The Creator won big at the 22nd annual Visual Effects Society Awards Wednesday night.
The awards were handed out during a ceremony, hosted by actor-comedian Jay Pharoah, at the Beverly Hilton in Los Angeles.
The Creator took home five awards in the feature competition, including outstanding visual effects in a photoreal feature. The Last of Us was also a top winner in the series categories, scoring four awards, and Spider-Man: Across the Spider-Verse led the animation competition with four wins.
Other winners of the night included Guardians of the Galaxy Vol. 3, Oppenheimer, Nyad, The Mandalorian and The Flash.
It was previously announced that producer Joyce Cox, who produced VFX on movies including Avatar and The Dark Knight, received the Society’s Lifetime Achievement Award during the ceremony.
Actor-producer-director William Shatner was also previously revealed as the recipient of the award for Creative Excellence in “recognition of his valuable contributions...
The awards were handed out during a ceremony, hosted by actor-comedian Jay Pharoah, at the Beverly Hilton in Los Angeles.
The Creator took home five awards in the feature competition, including outstanding visual effects in a photoreal feature. The Last of Us was also a top winner in the series categories, scoring four awards, and Spider-Man: Across the Spider-Verse led the animation competition with four wins.
Other winners of the night included Guardians of the Galaxy Vol. 3, Oppenheimer, Nyad, The Mandalorian and The Flash.
It was previously announced that producer Joyce Cox, who produced VFX on movies including Avatar and The Dark Knight, received the Society’s Lifetime Achievement Award during the ceremony.
Actor-producer-director William Shatner was also previously revealed as the recipient of the award for Creative Excellence in “recognition of his valuable contributions...
- 2/22/2024
- by Carly Thomas
- The Hollywood Reporter - Movie News
Gareth Edwards’ “The Creator” was the big winner at the 22nd Visual Effects Society Awards (held February 21 at the Beverly Hilton Hotel). The AI-themed, sci-fi actioner earned five awards, including the top photoreal feature VFX prize. The other awards were for modeling (Nomad), created environment (Floating Village), effects simulations, and compositing & lighting (Bar).
“The Creator” utilized an innovative streamlining process in post, in which Ilm designed and placed the naturalistic VFX over the actors playing AI simulants and the photographic plates as set extensions. This made the $80 million indie look like a $200 million blockbuster, with director Edwards shooting the entire film guerilla-style in 80 locations throughout Southeast Asia as the primary camera operator with a small crew and natural light.
Meanwhile, “Spider-Man: Across the Spider-Verse,” the animated feature Oscar favorite (snubbed by the Academy’s VFX branch), took home four awards, including the top animated VFX prize. Sony Pictures Imageworks innovated...
“The Creator” utilized an innovative streamlining process in post, in which Ilm designed and placed the naturalistic VFX over the actors playing AI simulants and the photographic plates as set extensions. This made the $80 million indie look like a $200 million blockbuster, with director Edwards shooting the entire film guerilla-style in 80 locations throughout Southeast Asia as the primary camera operator with a small crew and natural light.
Meanwhile, “Spider-Man: Across the Spider-Verse,” the animated feature Oscar favorite (snubbed by the Academy’s VFX branch), took home four awards, including the top animated VFX prize. Sony Pictures Imageworks innovated...
- 2/22/2024
- by Bill Desowitz
- Indiewire
As had been generally expected, Gareth Edwards’ futuristic sci-fi film “The Creator” proved to be the favorite among visual effects practitioners. The film topped the feature competition at the 22nd Visual Effects Society Awards, claiming five wins including one in the leading category for outstanding VFX in a photoreal feature.
Wednesday night at the Beverly Hilton, it also won the categories for created environment, model, compositing and lighting and effects simulations. Also, in the feature competition, “Guardians of the Galaxy Vol. 3” collected two awards for the digital character (the emotive Rocket) and virtual cinematography. “Oppenheimer” grabbed the trophy for practical effects, and “Nyad” took home the award for supporting VFX. Sony Pictures Animation’s “Spider-Man: Across the Spider-Verse” was the big winner among the animated features, collecting four awards.
“The Creator,” whose VFX was led by Industrial Light + Magic, and Guardians 3, whose work was shared by roughly 10 VFX companies,...
Wednesday night at the Beverly Hilton, it also won the categories for created environment, model, compositing and lighting and effects simulations. Also, in the feature competition, “Guardians of the Galaxy Vol. 3” collected two awards for the digital character (the emotive Rocket) and virtual cinematography. “Oppenheimer” grabbed the trophy for practical effects, and “Nyad” took home the award for supporting VFX. Sony Pictures Animation’s “Spider-Man: Across the Spider-Verse” was the big winner among the animated features, collecting four awards.
“The Creator,” whose VFX was led by Industrial Light + Magic, and Guardians 3, whose work was shared by roughly 10 VFX companies,...
- 2/22/2024
- by Carolyn Giardina and Diego Ramos Bechara
- Variety Film + TV
“Oppenheimer,” “Spider-Man: Across the Spider-Verse” and “The Last of Us” are among the nominees for the Visual Effects Society (Ves) Awards.
Gareth Edwards’ “The Creator” leads the feature film field with seven nominations. “Spider-Man: Across the Spider-Verse” is the top animated contender with seven nominations and 24-time Emmy-nominated drama “The Last of Us” leads the episodic field with six nominations.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” Ves chair Kim Davidson said. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of our nominees.”
The Ves is a global honorary society dedicated to “advancing the arts, sciences and applications of visual effects and to upholding...
Gareth Edwards’ “The Creator” leads the feature film field with seven nominations. “Spider-Man: Across the Spider-Verse” is the top animated contender with seven nominations and 24-time Emmy-nominated drama “The Last of Us” leads the episodic field with six nominations.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” Ves chair Kim Davidson said. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of our nominees.”
The Ves is a global honorary society dedicated to “advancing the arts, sciences and applications of visual effects and to upholding...
- 1/16/2024
- by Diego Ramos Bechara
- Variety Film + TV
The Visual Effects Society has composited the nominees for its 22nd annual Ves Awards, which will be handed out next month. Disney’s The Creator and Sony’s Spider-Man: Across the Spider-Verse lead the field with seven noms apiece, and HBO’s The Last of Us tops TV with six. See the full list below.
The annual Ves Awards will be handed out during the group’s 22nd annual ceremony February 21 at the Beverly Hilton. They recognize outstanding visual effects artistry and innovation in 25 categories spanning features, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on artists who bring this work to life.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” said Kim Davidson, newly elected Ves Chair. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation.
The annual Ves Awards will be handed out during the group’s 22nd annual ceremony February 21 at the Beverly Hilton. They recognize outstanding visual effects artistry and innovation in 25 categories spanning features, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on artists who bring this work to life.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” said Kim Davidson, newly elected Ves Chair. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation.
- 1/16/2024
- by Erik Pedersen
- Deadline Film + TV
The Spider-Society has webbed in a few honors. The Visual Effects Society has announced their nominations for the 22nd annual Ves Awards, with “Spider-Man: Across the Spider-Verse” leading the pack.
Held every winter, the Ves Awards honor the best achievements in visual effects artistry over the previous calendar year, with VFX professionals in film, television, video games, and commercials receiving recognition. Nominees in 25 categories are selected by Ves members through a process of 39 in-person and virtual nomination events, held worldwide and conducted during a 36-hour period. A minimum of three judging panels review each submission for the awards, looking at “Before and Afters” for each prospective nominee. Ves judging panels this year included members of the society from 25 different countries.
“Spider-Man: Across the Spider-Verse” was the top animated film to receive nominations this year, gaining seven nominations including Outstanding Effects in an Animated Feature and specific nods for modeling, character animation,...
Held every winter, the Ves Awards honor the best achievements in visual effects artistry over the previous calendar year, with VFX professionals in film, television, video games, and commercials receiving recognition. Nominees in 25 categories are selected by Ves members through a process of 39 in-person and virtual nomination events, held worldwide and conducted during a 36-hour period. A minimum of three judging panels review each submission for the awards, looking at “Before and Afters” for each prospective nominee. Ves judging panels this year included members of the society from 25 different countries.
“Spider-Man: Across the Spider-Verse” was the top animated film to receive nominations this year, gaining seven nominations including Outstanding Effects in an Animated Feature and specific nods for modeling, character animation,...
