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‘Chokeslam’ Review

Stars: Chris Marquette, Amanda Crew, Michael Eklund, Niall Matter, Gwynyth Walsh, Mick Foley, Harry Smith, Laurel Van Ness, Lance Storm, Paul James Saunders, Graham Bell, Agam Darshi, Meghan Heffern | Written by Robert Cuffley, Jason Long | Directed by Robert Cuffley

Corey Swanson has problems. He’s almost 30, still lives in his mom’s basement, doesn’t date, and his career amounts to slicing meat in an archaic deli that no one ever comes to – unless they want to rob it. After a chance encounter with a popular former classmate, Corey learns that his high school crush Sheena Halliday will soon be in town for their 10-year reunion. Sheena, now a world-famous athlete, has been dubbed “the Lindsay Lohan of the wrestling world”. She twists and pounds people into oblivion for a living – the same thing she did to Corey’s heart back in high school. Corey puts his broken heart (and punched face) aside,
See full article at Blogomatic3000 »

‘The Handmaid’s Tale’: Finding Lenses (and Cameras) to Create the Unfamiliar World of Gilead

  • Indiewire
‘The Handmaid’s Tale’: Finding Lenses (and Cameras) to Create the Unfamiliar World of Gilead
“The Handmaid’s Tale” presented a brain-twisting production challenge for cinematographer Colin Watkinson and Reed Morano, an executive producer and director of the first three episodes. The show takes place in a near-future Gilead, where enslaved women forced to reproduce for the aristocracy wear costumes that reference a puritanical time — but the show isn’t a period piece. They needed to create a world that was “other” and could serve as sharp contrast to present-day flashbacks.

Morano and Watkinson explain how they achieved the show’s unique look.

Read More: 10 TV Shows Emmy Voters Need to Watch Before They Fill Out Their Ballots

Compositions

Watkinson: Reed had a very specific directorial look book with very clear indications of which way she wanted to go, and how we were going to separate the worlds with compositional and shooting style.

Morano: I didn’t want it feel like a period piece. That was my fear with the costumes and everything. I pushed very hard that all the uniforms in Gilead had modern elements to them. Period would defeat the purpose. There are women in the world who experience these things today, and this story is a warning it could happen here just like that. It needed to be and feel other.”

Watkinson: Gilead was going to be incredibly formal, tableau-like compositions with a very considered static camera, the camera only moved when it was deemed to moved. Tableau, Kubrick-esque type frame is what Reed asked for, but with off framing, lots of headroom, and sometime asymmetrical as well.

The flashbacks were to be what Reed called “cinema verite” — a very visceral type of camerawork, to really put you in the moment. We wanted the flashbacks to feel as real as possible. The reason being even though they are flashbacks in the story, you are looking at today in the world and we wanted people to feel,”That’s right now.” That’s what I think makes it more horrific as you go along. The world changes so quickly. You’ve got to look up from your phone because tthis could happen quickly and right in front of your face.

A Pov Show

Morano: The book calls for us to be in Lizzy’s [Elizabeth Moss, who plays Offred] head, which sometimes comes with voiceover. Trying to put yourself in someone’s head — how do you visualize that? One of the ways I always thought we’d visualize that was by putting the camera physically closer to her for her close-ups, be on a wider lens because it feels a little bit more uncomfortable and there’s something a little bit more unsettling about that. It makes the audience close the person in much more uncomfortable way.”

Read More: How ‘Stranger Things’ Created That Awesomely Retro Title Sequence

Watkinson: We adopted a particular lens for Offred because being a Pov-type show, we wanted to be inside Offred’s head and make the viewer feel like every nuance Elizabeth made we’d be capturing. They’d be close enough to feel every movement. We were shooting on Canon K-35s for most of the show, but we had a 28mm Zeiss 2.1 that had a perspective that was different on either side of it. It’s very particular. It was her special lens.

Morano’s Handheld

Morano: As a cinematographer myself, I knew to stay out of Colin’s way. I told him, “I’ll treat you better than you are use to being treated by other directors. There is one thing I do want, though.”

Watkinson: In our first interview she broached it right away. “I like to get the camera on my shoulder and operate.”

Morano: Most good operators know you don’t want to do some kind of change while an actor’s delivering lines, but it’s hard to not know what you can get away with if you aren’t the director. If you are directing and you are the one cutting it and telling the story, you can take more risks with the operating.

Read More: The ‘Mr. Robot’ Experiment: Can a TV Show Be Shot Like an Indie Film?

