The Wolfman, Rob Coleman, & Warwick Davis...

Wolfman Rising Again

(scifi.com)           Director Mark Romanek has been hired to helm The Wolfman, a remake of the classic Universal Studios monster film, with Benicio Del Toro attached to star, according to The Hollywood Reporter. Scott Stuber and Mary Parent are producing, and Del Toro also is on board as a producer with Rick Yorn.

The movie will retain the period of the 1941 original, in which a man returns from the United States to his ancestral home in Victorian-era Great Britain, gets bitten by a werewolf and begins a hairy moonlight existence. Andrew Kevin Walker wrote the screenplay. A fall start is being planned.

Romanek is a music video helmer who directed the Weezer video El Scorcho and Johnny Cash's Trust. He also wrote and directed One Hour Photo.

Rob Coleman & The Animated Star Wars Series

(comingsoon.net)             At the Imagina Awards 2007 Industrial Light & Magic animation supervisor Rob Coleman talked about the upcoming animated "Star Wars" series. A rundown of the highlights:

-Currently 15 episodes in various stages of production
-One, almost two episodes fully completed
-Coleman to direct 5 of first 26 episodes
-"They're looking fabulous, they're looking great..."
-"Our stuff is incredible compared to what's out there..."
-Some licensees have viewed footage and the reaction was very positive
-Final assembly of shows is done at Skywalker Ranch

Source:  http://www.comingsoon.net/news/tvnews.php?id=18802

Orig Interview, with pics:  http://www.mintinbox.net/reportages/Imagina_2007-Interview_Rob_Coleman

"Cutcost CGI" Gives Birth To Jaws 5

(moviehole.net)            A fifth “Jaws” movie is in the works – and from the sounds of it, you’ll be wishing Michael Caine was back fighting white-pointers by the time this item’s finished [If only because Roy Scheider wouldn't come ten-foot near another frickin' "Jaws" movie, and that's well, the only way it would work].

Universal’s “Jaws 5” will be an in-name in-character in-music (can’t do a “Jaws” movie without John Williams’ classic score, after all!) sequel to the Steven Spielberg originated film series.

The screenwriter reports,  “[Universal] came straight out and told me that they're trying to rehook people back into the Jaws franchise. They reckon with cutcost CGI being what it is they could churn this stuff out. I told them somebody already was with those Shark Attack movies with the dude out of Starship Troopers. This one guy says "Yes, but they're missing the one thing ours won't be!" I was all like "What's that?" He says "The Jaws title and the Jaws theme! We own them!" No, I didn't tell him that those were TWO things! So they asked me if I'd read or was aware of the Deep Blue Sea sequel script that was out there that Warners are hoping to make a straight-to-DVD series out of. I say no and they tell me all about it. It sounds shit. I tell them that. They agree. They ask me what ideas I have on getting people back into Jaws. I totally had nothing but I pitched it anyway. Pitched them on what I would go rent.”

This year’s bakeoff mix included 'Casino Royale', 'Eragon', 'Night at the Museum', 'Pirates of the Caribbean: Dead Man’s Chest', 'Poseidon', 'Superman Returns', and 'X-Men: The Last Stand'.  During the bakeoff, representatives for each film showed a 15 minute reel with shots from the final film; no making-of’s, no breakdowns, no “how to’s” – the rules are very strict.

On January 23, the Academy announced the three winning films and the Oscar nominees chosen for their work on these films:

'Pirates of the Caribbean: Dead Man’s Chest' (Buena Vista): John Knoll, Hal Hickel, Charles Gibson and Allen Hall;
'Poseidon' (Warner Bros.): Boyd Shermis, Kim Libreri, Chaz Jarrett and John Frazier;
and 'Superman Returns' (Warner Bros.): Mark Stetson, Neil Corbould, Richard R. Hoover and Jon Thum.

These three films arguably showcase the most ambitious and technically innovative visual effects work this year. For ‘Pirates,’ Industrial Light & Magic invented iMoCap, which helped the crew create the remarkable, all-digital Davy Jones and his crew. For ‘Poseidon,’ ILM developed state of the art systems for simulating enormous volumes of water that sank the ship, and the Moving Picture Company and Scanline raised the bar by mixing fire, dust, water and other elements within one simulation. For ‘Superman Returns,’ Sony Pictures Imageworks turned to technology from Paul Debevec to push the state of digital doubles even closer to the camera. But those innovations are only part of each film’s visual effects story. We talked with Oscar nominees from each film about the bakeoff and about this year’s batch of visual effects films. For ‘Superman Returns,’ VFX Supervisor Mark Stetson. For ‘Poseidon,’ VFX Supervisor Boyd Shermis. And for ‘Pirates,’ VFX Supervisor John Knoll and animation director Hal Hickel, both of whom generously gave their time to answer questions in the Davy Jones Appreciation forum last summer.