- 1/16/2024
- by Wilson Chapman
- Indiewire
Spoiler Alert: This story contains spoilers for “Killers of the Flower Moon.”
The haunting “Killers of the Flower Moon” scene where Lily Gladstone’s Mollie Burkhart sits at the bottom of a staircase and lets out a devastating scream after learning that her sister was killed in an explosion is one of the film’s most affecting moments. According to cinematographer Rodrigo Prieto, it was unscripted.
Prieto, a longtime collaborator of director Martin Scorsese, believes the last-minute change came together because the filmmaker “trusts his actors, and they’re a part of the process.”
Based on the nonfiction book by David Grann, “Killers of the Flower Moon” stars Leonardo DiCaprio as Ernest Burkhart, a war veteran who comes to Oklahoma in the 1920s to work for his wealthy uncle, William King Hale, played by Robert De Niro. Hale encourages Ernest to marry Mollie, as her Osage family owns oil rights and could make them rich.
The haunting “Killers of the Flower Moon” scene where Lily Gladstone’s Mollie Burkhart sits at the bottom of a staircase and lets out a devastating scream after learning that her sister was killed in an explosion is one of the film’s most affecting moments. According to cinematographer Rodrigo Prieto, it was unscripted.
Prieto, a longtime collaborator of director Martin Scorsese, believes the last-minute change came together because the filmmaker “trusts his actors, and they’re a part of the process.”
Based on the nonfiction book by David Grann, “Killers of the Flower Moon” stars Leonardo DiCaprio as Ernest Burkhart, a war veteran who comes to Oklahoma in the 1920s to work for his wealthy uncle, William King Hale, played by Robert De Niro. Hale encourages Ernest to marry Mollie, as her Osage family owns oil rights and could make them rich.
- 12/13/2023
- by Jazz Tangcay
- Variety Film + TV
Five of the industry’s top visual effects supervisors joined Gold Derby as part of our Meet the Experts visual effects panel to discuss how much they each value keeping their work as realistic as possible.
“To me, visual effects is about putting something together with something that we shot that is completely invisible,” “Killers of the Flower Moon” visual effects supervisor Pablo Helman explains in our exclusive video interview roundtable. “And if we do that, then we’re telling a completely different story than what we shot, and it’s part of that story.”
“I love working on shows that are grounded in the real world,” “Oppenheimer” visual effects supervisor Andrew Jackson adds. “I’ve certainly found myself going away from the idea of using green screens and blue screens these days. And, you know, as roto gets better and easier, it allows the Dp to light the scene...
“To me, visual effects is about putting something together with something that we shot that is completely invisible,” “Killers of the Flower Moon” visual effects supervisor Pablo Helman explains in our exclusive video interview roundtable. “And if we do that, then we’re telling a completely different story than what we shot, and it’s part of that story.”
“I love working on shows that are grounded in the real world,” “Oppenheimer” visual effects supervisor Andrew Jackson adds. “I’ve certainly found myself going away from the idea of using green screens and blue screens these days. And, you know, as roto gets better and easier, it allows the Dp to light the scene...
- 11/29/2023
- by Christopher Rosen
- Gold Derby
James Cameron’s juggernaut Avatar: The Way of Water swept the awards in the feature competition at the 21st annual Visual Effects Society Awards on Wednesday night at the Beverly Hilton.
Its nine wins included one for the top category of outstanding VFX in a photoreal feature. The movie also collected trophies for animated character (for Kiri, played by Sigourney Weaver), practical effects (for the current machine and wave pool), compositing and lighting (water integration), effects simulations (water), model (the sea dragon), environments (the reef) and virtual cinematography. Additionally, its water toolset won the new Ves award for emerging technology. The movie entered the evening with a record 14 noms (it earned multiple nominations in some of the categories that it won).
Guillermo del Toro’s Pinocchio was a big winner in the feature animation field, winning a trio of prizes including one for outstanding VFX in an animated feature. Meanwhile...
Its nine wins included one for the top category of outstanding VFX in a photoreal feature. The movie also collected trophies for animated character (for Kiri, played by Sigourney Weaver), practical effects (for the current machine and wave pool), compositing and lighting (water integration), effects simulations (water), model (the sea dragon), environments (the reef) and virtual cinematography. Additionally, its water toolset won the new Ves award for emerging technology. The movie entered the evening with a record 14 noms (it earned multiple nominations in some of the categories that it won).
Guillermo del Toro’s Pinocchio was a big winner in the feature animation field, winning a trio of prizes including one for outstanding VFX in an animated feature. Meanwhile...
- 2/16/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
To the surprise of no one, James Cameron’s dazzling Avatar: The Way of Water dominated the 21st annual Visual Effects Society Award nominations, which were announced on Tuesday. The juggernaut earned 14 Ves noms, a record number for a feature film or any single project in the society’s awards history.
That includes a nomination in the top category for outstanding VFX in a photoreal feature. Alongside The Way of Water, the category nominees are Fantastic Beasts: The Secrets of Dumbledore, Jurassic World: Dominion, The Batman and Top Gun: Maverick. Nominees in the category for supporting VFX are Death on the Nile, I Wanna Dance With Somebody, The Fabelmans, The Gray Man, The Pale Blue Eye and Thirteen Lives.
Guillermo del Toro’s Pinocchio leads the animated contenders, with six nominations including one for outstanding VFX in an animated feature. Meanwhile The Lord of the Rings: The Rings of Power...
That includes a nomination in the top category for outstanding VFX in a photoreal feature. Alongside The Way of Water, the category nominees are Fantastic Beasts: The Secrets of Dumbledore, Jurassic World: Dominion, The Batman and Top Gun: Maverick. Nominees in the category for supporting VFX are Death on the Nile, I Wanna Dance With Somebody, The Fabelmans, The Gray Man, The Pale Blue Eye and Thirteen Lives.
Guillermo del Toro’s Pinocchio leads the animated contenders, with six nominations including one for outstanding VFX in an animated feature. Meanwhile The Lord of the Rings: The Rings of Power...
- 1/17/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
“Avatar: The Way of Water” has made history once more.
As James Cameron’s long-gestating sequel continues its climb up the all-time box-office charts, “The Way of Water” set a new record for the most nominations for a single project from the Visual Effects Society Awards, announced this morning. The film’s 14 nods highlight achievements that range from VFX to character animation to emerging technology, where it accounts for three of the category’s five nominees. This tally surpasses the previous records set by the 11 nominations for the original “Avatar” in 2010 and the 13 nominations for “The Mandalorian” in 2021.
Joining “The Way of Water” on the Ves leaderboard are “Guillermo del Toro’s Pinocchio” and “The Lord of the Rings: The Rings of Power,” which respectively top the animation and TV fields with six and seven nominations. The 21st annual Visual Effects Society Awards will take place February 15 at the Beverly Hilton,...
As James Cameron’s long-gestating sequel continues its climb up the all-time box-office charts, “The Way of Water” set a new record for the most nominations for a single project from the Visual Effects Society Awards, announced this morning. The film’s 14 nods highlight achievements that range from VFX to character animation to emerging technology, where it accounts for three of the category’s five nominees. This tally surpasses the previous records set by the 11 nominations for the original “Avatar” in 2010 and the 13 nominations for “The Mandalorian” in 2021.
Joining “The Way of Water” on the Ves leaderboard are “Guillermo del Toro’s Pinocchio” and “The Lord of the Rings: The Rings of Power,” which respectively top the animation and TV fields with six and seven nominations. The 21st annual Visual Effects Society Awards will take place February 15 at the Beverly Hilton,...
- 1/17/2023
- by Erik Adams
- Indiewire
James Cameron’s “Avatar: The Way of Water” leads the feature competition at the 21st Annual Ves Awards.
The film earned a total of 14 Ves Awards nominations, setting a new record for record nominations for a feature film. The original “Avatar” was the previous record holder when it received 11 nominations at the 8th Annual Ves Awards held in 2010.
“Guillermo Del Toro’s Pinocchio” received six nominations in the animation category making it the top animated contender.
Ves members selected nominees in 25 categories at 27 in-person and virtual nomination events conducted worldwide. The winners will be announced on Feb. 15 at the Beverly Hilton Hotel in Los Angeles.
This year marks the presentation of the first Ves Emerging Technology Award, which celebrates the creators of the technology behind the visuals and honors the inventors of a novel and uniquely innovative tool, device, software or methodology of outstanding value to the art and science of visual effects,...
