, so it wasn't as if it was just some script that he had to try to adapt. They kind of they shared together. So that was a big benefit there.


    Frank Marshall: Yeah, I think there's a lot to be said for understanding the mythology and understanding the journey that these characters are going on and being a fan of the franchise. And that's what Steven said about Colin, he's the perfect combination of a terrific filmmaker and a fan. And JA is kind of the same.


    Patrick Crowley: And also for JA and for us as producers, it was how do you take somebody who's never had the resources to do a movie like this and introduce them to him in a way so that he can take advantage of extensive storyboarding and pre-vis and you can go on location scouts, you can come to Hawaii twice before you shoot. All those kinds of things.


    And then working with our visual effects supervisor, visual effects producer at ILM to be able to get what you wanted. And it's like you start out with baby steps and you start to climb the ladder and then by the time you're ready to shoot, he's still a little raw around the edges just 'cause he's never commanded that many people, but then watch him work into it and make allies and build relationships and he's got his own DP, Oscar Faura, who's done all his movies. And he's got his editor. So particularly for a guy where English is not his first language, that's like a big comfort level. A big comfort level to be able to have that.


    Frank Marshall: Yeah, and that's part of our job is to surround him with the right people to help him get his vision up on the screen. Just knowing as a director that there are a couple people you gotta have that are like your security blanket, your DP, your editor... they're attached at the hip. If you don't have those people with you, you're gonna be lost. And so we understand that. And we made that part of what we wanted to do to support him.


    Eric Vespe: It also allows him to have that brand that you liked in the first place. The look, the pacing and tone of his work that made you want him for the job. That shorthand he already has with those collaborators that allows him to bring that to this and not trying to shoehorn him in to another specific thing.


    Frank Marshall: Yeah. And without referring to the current events, he knows that he's coming in to make a certain kind of movie. He's not here to be the auteur of “Oh I'm just gonna go off and create some crazy movie because that's what I wanna do.” That has really been great. It's really been exciting and fun and Colin's been involved and Steven looks at the dailies and it's so fun for us, because what we hoped would happen has happened.


    Peter Sciretta: And can you talk a bit about how Jeff Goldblum figures into all this?



    DjK86i6.jpg



    Frank Marshall: Yeah. From the start Colin wanted him to be the “Uh oh, danger, I told you from the start” kind of character. As he does so well.


    Patrick Crowley: It's not difficult.


    Frank Marshall: So when the volcano erupts and suddenly we're faced with are the dinosaurs gonna become extinct again, do we save them or do we not? That's the big question that he gets to pose again. And then we go from there. He's very philosophical in the movie. He doesn't come on the trip. But he's sort of an observer of what's been happening. And he speaks about that.


    Patrick Crowley: He bookends the movie.


    Frank Marshall: Yeah, he essentially bookends the movie with “I warned you and now I told you so. And now we're gonna be in a different place.”


    Peter Sciretta: Where is he at in his life now? 'Cause we haven't seen him in 20 years.


    Patrick Crowley: He was in Thor, wasn't he?


    Peter Sciretta: Oh, I just meant his character. We haven't seen him since The Lost World.

    Patrick Crowley: Oh, his character is... what he believed in before, he still believes in fervently now.


    Frank Marshall: Still very much so. He's a scientist/philosopher.


    Eric Vespe: Rock star.


    Frank Marshall: Yeah, Rock star. Well, he's very senatorial in this one. He goes to those kind of hearings now and speaks about science and the world and how science can affect the world and how we have to be careful what we wish for. Or just to be able to do something doesn't mean it's right.


    Peter Sciretta: What can you guys tell us, I know you're probably gonna be very vague, about the human bad guys in this?


    Frank Marshall: They're very complicated.


    Peter Sciretta: We like complicated villains.


    Frank Marshall: These movies are about... there's greed and that enters into it always, but there's the question: do you wanna have dinosaurs or do you not believe in us creating them? It's the whole cloning debate. There are two people on either side and yeah, we should have them and we can use them in real life for things and people should be able to go to the zoo and see a Tyrannosaurus Rex. There are other uses for them probably. So…


    Patrick Crowley: It's like in the last one, Simon Masrani moved things forward in terms of like genetic manipulation because he actually seemed to be relatively pure of heart. He wanted to provide entertainment for people. And we've evolved to and he was then a semi innocent villain. Whereas now you have guys who are sort of looking at what are the financial potentials? And then you have guys--


    Frank Marshall: How can we profit from this?