Excerpt From John Knoll:

As for the other Oscar contenders?
“I was impressed with the ‘Poseidon’ reel at the bakeoff,” He says. “That’s really, really hard stuff and it was well executed. We’ve never before seen water like it. And ‘Superman’ has a broad scope of work. Digital doubles, environments, vehicles and the crystal island. I think that always appeals to the membership, that it’s not a one trick film.”

Ironically, one of John Knoll’s first jobs out of college was as a freelance model maker for Greg Jein’s project “Tour of the Universe,” a ride film. Sharing the shop was his fellow Oscar nominee this year, Mark Stetson, who at that time was working on models for ‘Bladerunner.

Like Stetson and Shermis, Knoll is surprised that Charlotte’s Web didn’t make the bakeoff. “In previous years, it seemed that talking animals equaled a nomination,” he jokes, “So, for a while, Hal [Hickel] and I were talking about adding a talking animal to ‘Pirates,’” he laughs. “Hal suggested we give Kraken some dialog and have Ben Kingsley deliver it.” What would the Kraken say? Knoll deepens his voice and says, “So, Jack, we meet again.”

In May, we’ll all get a chance to meet Jack again, in ‘Pirates of the Caribbean: At World’s End.’ How will they top last year’s effects for the third ‘Pirates’ film? “The big storm sequence,” Knoll says. We can’t wait.

Read on:  http://features.cgsociety.org/story_custom.php?story_id=3934

Warwick Davis is Nikabrik in Narnia 2

(comingsoon.net)               Walt Disney Pictures has announced that Warwick Davis has been cast as Nikabrik, the Black Dwarf in The Chronicles of Narnia: Prince Caspian. Davis adds "Narnia" to an impressive list of fantasy-adventure films, including roles in the "Star Wars" and "Harry Potter" movies.

The actor joins a cast that includes Georgie Henley, Skandar Keynes, Anna Popplewell, William Moseley, Ben Barnes, Alicia Borrachero, Peter Dinklage and Vincent Grass, as well as Liam Neeson as the voice of Aslan.

The sequel will start principal photography next week in New Zealand.

Sony Imageworks "Pulled Out All The Stops" For Ghost Rider

(comingsoon.net)           This website got a chance to watch the anticipated Ghost Rider movie, opening February 16 and starring Nicolas Cage, Eva Mendes, Wes Bentley, Sam Elliott, Donal Logue and Peter Fonda.

Source:   http://www.comingsoon.net/news/reviewsnews.php?id=18778

Dennis Muren Talks VES Lifetime Achievement Award

(hollywoodreporter.com)           Name a groundbreaking digital effects movie of the past three decades, and they all have one thing in common: Dennis Muren.

From 1982's "E.T. the Extra-Terrestrial" to 1984's "Indiana Jones and the Temple of Doom" to 1991's "Terminator 2: Judgment Day" to 1993's "Jurassic Park" -- not to mention nearly all of the "Star Wars" films -- Muren has defined the role of visual effects supervisor and attained a near-mythic status among visual effects aficionados. He has nine Academy Awards and, in 1999, became the first visual effects artist to receive a star on the Hollywood Walk of Fame.

Still, the Lifetime Achievement Award, from his Visual Effects Society peers, holds special significance.

I was surprised to hear about it and really thrilled," Muren says. "This is more my peers than even the Oscars. The fact that this is from an organization started by people who love visual effects makes it neat."

Muren began his career with what quickly became the iconic film of the burgeoning digital effects industry: 1977's "Star Wars," for which he was the visual effects second cameraman. He joined Lucas' new digital effects company Industrial Light + Magic and began work on a string of films, each of which marked a new benchmark in digital effects. He most recently was visual effects supervisor for 2005's "War of the Worlds" and is currently working on a book about observation skills, aimed at computer graphics artists.

Muren marvels at what the visual effects industry has become. "In the early 1970s, suddenly millions of people became aware of visual effects and wanted to see 'Star Wars' and (1977's) 'Close Encounters of the Third Kind,'" he says. "And they're still there."    

Muren will receive the VES Lifetime Achievement Award at this year's Visual Effects Society Awards on Feb. 11.'

Source:  http://www.hollywoodreporter.com/hr/content_display/features/people/e3ib856b859909a99897ce7bb9a74dbeb0e

Pirates 2 & Cars Boost Disney Profits

(news.bbc.co.uk)              Johnny Depp in Pirates of the Caribbean 2 Strong DVD sales of the second Pirates of the Caribbean movie have helped media giant Walt Disney more than double its first-quarter profits.