The film earned a total of 14 Ves Awards nominations, setting a new record for record nominations for a feature film. The original “Avatar” was the previous record holder when it received 11 nominations at the 8th Annual Ves Awards held in 2010.
“Guillermo Del Toro’s Pinocchio” received six nominations in the animation category making it the top animated contender.
Ves members selected nominees in 25 categories at 27 in-person and virtual nomination events conducted worldwide. The winners will be announced on Feb. 15 at the Beverly Hilton Hotel in Los Angeles.
This year marks the presentation of the first Ves Emerging Technology Award, which celebrates the creators of the technology behind the visuals and honors the inventors of a novel and uniquely innovative tool, device, software or methodology of outstanding value to the art and science of visual effects,...
- 1/17/2023
- by Jazz Tangcay
- Variety Film + TV
Suffice it to say that Avatar: The Way of Water commanded the Visual Effects Society’s attention. James Cameron box office-smash sequel scored a record 14 nominations for the 2023 Ves Awards, which were announced today.
Helped by three noms in the Emerging Technology category, Disney’s The Way of Water topped the single-year noms haul by Disney+’s The Mandalorian in 2021. It also shattered the old high-water mark for films, set by — no big surprise here — the original Avatar, which amassed 11 noms in 2010.
Related Story 2022-23 Awards Season Calendar – Dates For The Oscars, Grammys, Guilds & More Related Story Moviegoing Happens Over MLK: 'Avatar 2' Soars With 40M 4-day, 'M3GAN' Moves 21M+, 'Puss In Boots 2' Hits 112M, 'Otto' Bright At 15M+ – Update Related Story C'mon Voters: The Oscars Could Use A Little Sequel-itis
The hardware will be doled out at the 21st annual Ves Awards on Wednesday,...
Helped by three noms in the Emerging Technology category, Disney’s The Way of Water topped the single-year noms haul by Disney+’s The Mandalorian in 2021. It also shattered the old high-water mark for films, set by — no big surprise here — the original Avatar, which amassed 11 noms in 2010.
Related Story 2022-23 Awards Season Calendar – Dates For The Oscars, Grammys, Guilds & More Related Story Moviegoing Happens Over MLK: 'Avatar 2' Soars With 40M 4-day, 'M3GAN' Moves 21M+, 'Puss In Boots 2' Hits 112M, 'Otto' Bright At 15M+ – Update Related Story C'mon Voters: The Oscars Could Use A Little Sequel-itis
The hardware will be doled out at the 21st annual Ves Awards on Wednesday,...
- 1/17/2023
- by Erik Pedersen
- Deadline Film + TV
On Mank, VFX supervisor Wei Zheng paired state-of-the-art technology with old-school filmmaking techniques, to help David Fincher craft a singular portrait of Hollywood’s Golden Age. Marking Zheng’s sixth collaboration with the director, the Netflix drama follows alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman), as he finishes the script for Citizen Kane.
By implementing matte painting and rear projection, along with other tools and tricks, Fincher and his team minimized the budget necessary to assemble an authentic period piece, manipulating L.A. exteriors when necessary, or avoiding them altogether. Ultimately, what these tools offered Fincher was complete control of every image, and interestingly, the director himself served as the film’s overall VFX supervisor, though he chose to go uncredited.
At the same time, it took a village to bring his vision to life. Supporting him in his ambitions, alongside Zheng (Artemple Hollywood), were VFX supervisors Simon Carr (Territory Studio...
By implementing matte painting and rear projection, along with other tools and tricks, Fincher and his team minimized the budget necessary to assemble an authentic period piece, manipulating L.A. exteriors when necessary, or avoiding them altogether. Ultimately, what these tools offered Fincher was complete control of every image, and interestingly, the director himself served as the film’s overall VFX supervisor, though he chose to go uncredited.
At the same time, it took a village to bring his vision to life. Supporting him in his ambitions, alongside Zheng (Artemple Hollywood), were VFX supervisors Simon Carr (Territory Studio...
- 3/5/2021
- by Matt Grobar
- Deadline Film + TV
Variety's Awards Circuit is home to the official predictions for the upcoming Oscars from Film Awards Editor Clayton Davis. Following Academy Awards history, buzz, news, reviews and sources, the Oscar predictions are updated regularly with the current year's contenders in all categories. Variety's Awards Circuit Prediction schedule consists of four phases, running all year long: Draft, Pre-Season, Regular Season and Post Season. Eligibility calendar and dates of awards will determine how long each phase lasts and will be displayed next to revision date.
To see all the latest predictions, of all the categories, in one place, visit The Collective
Draft>>>Pre Season>>>Regular Season>>>Post Season
2021 Oscars Predictions:
Best Visual Effects
Updated: Mar. 4, 2021
Awards Prediction Commentary: “Mank,” “The Midnight Sky” and “Tenet” feel “safe” for the moment and then there are two interchangeable spots that could go to the documentary “Welcome to Chechnya” or perhaps a bigger film like “Mulan” after debuting on Disney Plus.
To see all the latest predictions, of all the categories, in one place, visit The Collective
Draft>>>Pre Season>>>Regular Season>>>Post Season
2021 Oscars Predictions:
Best Visual Effects
Updated: Mar. 4, 2021
Awards Prediction Commentary: “Mank,” “The Midnight Sky” and “Tenet” feel “safe” for the moment and then there are two interchangeable spots that could go to the documentary “Welcome to Chechnya” or perhaps a bigger film like “Mulan” after debuting on Disney Plus.
- 3/4/2021
- by Clayton Davis
- Variety Film + TV
While the “Mank” visual effects team meticulously recreated ’30s-era LA in black-and-white, David Fincher took a special interest in directing the photo-real CG animals from Industrial Light & Magic that inhabit the Hearst Castle private zoo.
In a brief but memorable series of exchanges with the animals during their chatty moonlight stroll, Mank (Gary Oldman) and Marion Davies (Amanda Seyfried), are definitely upstaged by the scene-stealing Capuchin monkeys, elephants, and giraffes. “David wanted specific performances from all the animals,” said Ilm VFX supervisor Pablo Helman (“The Irishman”). “He wanted the [four] monkeys to be agitated, the giraffes to spring in a certain way, and the elephants to have a response.”
Fincher, who served as his own production VFX supervisor (alongside VFX producer Peter Mavromates), treated the animals as a sort of Greek chorus with their own story beats, interjecting ironically on the political discussion about corruption and imprisonment, for example. When one...
In a brief but memorable series of exchanges with the animals during their chatty moonlight stroll, Mank (Gary Oldman) and Marion Davies (Amanda Seyfried), are definitely upstaged by the scene-stealing Capuchin monkeys, elephants, and giraffes. “David wanted specific performances from all the animals,” said Ilm VFX supervisor Pablo Helman (“The Irishman”). “He wanted the [four] monkeys to be agitated, the giraffes to spring in a certain way, and the elephants to have a response.”
Fincher, who served as his own production VFX supervisor (alongside VFX producer Peter Mavromates), treated the animals as a sort of Greek chorus with their own story beats, interjecting ironically on the political discussion about corruption and imprisonment, for example. When one...
- 2/3/2021
- by Bill Desowitz
- Indiewire
You need to be able to laugh at yourself. In the case of the utter disaster that was “Cats” this turns out to be doubly true, as the box office and critical bomb has found a second life through sold-out rowdy screenings at Alamo Drafthouse where the film is being embraced as camp.
It’s against this backdrop that two of the film’s stars, James Corden and Rebel Wilson, were instantly hilarious, dressed in their “Cats” costumes, strutting out into the pomp and prestige of Dolby Theatre stage on Sunday night. That they were there to introduce the Oscar for Best Visual Effects turned the sight gag from funny-to-cringe inducing just as quickly.
“As cast members of the motion picture ‘Cats,’” said Wilson, pausing for emphasis and laughs, before she and Corden finished the joke in unison. “Nobody more than us understands the importance of good visual effects.”
Late yesterday,...
It’s against this backdrop that two of the film’s stars, James Corden and Rebel Wilson, were instantly hilarious, dressed in their “Cats” costumes, strutting out into the pomp and prestige of Dolby Theatre stage on Sunday night. That they were there to introduce the Oscar for Best Visual Effects turned the sight gag from funny-to-cringe inducing just as quickly.
“As cast members of the motion picture ‘Cats,’” said Wilson, pausing for emphasis and laughs, before she and Corden finished the joke in unison. “Nobody more than us understands the importance of good visual effects.”