Watkinson: There’s a special process going on there. She has unique vision and style. She brings an immediacy and a real feeling with her camera. I tried to get a feel for how and when she’d want to go handheld to access those emotions, and tried to emulate because we’d need to try to copy that with other directors after Reed left.

Interior Depth

Watkinson: I was constantly impressed by [production designer] Julie Berghoff’s paint work. Not only did she have the color right, but the depth of the color she’d create on the walls was amazing. You’d walk up to walls and admire the depth — there was color on color, but all the same color. I really feel that you feel that. The backgrounds are little bit dark, there’s a fall-off to them, and the light catches them because there’s so much texture. It was such pleasure to light, because I want to feel that depth in darkness.

I stole a term that exists in the 3-D world: They call it “volumetric lighting.” I wanted layers in the light. I saw (Morano’s feature) “Meadowland,” so I knew Reed really liked atmosphere. I wanted textured light layers, to go with the layer’s of Julie’s background and the layers of the costumes.

I want you to feel the light coming from the outside, so it’s based in a reality, but it’s a hyperreality. I used Df-50 to put a lot of atmosphere in the air, with 10K mol beams that create a sharp line then fade away. You can play with how strong that beam of light is based on the angle. Then there’s options of using blinds and other things to play with to create more layers.

Exterior

Watkinson: We knew Gilead had this throwback element. We knew it had to have a certain softness to it to match that otherness. We were always going to use vintage lenses, testing to figure out which ones got us the exterior softness was crucial.

We wanted shallow and soft look for the exterior. The lenses we used were very fast. They were 1.3, 1.4 lens and we would play the daytime shots as wide open as we could to really drop the depth of field.

Read More: The Best Indie Film Directors are Working on One Hulu Show, and Most Just Happen to be Women

We were trying to do anything that put movement in the light. We let light hit the camera — were totally happy for veiling to happen, so the light could hit the lens. Flare was part of the look. Then we’d push color into the blacks and highlights in the grade. We had a power Dit on set, to give it that otherworldliness. We shot on three Arri Alexa Mini, which did a great job with our colors and was perfect for going handheld, but also was 4K, which Hulu demanded.

Editor’s Note: This feature is presented in partnership with Arri, a leading designer, manufacturer and distributor of motion picture camera, digital intermediate (Di) and lighting equipment. Founded by two filmmakers 100 years ago, Arri and its engineers have been recognized by The Academy of Motion Picture Arts and Sciences for contributions to the industry with 19 Scientific and Technical Awards. Click here for more about Arri.

Related storiesHow TV Critics Began To Have a Bigger Impact on the Emmy Race -- Screen Talk Emmy PodcastHow 'Stranger Things' Created That Awesomely Retro Title Sequence'Kingdom' and 'American Gods' Star Jonathan Tucker Bled for His Art, and That's Just the Beginning
See full article at Indiewire »

Whistler Film Festival: 36% Films Directed by Women

  • Sydney's Buzz
On the heels of Telefilm Canada’s pledge on November 11 that half of its projects will be directed or written by women in a move to close the industry gender gap by 2020, the Whistler Film Festival (Nov 30 — Dec 4) was proud to present an unprecedented number of female focused films, talent, events and awards throughout its 2016 programs.

The festival featured a record 31 (36%) films all directed by women (including 15 feature films out of 50 and 16 short films out of 36). Wff also has 38 (58%) female filmmakers out of the 66 Canadian artists confirmed to date participating in 11 talent programs — including 22 directors, 6 producers, 3 screenwriters, 2 actors, and 5 musicians/bands in the Music Showcase. Add this to the talent confirmed to attend the festival in support of their films and projects, including award winning director and screenwriter Deepa Mehta (An Anatomy Of Violence), director Ingrid Veninger (Hockey Night), director Kirsten Carthew (The Sun At Midnight) and director Martine Blue
See full article at Sydney's Buzz »

'Twisted,' 'Victorious' Star to Play King Tut for Spike TV (Exclusive)

Spike TV has found its King Tut. Twisted and Victorious star Avan Jogia will take on the role as the Egyptian ruler in the Viacom-owned cable network's original miniseries Tut, The Hollywood Reporter has learned. The limited series is based on the story of Tutankhamun, otherwise known as King Tut. Tut hails from Muse Entertainment, best known for Emmy-nominated The Kennedys as well as Pillars of the Earth. The company's Joel S. Rice and Michael Prupas along with Greg Gugliotta (The Fosters) will executive produce with writer Michael Vickerman (Impact), Bradley Bredeweg and Peter Paige (The Fosters) and Elice Island's Jeremy Elice and Angela Mancuso (Spartacus, Helen of Troy). Irene Litinsky (Being Human) serves as