    Patrick Crowley: How can we profit from it? And then you have guys who are just real tough eggs.


    Eric Vespe: The Ted Levine character, right?


    Patrick Crowley: How'd you come up with Ted? He's so great in the movie. And Ted's just one of these guys that you go, if it came down to it I wanna make sure he's on my side.


    Eric Vespe: Yes!


    Patrick Crowley: And then you get Toby Jones. And Toby Jones can be anyone. He's the biggest chameleon of all. And Rafe Spall is just a great guy.



    Vq3gzg9.jpg



    Frank Marshall: Yeah, Rafe's great. And Lockwood is not a villain I wouldn't say.


    Patrick Crowley: No. He's no more of a villain than John Hammond was a villain.


    Frank Marshall: Yeah. So it's complex I hope.


    Eric Vespe: Nice.


    Frank Marshall: All right? You good?


    Eric Vespe: I think that's all I need. Thanks very much.


    Peter Sciretta: Yeah, we won't take any more of your time.


    Frank Marshall: We'll meet you again in a tent somewhere.


    Peter Sciretta: All right.


    Frank Marshall: Eric, Peter, great to see you guys.


    Eric Vespe: Thanks, Frank.


    Peter Sciretta: Thank you.



    AlmostHalfWay1.jpg


    Thanks for reading this first interview! I'll have more details from the set visit hitting tomorrow. On the docket are lengthy interviews with Bryce Dallas Howard, Chris Pratt, director JA Bayona and newcomers Justice Smith and Daniella Pineda as well as a more detailed piece on my adventures wandering the tropical set. Stay tuned!

  • This Week at ScrewAttack - 04/20/18

    2 months ago

    JoshuaKazemi @joshuakazemi

    A lot to cover this week! 


    Luffy VS Mr. Fantastic | DBX - Sound Design Notes 


    • You may notice something interesting about the voices I used for Luffy and Mr. F. So far I've only seen two people who have noticed...any guesses? 
    • Fights are fun to work on by the way - in case you were wondering. 

    Watch the Video: RT | YT  


    Top 10 Manliest Characters | Editor Notes 


    • #8 - Kool-Aid Man - Ah ha! The return of the lower third humor. I love it. 
    • #5 - Ron Swanson - Editing this entry might have been the easiest thing I have edited for ScrewAttack. I LOVE that show. 
    • #1 - Superman - Have y'all seen the Superman 75th anniversary short film? It's amazing! I hadn't seen it till editing this entry but I couldn't get enough of it. 

    Watch the Video: RT | YT  


    Cartoon All Stars VS Drugs | The Desk of The Desk of DEATH BATTLE - Writer & Editor Notes 


    • The first draft of this script was nearly three pages long. Most scripts are 1.5 pages. There was so much to make fun of! 
    • Those of you with a keen eye noticed that there was a JNCO jeans joke in this video and a recent Top 10. Nick and I wrote them independantly.
    • Here's an additional fun fact: The day this video goes live on YouTube is the same day this special aired: April 21, 1990. Exactly 28 years ago! Bug's time machine trickery is at work again! 

    Watch the Video: RT

  • Nomad Mid-Season & Camp Camp Season 3?!

    2 months ago

    Jordan Campe Diem

    Hey peoples! Just popping my head up from the approximately 1,345,433,850 projects going on to give you a quick update on Nomad of Nowhere's release schedule!


    So Nomad season one is twelve episodes in total, and this upcoming Friday is episode six -- what we are calling our mid-season finale. After this week, Nomad will go dark for a little while, to return later in the summer with the back half of the season. This week's episode is a natural end to our first arc of the season, and you'll be getting some cool development and backstory on some things that raise the stakes.