Late yesterday,...
- 2/11/2020
- by Chris O'Falt
- Indiewire
Netflix’s “The Irishman” struck out at the Oscars on Sunday night, despite its 10 nominations.
Martin Scorsese’s sprawling three-and-a-half-hour look at a gangster’s life received 10 Academy Award nominations on Jan. 13 and came away empty-handed.
“The Irishman” has now joined five titles that amount to the Oscar snubs hall of fame that hit double figures in nominations, but wound up with nothing at the awards ceremonies. That roster is led by Steven Spielberg’s “The Color Purple” and Herbert Ross’ “The Turning Point,” which both received 11 nominations. “The Irishman” now joins three other films — Scorsese’s “Gangs of New York,” the Coen brothers’ “True Grit” and David O. Russell’s “American Hustle” — with 10 nominations and no wins.
Netflix also campaigned heavily for “Marriage Story,” which was nominated for six Oscars and won one for Laura Dern for supporting actress. The streamer netted two Oscar wins for the night, including best documentary for “American Factory.
Martin Scorsese’s sprawling three-and-a-half-hour look at a gangster’s life received 10 Academy Award nominations on Jan. 13 and came away empty-handed.
“The Irishman” has now joined five titles that amount to the Oscar snubs hall of fame that hit double figures in nominations, but wound up with nothing at the awards ceremonies. That roster is led by Steven Spielberg’s “The Color Purple” and Herbert Ross’ “The Turning Point,” which both received 11 nominations. “The Irishman” now joins three other films — Scorsese’s “Gangs of New York,” the Coen brothers’ “True Grit” and David O. Russell’s “American Hustle” — with 10 nominations and no wins.
Netflix also campaigned heavily for “Marriage Story,” which was nominated for six Oscars and won one for Laura Dern for supporting actress. The streamer netted two Oscar wins for the night, including best documentary for “American Factory.
- 2/10/2020
- by Dave McNary
- Variety Film + TV
Martin Scorsese gave Ilm special effects supervisor Pablo Helman the script for The Irishman in 2015 on the set of Silence, and he was hooked. It took the visual effects maestro and a team of 500 people four years to work with Scorsese to de-age Robert De Niro, Al Pacino, and Joe Pesci for the epic mob drama. Helman told me the 1,750 shots they created for the film is the most difficult work he’s done in his 30-year career.
During our conversation, Helman tells us every face, gesture, and movement in the film is intentional, with Scorsese utilizing the new technology Helman pioneered to reflect on the passage of time through Frank Sheeran’s memories–as if the character remembers his life of crime filtered through his current age and physical condition.
I spoke at length with Helman about transitioning from the helmet cams made famous by Star Wars: The Force Awakens...
During our conversation, Helman tells us every face, gesture, and movement in the film is intentional, with Scorsese utilizing the new technology Helman pioneered to reflect on the passage of time through Frank Sheeran’s memories–as if the character remembers his life of crime filtered through his current age and physical condition.
I spoke at length with Helman about transitioning from the helmet cams made famous by Star Wars: The Force Awakens...
- 2/5/2020
- by Joshua Encinias
- The Film Stage
Motion capture in one form or another has been around for decades, and certainly the most recognizable modern use comes from “The Lord of the Rings” films in which Andy Serkis portrayed the beady-eyed creature Gollum. The actor wore a special bodysuit, helmet and strategically placed markers so that each detail of the part computer-generated, part live-action performance appeared on screen.
Howver, the Pablo Helman-led Ilm visual-effects team behind “The Irishman” from Martin Scorsese didn’t have the luxury to use such technology.
The story chronicles the criminal and union ties between Frank Sheeran (Robert De Niro), notorious crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino) over four decades. The iconic actors, now in their 70s, needed to appear younger in many scenes. To rejuvenate them, Scorsese didn’t want to use technology that could intrude or restrict the performances. The Ilm team took...
Howver, the Pablo Helman-led Ilm visual-effects team behind “The Irishman” from Martin Scorsese didn’t have the luxury to use such technology.
The story chronicles the criminal and union ties between Frank Sheeran (Robert De Niro), notorious crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino) over four decades. The iconic actors, now in their 70s, needed to appear younger in many scenes. To rejuvenate them, Scorsese didn’t want to use technology that could intrude or restrict the performances. The Ilm team took...
- 2/3/2020
- by Daron James
- Variety Film + TV
‘1917’ leads the way; Joaquin Phoenix, Renée Zellweger, ‘Parasite’, ‘Bait’ among the winners.
The 2020 Bafta Film Awards are taking place tonight (2 Feb) at the Royal Albert Hall in London.
Screen will be posting all the winners on this page and on Twitter as they are announced.
The ceremony started at 18:45 UK time and finishes at approximately 21:30, with Graham Norton on hosting duties for the first time.
Joker leads the way with 11 nominations. The Irishman and Once Upon A Time… In Hollywood follow on 10, with 1917 earning nine nods.
Winners as they happen in bold (latest first), below.
Leading Actress Jessie Buckley...
The 2020 Bafta Film Awards are taking place tonight (2 Feb) at the Royal Albert Hall in London.
Screen will be posting all the winners on this page and on Twitter as they are announced.
The ceremony started at 18:45 UK time and finishes at approximately 21:30, with Graham Norton on hosting duties for the first time.
Joker leads the way with 11 nominations. The Irishman and Once Upon A Time… In Hollywood follow on 10, with 1917 earning nine nods.
Winners as they happen in bold (latest first), below.
Leading Actress Jessie Buckley...
- 2/2/2020
- by 1101184¦Orlando Parfitt¦38¦
- ScreenDaily
De-aging has come a long way since “The Curious Case of Benjamin Button.” When visual-effects artists worked on that film more than 12 years ago, the processing power, camera techniques and software used for films such as “The Irishman” and “Gemini Man” were far, far off.
Today, VFX supervisors can create the de-aging setup that suits the film. Or they can even make a de-aged character based on digital capture. Each team works out the solutions that works best for the project, based on the helmer’s ideas and the budget they’re given.
“What you’re seeing with Will Smith in ‘Gemini Man’ isn’t de-aging,” says Bill Westenhofer, VFX supervisor on “Gemini Man.” “It’s a completely digital human whose performance is driven by Will Smith’s acting that’s been recorded with performance capture. In the future, actors may have to consider having themselves digitally scanned because we...
Today, VFX supervisors can create the de-aging setup that suits the film. Or they can even make a de-aged character based on digital capture. Each team works out the solutions that works best for the project, based on the helmer’s ideas and the budget they’re given.
“What you’re seeing with Will Smith in ‘Gemini Man’ isn’t de-aging,” says Bill Westenhofer, VFX supervisor on “Gemini Man.” “It’s a completely digital human whose performance is driven by Will Smith’s acting that’s been recorded with performance capture. In the future, actors may have to consider having themselves digitally scanned because we...
- 1/31/2020
- by Karen Idelson
- Variety Film + TV
Disney’s “The Lion King” roared Wednesday night at the Ves Awards, grabbing the top VFX prize for photoreal feature along with virtual cinematography and the environment for The Pridelands. The kudos from the visual effects community (where three-time Oscar winning supervisor Rob Legato is hailed as a rock star) could tip the Oscar race in favor of “The Lion King.” That is, if Academy voters are equally impressed by the photoreal beauty of Jon Favreau’s faux live-action aesthetic (lensed by the legendary cinematographer Caleb Deschanel and animated by Mpc Film).
Indeed, it would make history, since no CG-animated movie has ever won the VFX Oscar. And that would be quite a testament to this game changer because, traditionally, the VFX branch has honored the seamless integration of live action and photoreal CG. But there is no integration in “The Lion King.” Team Favreau cleverly fooled us into thinking...
Indeed, it would make history, since no CG-animated movie has ever won the VFX Oscar. And that would be quite a testament to this game changer because, traditionally, the VFX branch has honored the seamless integration of live action and photoreal CG. But there is no integration in “The Lion King.” Team Favreau cleverly fooled us into thinking...
- 1/30/2020
- by Bill Desowitz
- Indiewire
Disney’s “The Lion King” was the big VFX winner Wednesday at the 18th annual Ves Awards at the Beverly Hilton, grabbing three prizes. Meanwhile. Martin Scorsese’s “The Irishman” won for supporting VFX and feature compositing.
