6 items from 2013
On the one hand, the idea of seeing a classic like The Most Dangerous Game remade is enough to make me queasy. On the other hand, the concept of a man hunting down humans for sport is loose enough to have been tackled more than a few times, and, for as wonderful as it is, Ernest Schoedsack and Irving Pichel’s 8-decade-old thriller is most certainly a product of its time. Plus, Fay Wray’s “other” 1932 film has been remade twice, so how’s that for karma? Creating a new spin will be a challenge as director Steven Lamorte shoots Dangerous Games this August from a script by J. Amanda Sabater. According to the production, the villainous Count Zaroff is now modern-day Colonel Zaroff (who still has a sweet man-hunting lease on a private island), and the protagonist is the host of an outdoorsman reality show. Zaroff will be played by Eric Etebari (The Lincoln Lawyer), the »
- Scott Beggs
Though the digital dinosaurs were a significant part of the appeal of the original Jurassic Park as that level of realism had never before been reached in cinema, many of the shots to feature dinosaurs were actually full-scale practical robotic creations, conceived and produced at Stan Winston Studio.
Two key artists at Stan Winston’s side from the early 1980s until his death in 2008 are Shane Mahan and John Rosengrant. Now, the pair of craftspeople is together in a new company called Legacy Effects, but 20 years ago, they were ready to release their most ambitious film to that point – Jurassic Park.
The team at Stan Winston Studio spent a year building all of the practical dinosaurs which would shoot live on the set of the film, directed by Steven Spielberg and photographed by Dean Cundey. After production wrapped, Industrial Light and Magic matched their computer-generated dinosaurs to Sws’ designs and »
- Scott Essman
You’re going to need some foam core, a few Jeeps and some black-tinted Ky jelly. Such is the glamour of the filmmaking business. With Jurassic Park in theaters again, renowned special effects artist Shannon Shea joins us to talk about what it was like building dinosaurs and being on set for the Steven Spielberg picture. He was also nice enough to share some very rare behind-the-scenes pictures (and a dramatic reading of a scripted scene that never made the film). For more from us on a daily basis, follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on the Twitter. And, as always, we welcome your feedback. Download Episode #13 Directly Or subscribe Through iTunes On This Week’s Show: Behind-the-Scenes of Jurassic Park with Shannon Shea [0:00 - 38:00] Get In Touch With Us: Ask Us Anything Email Us Twitter Us Call Broken Projector: (512) 212-1301 »
- Scott Beggs
Submit your vote for Reviewer of the Year!
Every year, the Classic Horror Film Board recognizes the best in the horror/sci-fi/fantasy realm with the Rondo Hatton Classic Horror Awards. Fans of the genre can vote for their favorites in over thirty categories, and this year, Cinelinx would like to ask you to vote for one of our own, staff writer Victor Medina, as Reviewer of the Year (Category 29)! We've even included the ballot below so you can vote!
Votes must be submitted by copying and pasting the ballot into your personal email, making your choices, including your name, and sending it in. Votes for Reviewer of the Year are write-in only, so you must be sure to include Vic's name yourself under Category 29 when you vote. Pre-filled ballots are not allowed, so we can't do it for you! Remember, you must write in "Victor Medina, Cinelinx.com" yourself. »
- firstname.lastname@example.org (Jordan Maison)
Stan Winston School has released some awesome visual effects test sequences from James Cameron's Terminator 2: Judgement Day. Included is Sarah Connor's Fiery Doom and the Liquid Metal Hand Kill sequence.
"The third and final puppet — an ashen form that blows away in the wind, exposing the charred skeleton beneath — was the most difficult, requiring much research and development. To create the effect, Shannon Shea reinforced a medical demonstration skeleton with a steel armature, and then positioned it to match the ending pose of the stage two puppet. To create the ashen material, Shea laid tissue paper and tempera paint into the mold of the initial screaming Sarah form. When it dried, he pulled that ‘skin »
- Jim Napier
Stan Winston School recently posted an article detailing the visual effects that went into Sarah Connor's (Linda Hamilton) nightmarish dream sequence scene, and the scene when the T-1000 kills John Connor's stepfather. Sarah Connor’S Fiery Doom - "The third and final puppet — an ashen form that blows away in the wind, exposing the charred skeleton beneath — was the most difficult, requiring much research and development. To create the effect, Shannon Shea reinforced a medical demonstration skeleton with a steel armature, and then positioned it to match the ending pose of the stage two puppet. To create the ashen material, Shea laid tissue paper and tempera paint into the mold of the initial screaming Sarah form. When it dried, he pulled that ‘skin’ out of the mold and carefully laid it on the skeleton like papier-mâché. Additional floating ash was simulated with gray and black paper napkins, shredded in »
6 items from 2013
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