    In the meantime, you've got Camp Camp! A few months ago, Gray teased the fact we were working on a Blu-ray combo pack of Camp Camp seasons 1 & 2. Well, I've got an update for everyone about that: He wasn't lying! The Blu-ray exists and it goes on sale Tuesday, May 22nd! If you're looking to check out Camp Camp or catch-up on past episodes, the combo pack is a damn good option, as season 3 looms near.


    Oh, and speaking of Camp Camp season 3, I have been granted SPECIAL POWERS by the marketing department that allow me to announce that Camp Camp season 3 will premiere on Rooster Teeth FIRST FRIDAY, MAY 25TH! HOT DAMN THAT'S SOON. We're all excited to be heading back to Camp Campbell this summer for some camp-tastic camp-ventures, and we hope you are too.


    So to recap:

    • Nomad episode 6 is the mid-season finale (airing Friday, April 20th on FIRST)
    • Nomad will return later this summer
    • Camp Camp seasons 1&2 Blu-ray combo pack May 22nd
    • Camp Camp season 3 premieres May 25th


    Hell yeah  sunglasses




  • Halloween Gets A Neat Teaser Poster! Michael Myers Is Getting Old!

    2 months ago

    ericvespe

    We're exactly 6 months away from the release of the new Halloween movie and I'm pretty stoked to see how it plays out. David Gordon Green is directing from a script by himself and Danny McBride and, under the mentorship of John Carpenter, they're wiping away all the convoluted backstory shit and making a direct sequel to the very first movie. 


    The new poster they put out is striking. It's a monochrome image of the aged mask of Michael Myers. The years shown on the mask perhaps mirror the aged man underneath. Michael Myers is getting old! 


    It's a striking image. Check it out:



    halloween-2018-poster-1103254.jpeg



    Can't wait for this one. What about you guys?

  • 15 Years and counting..

    2 months ago

    ChrisKO Might steal your tacos

    Tonight was pretty amazing. 


    I had a chance to check out the newest RT Doc: "Why We're Here" . The title kind of gives away the plot. So, you know, I'll try and avoid spoilers. :) 


    When I heard about this documentary, I was so elated. Not really sure what it was exactly. But I was just really amped about it. 


    Was it because I'm working for a company that's been around for long enough to warrant a documentary? 


    Was it because RT had seen so much growth and cool content over the past 15 years? 


    Was it because I wanted the free booze at the cocktail party? (I mean. No, but that was pretty sweet.)


    Before I saw it, I wasn't really sure. But then, the lights dimmed, we saw some super neat trailers, and as the documentary played, it all kind of just clicked.


    An abridged backstory to my history with RT: I knew incredibly little about the company before I started working here. What I did know was, 17 year old me thought PANICS was one of the funniest things to ever grace the internet - and that was the last I really heard of RT until 2015. Did I ever suspect I'd be working with the guys who made that? Absolutely not. Not because it seemed insurmountable, but because it wasn't really something you considered back then when watching videos on the internet. At least, not for me. Then again, I didn't even know what I wanted to do with my life around that time - but here we are. 

    Okay. Enough of that. 


    So as I'm watching this documentary, I started to notice that I was smiling like an idiot watching my peers and superiors on screen as they talked about the history of RT from it's humble beginnings, through RTX and so many other pieces (you'll just have to watch to find out). As it rolled on, though, I noticed that everyone on screen was just.. so incredibly sincere about everything they had to say. It's kind of hard to describe, but it just felt like everyone really truly cared about the company and its accomplishments, and it was such an awesome feeling to witness it on screen. It's not often in this industry, you meet so many passionate individuals within a single company that are there because they were inspired by something they saw them do years before and are now innovating and doing awesome things with said company. 


    Well, at least, not in my history, but ymmv. 


    Even more, it makes me so happy to see how much they realize that it's you, the community, that helps us to keep moving forward. Seriously. Without y'all, we wouldn't be over here working on cool shit™.


    So thank you! <3!


    I hope that in my coming years here, I get to spend more time meeting and establishing friendships with the folks at RT and doing more community things with you lovely people. I'm excited to see where this road takes us. 


    TL;DR - I'm pretty excited for y'all to see this documentary. I laughed. I cried. I had a great time and spent entirely way too long on this journal entry. Major kudos (o7) to all who worked on it and cheers to RT for 15 years. 


    Here's to 15 more.


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