This now gives the edge to “The Lion King” (supervised by three-time Oscar winner Rob Legato) in the VFX Oscar race. Jon Favreau’s breakthrough virtual production and faux live-action aesthetic was due to Mpc Film’s accomplished photoreal animation. Of course, “The Irishman” has been given a boost, too. And we shouldn’t count out “Avengers: Endgame,” seeking to become the first Marvel movie to win the VFX Oscar, even though it came away empty-handed for its extraordinary end battle and outstanding character work on Thanos and Smart Hulk.
Laika’s stop-motion “Missing Link,” the Golden Globe animation winner, took two awards (VFX for animated feature and the Susan Sasquatch animated character...
This now gives the edge to “The Lion King” (supervised by three-time Oscar winner Rob Legato) in the VFX Oscar race. Jon Favreau’s breakthrough virtual production and faux live-action aesthetic was due to Mpc Film’s accomplished photoreal animation. Of course, “The Irishman” has been given a boost, too. And we shouldn’t count out “Avengers: Endgame,” seeking to become the first Marvel movie to win the VFX Oscar, even though it came away empty-handed for its extraordinary end battle and outstanding character work on Thanos and Smart Hulk.
Laika’s stop-motion “Missing Link,” the Golden Globe animation winner, took two awards (VFX for animated feature and the Susan Sasquatch animated character...
- 1/30/2020
- by Bill Desowitz
- Indiewire
“The Lion King,” the Disney “live-action” remake that is made up almost entirely of computer-generated characters and backgrounds, has won three awards at the Visual Effects Society’s 18th annual Ves Awards, which were handed out Wednesday night in Los Angeles.
The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the Ves category that corresponds most closely to the Academy Awards’ Best Visual Effects category.
“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.
Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'
In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,...
The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the Ves category that corresponds most closely to the Academy Awards’ Best Visual Effects category.
“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.
Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'
In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,...
- 1/30/2020
- by Steve Pond
- The Wrap
On Martin Scorsese’s The Irishman, VFX Supervisor Pablo Helman faced the “astronomical” challenge of de-aging Robert De Niro, Al Pacino and Joe Pesci for a gangster epic that jumped back and forth in time, developing groundbreaking software and a three-part camera rig through which the team at Ilm could pull the job off.
Describing the endeavor as “a great Nasa project,” Helman embraced a particular weight of responsibility with this film, knowing that if his team couldn’t get their system working within a period of two years, the movie could not be made.
For Scorsese, what was key with effects on The Irishman was that technology would not interfere with his work on set, or that of his A-list stars. In this scenario, conventional facial markers went out the window. Their replacement was the “Three-Headed Beast,” a rig comprised of one conventional, digital camera and two infrared cameras,...
Describing the endeavor as “a great Nasa project,” Helman embraced a particular weight of responsibility with this film, knowing that if his team couldn’t get their system working within a period of two years, the movie could not be made.
For Scorsese, what was key with effects on The Irishman was that technology would not interfere with his work on set, or that of his A-list stars. In this scenario, conventional facial markers went out the window. Their replacement was the “Three-Headed Beast,” a rig comprised of one conventional, digital camera and two infrared cameras,...
- 1/21/2020
- by Matt Grobar
- Deadline Film + TV
Disney dominated the 18th annual Ves Awards with five nominations apiece for Jon Favreau’s frontrunner “The Lion King” and Robert Rodriguez’s surprising “Alita: Battle Angel” (acquired from Fox). Joining them for the top photo-real prize were the Disney-led “Avengers: Endgame” and “Star Wars: The Rise of Skywalker,” along with Ang Lee’s “Gemini Man”. The Ves Awards will be held January 29th at the Beverly Hilton Hotel.
Competing for supporting VFX were Martin Scorsese’s “The Irishman”, Sam Mendes’ “1917,” (which stitched together the World War I thriller as one continuous shot and offered various enhancements), James Mangold’s “Ford v Ferrari,” Todd Phillips’ “Joker,” and “The Aeronauts.”
In animation, Disney also fared well, with Pixar’s “Toy Story 4” (which grabbed five nominations) and “Frozen 2.” They were joined by Golden Globe nominee “Missing Link” from Laika, surprise nominee “Klaus” (the innovative 2D feature from Netflix and Spanish director Sergio Pablos), and,...
Competing for supporting VFX were Martin Scorsese’s “The Irishman”, Sam Mendes’ “1917,” (which stitched together the World War I thriller as one continuous shot and offered various enhancements), James Mangold’s “Ford v Ferrari,” Todd Phillips’ “Joker,” and “The Aeronauts.”
In animation, Disney also fared well, with Pixar’s “Toy Story 4” (which grabbed five nominations) and “Frozen 2.” They were joined by Golden Globe nominee “Missing Link” from Laika, surprise nominee “Klaus” (the innovative 2D feature from Netflix and Spanish director Sergio Pablos), and,...
- 1/7/2020
- by Bill Desowitz
- Indiewire
The Visual Effects Society has unveiled nominations for its 18th annual Ves Awards, which honor VFX work in film, animation, TV, commercials and video games. Winners will be revealed at a ceremony January 29 at the Beverly Hilton.
Disney’s CG redo of the The Lion King and 20th Century Fox’s Alita: Battle Angel lead all film nominees with five apiece, joining the top animated nominee Toy Story 4. In TV, Disney+’s Star Wars spinoff The Mandalorian and the final season of HBO’s epic Game of Thrones lead the field with six nominations each.
Along with naming winners in 25 categories, the group’s ceremony later this month includes honoring Martin Scorsese with the Ves Lifetime Achievement Award. The Ves Visionary Award will be given to Roland Emmerich, and the Ves Award for Creative Excellence will be presented to VFX supervisor Sheena Duggal.
Here’s the list of noms:...
Disney’s CG redo of the The Lion King and 20th Century Fox’s Alita: Battle Angel lead all film nominees with five apiece, joining the top animated nominee Toy Story 4. In TV, Disney+’s Star Wars spinoff The Mandalorian and the final season of HBO’s epic Game of Thrones lead the field with six nominations each.
Along with naming winners in 25 categories, the group’s ceremony later this month includes honoring Martin Scorsese with the Ves Lifetime Achievement Award. The Ves Visionary Award will be given to Roland Emmerich, and the Ves Award for Creative Excellence will be presented to VFX supervisor Sheena Duggal.
Here’s the list of noms:...
- 1/7/2020
- by Patrick Hipes
- Deadline Film + TV
Production designer Bob Shaw reveals, “We had 295 locations and we built 28 sets” for “The Irishman.” Upon first reading Steven Zaillian‘s script for Martin Scorsese‘s gangland epic, it was “quite clear how expansive the project was, and not only how many locations there were and how many things that had to be found, but often what a brief period of time we would spend in any of these given locations.” Watch our exclusive video interview with Shaw above.
The Netflix release tells the true story of Frank Sheeran (Robert De Niro), a working class truck driver who became a hit man in league with Teamsters honcho Jimmy Hoffa (Al Pacino) and Mafia bigwig Russell Bufalino (Joe Pesci). Spanning the late 1940s through the early 2000s, the film was a daunting challenge for any designer, especially considering the number of sets needed for the three-and-a-half-hour saga. “We would find something...
The Netflix release tells the true story of Frank Sheeran (Robert De Niro), a working class truck driver who became a hit man in league with Teamsters honcho Jimmy Hoffa (Al Pacino) and Mafia bigwig Russell Bufalino (Joe Pesci). Spanning the late 1940s through the early 2000s, the film was a daunting challenge for any designer, especially considering the number of sets needed for the three-and-a-half-hour saga. “We would find something...
- 1/6/2020
- by Zach Laws
- Gold Derby
Disney dominated Saturday’s Academy VFX bake-off with five out of 10 contenders, but Jon Favreau’s “The Lion King” stole the show with the best presentation by three-time Oscar-winning VFX supervisor Rob Legato. He entertainingly touted the stunning, faux live-action aesthetic. Disney franchise heavyweights, “Star Wars: The Rise of Skywalker” and “Avengers: Endgame,” also did well in boasting their cutting edge, high-octane work.