Disney saw net income for the three months to 30 December rise to $1.7bn (£863m) from $734m a year ago while revenues increased 10% to $9.7bn.

Disney's fortunes have improved in the past year after a turbulent period.

Its shares have risen sharply as investors have backed chief executive Robert Iger's focus on strengthening its animation division and aggressively selling its products in overseas markets.

The success of Dead Man's Chest, the second Pirates movie starring Johnny Depp, animated feature Cars and other DVD releases boosted entertainment profits, which rose from $128m to $604m.

Profits from broadcasting and theme parks also rose, with Disney's international channels and sports network ESPN performing strongly.

Terabithia No Harry Potter - Ads Mislead

(scifi.com)               The filmmakers behind Disney's upcoming fantasy film Bridge to Terabithia disavowed any connection with the movie's ad campaign, which they told SCI FI Wire was deliberately misleading. The ads show a boy and girl entering a fantasy world; the scene actually takes place at the end of the movie.

"I believe it's a stretch, and it's a very difficult decision on Disney's part, but we the filmmakers had nothing to do with that promotion," said director Gabor Csupo (The Wild Thornberrys). "We don't really think that it's an appropriate way of selling the movie, but they're convinced that that's the way to get kids interested, and hopefully they will be positively surprised. If they are anticipating a Harry Potter movie, then we are in trouble. It is not a Harry Potter kind of a movie."

The Annie Awards are Coming!

(animationnation.com)                On February 11, 2007 the animation industry will be celebrating the best it has to offer and ASIFA-Hollywood wants you to be a part of the celebration.

The 34th Annual Annie Award tickets are now on sale for members of ASIFA-Hollwyood and the general public for $100 each. In addition to purchasing tickets over the phone or in person at the Alex Theatre, you can purchase tickets online at www.alextheatre.org

VIP tickets will be handled through event coordinator Gretchen Dixon. Orders are now being taken. There is a limited amount of VIP tickets this year at $150 each. To order VIP tickets, please forward your request to gdixonpr@aol.com

For more information on purchasing tickets for the Annie Awards, visit the official website at www.annieawards.org

For more info on the Alex Theatre, visit www.alextheatre.org

Making MoCap Bulletproof For Pirates 2

(variety.com)                Time is an increasingly scarce commodity for visual effects crews, especially when a huge project such as "Pirates of the Caribbean: Dead Man's Chest" and another movie requires all your water experts.

"We gave them all up to 'Poseidon' so they could get through their difficult shots, with the knowledge that they were wrapping before we were. Then we could get them back," says visual effects supervisor John Knoll, an ILM veteran of the original "Pirates" and all three "Star Wars" prequels.

That forced "Pirates" to push all its water work to the last six weeks of its already-tight post schedule, but the move worked out better than expected. "The advantage to that approach was we had all these very experienced people who just had gone through the ringer on 'Poseidon' and got to be very good at doing those types of shots, where they could burn through our 'Pirates' shots," Knoll says. "It was a very harrowing thing to do at the last second."

Knoll says the Flying Dutchman breaching the surface was the most difficult water effect, with the Kraken's tentacles reaching out of the ocean a close second. The show also required a lot of CG water drips and renders for characters and objects interacting with water. "Pirates 2's" water work was extensive, but Knoll says the biggest breakthrough on the film came with the on-set motion-capture system.

Knoll says the system originated as the solution to a problem on the first "Pirates," in which the effects crew had trouble accurately placing the joints for the CG skeletons on the footage shot on location of the actors in costume. Knoll and animation director Hal Hickel asked ILM's researchers to come up with a way they could collect accurate motion capture data on location.

"Anything we did had to be bulletproof and couldn't slow down production at all," Knoll says.

The result was a system called iMoCap, a system whose software tools "know about the human range of motion and are very tolerant of abusive input," Knoll says. That allowed actor Bill Nighy to play the role alongside the other actors and director Gore Verbinski, without having to later re-create the performance on a conventional motion-capture stage.

Source:  http://www.variety.com/article/VR1117958921.html?categoryid=13&cs=1

Feast To Get Two Sequels

(cinematical.com)                The Weinsteins want to mount a pair of Feast sequels, which I find somewhat hilarious when you consider the ridiculous way in which they handled the original Feast's theatrical release. (Midnight showings for two nights only! Bring your friends!) Feast writers  Patrick Melton and Marcus Dunston (who may end up writing Saw 4, don't forget) recently dropped some vague little hints about the pair of sequels, but I'll believe it when I see it. (And considering the Dimension track record, we'll be seeing 'em in about four years.) Still, it's pretty rare to hear multiple-sequel news for a movie that made less than $57,000 at the box office, but Feast is quite the fun little flick.

Ray Harryhausen Backs Comics