Faring surprisingly well, though, was Robert Rodriguez’s “Alita: Battle Angel” (which Disney acquired from Fox), thanks to Weta Digital’s impressive humanoid cyborg (Rosa Salazar). However, there’s plenty of character competition from Weta’s breakthrough CG human (the young Will Smith clone) in Ang Lee’s “Gemini Man,” Industrial Light & Magic’s innovative de-aging of Robert De Niro, Al Pacino, and Joe Pesci in Martin Scorsese’s “The Irishman,” and, yes, even the ambitious furry body replacements in Tom Hooper’s much maligned box office bomb,...
Faring surprisingly well, though, was Robert Rodriguez’s “Alita: Battle Angel” (which Disney acquired from Fox), thanks to Weta Digital’s impressive humanoid cyborg (Rosa Salazar). However, there’s plenty of character competition from Weta’s breakthrough CG human (the young Will Smith clone) in Ang Lee’s “Gemini Man,” Industrial Light & Magic’s innovative de-aging of Robert De Niro, Al Pacino, and Joe Pesci in Martin Scorsese’s “The Irishman,” and, yes, even the ambitious furry body replacements in Tom Hooper’s much maligned box office bomb,...
- 1/6/2020
- by Bill Desowitz
- Indiewire
Three of the Best Editing Oscar contenders — “The Irishman,” “Marriage Story,” and “Little Women” — boast complex narratives about friendship and mortality, the forensics of divorce, and artistic liberation. And they employ creative use of flashbacks and montages as part of their storytelling arsenals, too.
“The Irishman” marks Martin Scorsese’s summary movie about mob life told from the perspective of hitman Frank Sheeran (Robert De Niro), who recounts his conflicted life in trying to appease both crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino). “It’s a different view of mob rule than Marty’s previous movies,” said Thelma Schoonmaker, the director’s long-time editor of nearly 40 years. “He wanted to do brushstrokes with history that were relevant to the characters not make a documentary about Jimmy Hoffa. And Marty didn’t want to explain a lot — he wanted the audience to figure things out for themselves.
“The Irishman” marks Martin Scorsese’s summary movie about mob life told from the perspective of hitman Frank Sheeran (Robert De Niro), who recounts his conflicted life in trying to appease both crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino). “It’s a different view of mob rule than Marty’s previous movies,” said Thelma Schoonmaker, the director’s long-time editor of nearly 40 years. “He wanted to do brushstrokes with history that were relevant to the characters not make a documentary about Jimmy Hoffa. And Marty didn’t want to explain a lot — he wanted the audience to figure things out for themselves.
- 1/2/2020
- by Bill Desowitz
- Indiewire
From the beginning, sound mixer Tom Fleischman knew “The Irishman” was going to be “a quiet, restrained movie, and there weren’t going to be a lot of flashy moments.” But the lack of “big, huge sound sequences” didn’t mean it would be an easy movie to mix. Watch our exclusive video interview with Fleischman above.
See Eugene Gearty Interview: ‘The Irishman’ sound mixer, editor
Directed by Martin Scorsese, the Netflix release casts Robert De Niro as Frank “The Irishman” Sheeran, a truck driver-turned mob hitman pulled between the powerful forces of Mafia honcho Russell Bufalino (Joe Pesci) and union bigwig Jimmy Hoffa (Al Pacino). The film is “really about the intimacy of the scenes between the characters,” Fleischman reveals, so it was important to “keep the quality of their voices and the performances as pure as possible, without any distractions.”
Because of this, Fleischman’s soundscape was “very narrow and very focused.
See Eugene Gearty Interview: ‘The Irishman’ sound mixer, editor
Directed by Martin Scorsese, the Netflix release casts Robert De Niro as Frank “The Irishman” Sheeran, a truck driver-turned mob hitman pulled between the powerful forces of Mafia honcho Russell Bufalino (Joe Pesci) and union bigwig Jimmy Hoffa (Al Pacino). The film is “really about the intimacy of the scenes between the characters,” Fleischman reveals, so it was important to “keep the quality of their voices and the performances as pure as possible, without any distractions.”
Because of this, Fleischman’s soundscape was “very narrow and very focused.
- 12/30/2019
- by Zach Laws
- Gold Derby
This season’s VFX Oscar race features bold, innovative animation, led by Jon Favreau’s “The Lion King,” the all-cg photoreal breakthrough by Mpc Film,; Ang Lee’s “Gemini Man,” which boasts Weta Digital’s most fully convincing digital human with Junior, the younger clone of Will Smith’s aging assassin, and Industrial Light & Magic’s innovative de-aging of Robert DeNiro, Al Pacino, and Joe Pesci without markers or animation in Martin Scorsese’s Best Picture contender, “The Irishman.”
Additionally, Weta took facial capture to the next level with “Alita: Battle Angel,” the manga-inspired sci-fi adventure directed by Robert Rodriguez and produced by James Cameron and Jon Landau. The doll-like cyborg with big eyes (performance-captured by Rosa Salazar) looked very convincing and badass.
But “The Lion King” blockbuster’s tactile photo-realism will be the one to beat, crossing the line between live action and animation with its stunning illusion of reality.
Additionally, Weta took facial capture to the next level with “Alita: Battle Angel,” the manga-inspired sci-fi adventure directed by Robert Rodriguez and produced by James Cameron and Jon Landau. The doll-like cyborg with big eyes (performance-captured by Rosa Salazar) looked very convincing and badass.
But “The Lion King” blockbuster’s tactile photo-realism will be the one to beat, crossing the line between live action and animation with its stunning illusion of reality.
- 12/15/2019
- by Bill Desowitz
- Indiewire
Because it spans over 50 years, “The Irishman” required “a huge range” of looks for Robert De Niro, makeup artist Carla White reveals. White spoke extensively about her work on Martin Scorsese‘s gangland epic, for which she personally supervised De Niro’s different makeup appliances, in a new behind-the-scenes featurette. Watch the exclusive video above.
The Netflix release “takes place from 1949 to 2000,” Scorsese states, “and it goes back-and-forth in time continuously” in telling the story of Frank Sheeran (De Niro), a truck driver who becomes a hitman after becoming involved with Teamsters leader Jimmy Hoffa (Al Pacino) and mob boss Russell Bufalino (Joe Pesci). Throughout the film, we get glimpses of Sheeran in various stages of his life, from early middle age to the end of his life.
See Pablo Helman Interview: ‘The Irishman’ VFX supervisor
“We had to age him in a couple of stages,” White explains, starting with...
The Netflix release “takes place from 1949 to 2000,” Scorsese states, “and it goes back-and-forth in time continuously” in telling the story of Frank Sheeran (De Niro), a truck driver who becomes a hitman after becoming involved with Teamsters leader Jimmy Hoffa (Al Pacino) and mob boss Russell Bufalino (Joe Pesci). Throughout the film, we get glimpses of Sheeran in various stages of his life, from early middle age to the end of his life.
See Pablo Helman Interview: ‘The Irishman’ VFX supervisor
“We had to age him in a couple of stages,” White explains, starting with...
- 12/10/2019
- by Zach Laws
- Gold Derby
Once again technology caught up with need when Industrial Light & Magic developed an innovative digital de-aging process for Martin Scorsese’s character-driven, non-linear mob epic, “The Irishman,” requiring Robert De Niro, Al Pacino, and Joe Pesci to look decades younger as hitman Frank Sheeran, Teamsters leader Jimmy Hoffa, and Philly crime boss Russell Bufalino. The impressive results put Ilm on the Academy’s long-list this week for the VFX Oscar.
Frankly, it couldn’t have been done any other way to preserve their career-capping performances in this zigzagging meditation on friendship, betrayal, and mortality, spanning four decades.
“This was a movie about conversations and we needed a new system because the actors wanted to be themselves,” said Ilm VFX supervisor Pablo Helman, who first prepared a test with De Niro from “Goodfellas” in 2015 that got the film greenlit by Netflix. The costly VFX de-aging, therefore, became the tech centerpiece, with...
Frankly, it couldn’t have been done any other way to preserve their career-capping performances in this zigzagging meditation on friendship, betrayal, and mortality, spanning four decades.
“This was a movie about conversations and we needed a new system because the actors wanted to be themselves,” said Ilm VFX supervisor Pablo Helman, who first prepared a test with De Niro from “Goodfellas” in 2015 that got the film greenlit by Netflix. The costly VFX de-aging, therefore, became the tech centerpiece, with...
- 12/6/2019
- by Bill Desowitz
- Indiewire
Given the decades-spanning narrative of “The Irishman,” visual effects supervisor Pablo Helman had an unenviable task: turn back the clock for septuagenarians Robert De Niro, Al Pacino and Joe Pesci. In fact, when Martin Scorsese told Helman what he wanted him to do, he admits his first thought was, “Boy, we’re in trouble.” Watch our exclusive video interview with Helman above.
See Martin Scorsese movies: All 25 films ranked worst to best
The Netflix release covers around 50 years, from the 1950s to the 2000s, in telling the story of Frank Sheeran (De Niro) from his beginnings as a lowly truck driver to his career as a mob hit man for Russell Bufalino (Pesci) and his involvement in the disappearance of Teamsters union leader Jimmy Hoffa (Pacino). Visual effects were needed to de-age the actors several decades, while makeup aged them into their characters’ later years.
This was “a very risky move for all of us,...
See Martin Scorsese movies: All 25 films ranked worst to best
The Netflix release covers around 50 years, from the 1950s to the 2000s, in telling the story of Frank Sheeran (De Niro) from his beginnings as a lowly truck driver to his career as a mob hit man for Russell Bufalino (Pesci) and his involvement in the disappearance of Teamsters union leader Jimmy Hoffa (Pacino). Visual effects were needed to de-age the actors several decades, while makeup aged them into their characters’ later years.
This was “a very risky move for all of us,...
- 12/6/2019
- by Zach Laws
- Gold Derby
The Irishman’s VFX supervisor, Industrial Light & Magic's Pablo Helman, details the process developed to de-age Robert De Niro, Al Pacino and Joe Pesci in Martin Scorsese's Netflix crime drama The Irishman, in a new episode of The Hollywood Reporter's Behind the Screen.
Recorded at Ilm in San Francisco, Helman discussed the development of the camera rig used for filming, to enable the VFX team to capture the actors' performances for de-aging without asking the actors to wear tracking markers or work on a performance capture stage. "I got a call from Marty," Helman relates....
Recorded at Ilm in San Francisco, Helman discussed the development of the camera rig used for filming, to enable the VFX team to capture the actors' performances for de-aging without asking the actors to wear tracking markers or work on a performance capture stage. "I got a call from Marty," Helman relates....
- 12/6/2019
- The Hollywood Reporter - Movie News
The Irishman’s VFX supervisor, Industrial Light & Magic's Pablo Helman, details the process developed to de-age Robert De Niro, Al Pacino and Joe Pesci in Martin Scorsese's Netflix crime drama The Irishman, in a new episode of The Hollywood Reporter's Behind the Screen.
Recorded at Ilm in San Francisco, Helman discussed the development of the camera rig used for filming, to enable the VFX team to capture the actors' performances for de-aging without asking the actors to wear tracking markers or work on a performance capture stage. "I got a call from Marty," Helman relates....
Recorded at Ilm in San Francisco, Helman discussed the development of the camera rig used for filming, to enable the VFX team to capture the actors' performances for de-aging without asking the actors to wear tracking markers or work on a performance capture stage. "I got a call from Marty," Helman relates....
- 12/6/2019
- The Hollywood Reporter - Film + TV
Martin Scorsese’s “The Irishman” hits Netflix today and it stars Robert De Niro, Al Pacino and Joe Pesci. De Niro plays Frank Sheeran, a truck driver who meets Russell Bufalino (Pesci). Spanning several decades, the film follows Sheeran as he gets involved in the greatest unsolved mob mystery – the disappearance of union boss Jimmy Hoffa (Pacino).
The film is a masterpiece from one of our greatest directors of all-time, starring some of the greatest actors of all-time. It required hundreds of costumes from designers Sandy Powell and Christopher Peterson, over 297 shooting locations in the New York/New Jersey areas and brand new technology courtesy of the team at Ilm.
Visual Effects Supervisor Pablo Helman was working on Scorsese’s “Silence” when he first heard about the story. “Marty emailed me the script overnight after we had talked over Thanksgiving dinner.I read it and we were shooting, and I said,...
The film is a masterpiece from one of our greatest directors of all-time, starring some of the greatest actors of all-time. It required hundreds of costumes from designers Sandy Powell and Christopher Peterson, over 297 shooting locations in the New York/New Jersey areas and brand new technology courtesy of the team at Ilm.
Visual Effects Supervisor Pablo Helman was working on Scorsese’s “Silence” when he first heard about the story. “Marty emailed me the script overnight after we had talked over Thanksgiving dinner.I read it and we were shooting, and I said,...
- 12/6/2019
- by Jazz Tangcay
- Variety Film + TV
Cinematographers collaborating with Martin Scorsese wouldn’t expect a brisk assignment, but even a veteran of Rodrigo Prieto’s sort had plenty to handle with their latest, The Irishman. A 209-minute epic with numerous locations, multiple shooting formats, and, you’ve probably heard, distinct visual effects–it’s tiring just to think about. Prieto is nevertheless casual in his assessment, and our interview at this year’s EnergaCAMERIMAGE covers its scope from both the most specific angle and on a gut level.
For that–and an obligatory question about the short he made with Scorsese, Leonardo DiCaprio, Robert De Niro, and Brad Pitt that was never officially released–read on.
The Film Stage: Let’s start at the beginning: The Irishman opens with a tracking shot set to vintage music—not exactly unknown territory for Scorsese. But it surprised and excited me because there’s a jankiness at play: we...
For that–and an obligatory question about the short he made with Scorsese, Leonardo DiCaprio, Robert De Niro, and Brad Pitt that was never officially released–read on.
The Film Stage: Let’s start at the beginning: The Irishman opens with a tracking shot set to vintage music—not exactly unknown territory for Scorsese. But it surprised and excited me because there’s a jankiness at play: we...
- 11/11/2019
- by Nick Newman
- The Film Stage
Filmmakers have chased eye-popping visuals since George Melies’ 1902 “A Trip to the Moon.” Of course, all the visual stylings that helped propel the first sci-fi film to worldwide success now look antique; without the film’s groundbreaking approaches to storytelling, it would be a minor footnote rather than the cultural touchstone that also served as a key plot point in Martin Scorsese’s 2011 “Hugo.”
Scorsese took Melies’ lesson to heart with “The Irishman,” but it’s one that still eluded Ang Lee with “Gemini Man.” The innovative filmmaker, like others before him, was so hellbent on dragging moviegoers into seeing cinema the way he does, that he forgot to give them a compelling story.
When Scorsese agreed to make “The Irishman,” he did so only after a 2015 VFX test comparing Robert De Niro in “Goodfellas” to the then-72-year-old actor’s recreation of some scenes, with Pablo Helman’s Ilm de-aging effects added.
Scorsese took Melies’ lesson to heart with “The Irishman,” but it’s one that still eluded Ang Lee with “Gemini Man.” The innovative filmmaker, like others before him, was so hellbent on dragging moviegoers into seeing cinema the way he does, that he forgot to give them a compelling story.
When Scorsese agreed to make “The Irishman,” he did so only after a 2015 VFX test comparing Robert De Niro in “Goodfellas” to the then-72-year-old actor’s recreation of some scenes, with Pablo Helman’s Ilm de-aging effects added.
- 11/3/2019
- by Anne Thompson
- Thompson on Hollywood
Filmmakers have chased eye-popping visuals since George Melies’ 1902 “A Trip to the Moon.” Of course, all the visual stylings that helped propel the first sci-fi film to worldwide success now look antique; without the film’s groundbreaking approaches to storytelling, it would be a minor footnote rather than the cultural touchstone that also served as a key plot point in Martin Scorsese’s 2011 “Hugo.”
Scorsese took Melies’ lesson to heart with “The Irishman,” but it’s one that still eluded Ang Lee with “Gemini Man.” The innovative filmmaker, like others before him, was so hellbent on dragging moviegoers into seeing cinema the way he does, that he forgot to give them a compelling story.
When Scorsese agreed to make “The Irishman,” he did so only after a 2015 VFX test comparing Robert De Niro in “Goodfellas” to the then-72-year-old actor’s recreation of some scenes, with Pablo Helman’s Ilm de-aging effects added.
Scorsese took Melies’ lesson to heart with “The Irishman,” but it’s one that still eluded Ang Lee with “Gemini Man.” The innovative filmmaker, like others before him, was so hellbent on dragging moviegoers into seeing cinema the way he does, that he forgot to give them a compelling story.
When Scorsese agreed to make “The Irishman,” he did so only after a 2015 VFX test comparing Robert De Niro in “Goodfellas” to the then-72-year-old actor’s recreation of some scenes, with Pablo Helman’s Ilm de-aging effects added.
- 11/3/2019
- by Anne Thompson
- Indiewire
The passage of time in Martin Scorsese’s “The Irishman” both metaphorically and literally frames the story of Frank Sheeran (Robert De Niro) and his rise through the Philadelphia Mafia to become friends with union boss Jimmy Hoffa (Al Pacino) — and eventually his murderer.
Based on Sheeran’s memoir, “I Heard You Paint Houses,” which spans more than a half-century, cinematographer Rodrigo Prieto set out to tell the story using a changing look that reflected the passage of time.
“With the characters, you see it physically, and in the costumes and set design,” says Prieto, who shot “The Wolf of Wall Street,” “The Audition” and “Silence” for Scorsese; the latter film earned the Dp his second Oscar nom (his first was for Ang Lee’s 2006 “Brokeback Mountain”). Prieto aimed to show time passing as a feeling. “In prep, [Scorsese] and I talked about memory, about home movies and family photographs,” he says.
Based on Sheeran’s memoir, “I Heard You Paint Houses,” which spans more than a half-century, cinematographer Rodrigo Prieto set out to tell the story using a changing look that reflected the passage of time.
“With the characters, you see it physically, and in the costumes and set design,” says Prieto, who shot “The Wolf of Wall Street,” “The Audition” and “Silence” for Scorsese; the latter film earned the Dp his second Oscar nom (his first was for Ang Lee’s 2006 “Brokeback Mountain”). Prieto aimed to show time passing as a feeling. “In prep, [Scorsese] and I talked about memory, about home movies and family photographs,” he says.
- 10/30/2019
- by Valentina I. Valentini
- Variety Film + TV
4th Update, 8:40 Am: The 23rd annual Hollywood Film Awards continues to roll out its honorees for 2019 ahead of its annual awards ceremony November 3 at the Beverly Hilton. The event, seen as a kickoff of sorts to the annual film awards season, will be hosted this year by Rob Riggle.
The HFAs, produced by dick clark productions, are meant to honor “award-worthy films and actors while previewing highly anticipated films and talent for the upcoming year,” according to organizers. Last year, films including Best Picture Oscar winner Green Book and Black Panther were among the movies scoring awards.
More of this year’s winners will be revealed in the run-up to the show, so keep checking back for updates. Here’s the list so far:
Hollywood Career Achievement Award
Charlize Theron
Hollywood Actor Award
Antonio Banderas, Pain and Glory
Hollywood Actress Award
Renée Zellweger, Judy
Hollywood Supporting Actor Award
Al Pacino,...
The HFAs, produced by dick clark productions, are meant to honor “award-worthy films and actors while previewing highly anticipated films and talent for the upcoming year,” according to organizers. Last year, films including Best Picture Oscar winner Green Book and Black Panther were among the movies scoring awards.
More of this year’s winners will be revealed in the run-up to the show, so keep checking back for updates. Here’s the list so far:
Hollywood Career Achievement Award
Charlize Theron
Hollywood Actor Award
Antonio Banderas, Pain and Glory
Hollywood Actress Award
Renée Zellweger, Judy
Hollywood Supporting Actor Award
Al Pacino,...
- 10/29/2019
- by Patrick Hipes
- Deadline Film + TV
Renee Zellweger, Antonio Banderas, Laura Dern and Al Pacino are among the pre-announced winners in top categories for the Hollywood Film Awards, which will unofficially launch the 2019 awards season on Sunday, November 3. Actor and comedian Rob Riggle will host the 23rd annual ceremony at the Beverly Hilton in Beverly Hills.
While all of the awards have been arranged in advance by the studios and their campaigners, it is an important stop by contenders looking for success at the Oscars, Golden Globes and elsewhere. That’s because it is the first opportunity for many of the hopefuls to be on an awards red carpet with representatives from a wide variety of films and also be on stage accepting a trophy.
SEEOscar Best Picture predictions: ‘The Irishman’ ties ‘Once Upon a Time in Hollywood’ [Watch]
Here is a full list of the 2019 winners so far (more will be announced soon):
Actress – Renee...
While all of the awards have been arranged in advance by the studios and their campaigners, it is an important stop by contenders looking for success at the Oscars, Golden Globes and elsewhere. That’s because it is the first opportunity for many of the hopefuls to be on an awards red carpet with representatives from a wide variety of films and also be on stage accepting a trophy.
SEEOscar Best Picture predictions: ‘The Irishman’ ties ‘Once Upon a Time in Hollywood’ [Watch]
Here is a full list of the 2019 winners so far (more will be announced soon):
Actress – Renee...
- 10/22/2019
- by Chris Beachum
- Gold Derby
Legendary director delivers Bafta David Lean lecture in London.
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards contender The Irishman.
Scorsese made his comments during a Q&a following his Bafta David Lean lecture at the Royal Opera House in London on Saturday (October 12).
“Where do people go to get films financed now? They’re not bankrolled by a Hollywood studio or the big studios here,” he said. ”And then, when you get it made, where are they going to be shown, when...
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards contender The Irishman.
Scorsese made his comments during a Q&a following his Bafta David Lean lecture at the Royal Opera House in London on Saturday (October 12).
“Where do people go to get films financed now? They’re not bankrolled by a Hollywood studio or the big studios here,” he said. ”And then, when you get it made, where are they going to be shown, when...
- 10/14/2019
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Legendary director delivers Bafta David Lean lecture in London.
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards contender The Irishman.
Scorsese made his comments during a Q&a following his Bafta David Lean lecture at the Royal Opera House in London on Saturday (October 12).
“Where do people go to get films financed now? They’re not bankrolled by a Hollywood studio or the big studios here,” he said. ”And then, when you get it made, where are they going to be shown, when...
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards contender The Irishman.
Scorsese made his comments during a Q&a following his Bafta David Lean lecture at the Royal Opera House in London on Saturday (October 12).
“Where do people go to get films financed now? They’re not bankrolled by a Hollywood studio or the big studios here,” he said. ”And then, when you get it made, where are they going to be shown, when...
- 10/14/2019
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Legendary director delivers Bafta David Lean lecture in London.
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards contender The Irishman.
Scorsese made his comments during a Q&a following his Bafta David Lean lecture at the Royal Opera House in London on Saturday (October 12).
“Where do people go to get films financed now? They’re not bankrolled by a Hollywood studio or the big studios here,” he said. ”And then, when you get it made, where are they going to be shown, when...
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards contender The Irishman.
Scorsese made his comments during a Q&a following his Bafta David Lean lecture at the Royal Opera House in London on Saturday (October 12).
“Where do people go to get films financed now? They’re not bankrolled by a Hollywood studio or the big studios here,” he said. ”And then, when you get it made, where are they going to be shown, when...
- 10/13/2019
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
The legendary director gave the Bafta David Lean lecture in London.
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards-contending title The Irishman.
Scorsese made his comments in a Q&a following the Bafta David Lean lecture he gave at the Royal Opera House in London on Saturday (October 12).
“Where do you people go to get their films financed now? They’re not bankrolled by a Hollywood studio or the big studios here. And then, when you get it made, where are they going to be shown,...
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards-contending title The Irishman.
Scorsese made his comments in a Q&a following the Bafta David Lean lecture he gave at the Royal Opera House in London on Saturday (October 12).
“Where do you people go to get their films financed now? They’re not bankrolled by a Hollywood studio or the big studios here. And then, when you get it made, where are they going to be shown,...
- 10/13/2019
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
The legendary director gave the Bafta David Lean lecture in London.
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards-contending title The Irishman.
Scorsese made his comments in a Q&a following the Bafta David Lean lecture he gave at the Royal Opera House in London on Saturday, October 12.
“Where do you people go to get their films financed now? They’re not bankrolled by a Hollywood studio or the big studios here. And then, when you get it made, where are they going to be shown,...
Martin Scorsese has criticised an “invasion” of “theme park films” at cinemas, in advance of the international premiere of his latest film, Netflix’s awards-contending title The Irishman.
Scorsese made his comments in a Q&a following the Bafta David Lean lecture he gave at the Royal Opera House in London on Saturday, October 12.
“Where do you people go to get their films financed now? They’re not bankrolled by a Hollywood studio or the big studios here. And then, when you get it made, where are they going to be shown,...
- 10/12/2019
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
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