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See full article at The Hollywood Reporter - Movie News »

Ben Kingsley to Star in Spike TV's King Tut Event Series

Spike TV is going big with its return to scripted fare. The male-leaning cable network has enlisted Ben Kingsley to star in its six-part King Tut miniseries, The Hollywood Reporter has learned. The limited series is based on the story of Tutankhamun, otherwise known as King Tut. Tut hails from Muse Entertainment, best known for Emmy-nominated The Kennedys as well as Pillars of the Earth. The company's Joel S. Rice and Michael Prupas as well as Greg Gugliotta (The Fosters) will executive produce alongside writer Michael Vickerman (Impact), Bradley Bredeweg and Peter Paige (The Fosters) and Elice

read more
See full article at The Hollywood Reporter - Movie News »

When 'whodunit?' is beside the point: The artful, absorbing ambiguities of 'Rectify'

When 'whodunit?' is beside the point: The artful, absorbing ambiguities of 'Rectify'
Daniel Holden wanders his world dazed and confused, humbled and harrowed, like a fuzzy-headed Lazarus lost for bearings after getting called out of the tomb. Whether this dead man walking deserves his miraculous parole is the hazy question mark at the center of Rectify, a somber existential mystery about historical injustice, guilt, alienation, and other deep stuff. Season 1 tracked and pondered its protagonist, a veritable philosophical zombie, as he shuffled back and through his hometown of Paulie, Georgia — a fictional place; the name suggests (to me) sudden impact Pauline conversions and that apostle’s legendary jailbreak — after 19 years on death
See full article at EW.com - Inside TV »

King Tut Miniseries Gets Green Light at Spike TV

King Tut Miniseries Gets Green Light at Spike TV
It's official: Spike TV is returning to scripted programming. The male-skewing cable network has given the green light to Tut, a six-hour miniseries first developed in September. The Viacom-owned cabler made the announcement Monday, noting that the limited series is based on the story of Tutankhamun, otherwise known as King Tut. Tut hails from Muse Entertainment, best known for Emmy-nominated The Kennedys as well as Pillars of the Earth. The company's Joel S. Rice and Michael Prupas as well as Greg Gugliotta (The Fosters) will executive produce alongside writer Michael Vickerman (Impact), Bradley Bredeweg and Peter Paige

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See full article at The Hollywood Reporter - Movie News »

Miptv: ‘CSI,’ ‘Shameless’ Writers Team on ‘Spotless’ for Canal Plus, Tandem

Miptv: ‘CSI,’ ‘Shameless’ Writers Team on ‘Spotless’ for Canal Plus, Tandem
Cannes — French pay TV company Canal Plus has greenlit crime drama “Spotless,” which was co-created by Ed McCardie (U.K. version of “Shameless”), and Corinne Marrinan (“CSI: Crime Scene Investigation”).

The 10-episode series is to be produced by Tandem Communications, which is owned by Canal Plus’ production arm Studiocanal. Principal photography is set to begin this summer on location in London. The first two episodes will be directed by Pascal Chaumeil (“Heartbreaker,” “A Long Way Down”). Principal casting will be announced soon.

The show, which will be peppered with black humor, centers on a troubled man, Jean, whose tidy life is turned upside down when his outlaw brother, Martin, crash lands into his world, and gets both of them involved in the deadly dynamics of organized crime.

Played out against a backdrop of Jean’s niche crime-scene cleaning business, with gangsters, corruption, drugs and death a constant hazard, Jean, Martin
See full article at Variety - TV News »

Jonah Hill Still Can't Believe He's Friends With Leonardo DiCaprio

  • Popsugar
Jonah Hill Still Can't Believe He's Friends With Leonardo DiCaprio
Palm Springs International Film Festival attendees followed a late night at Saturday's official awards gala and afterparty with a mimosa-soaked brunch at Variety's Creative Impact Awards today. Jonah Hill was honored with the event's acting award for his role in The Wolf of Wall Street. Jonah reflected on expanding his talents beyond comedy in his acceptance speech and also talked about how surreal it is to have worked with Leonardo DiCaprio and Martin Scorsese. "I really want to thank Leonardo DiCaprio and Martin Scorsese," he said, "which sounds crazy that I'm referring to them in a way that I actually know them, as opposed to abstract, heroic figures. I love those guys." He also took a guess at how they might be spending their morning. "They're probably on Mars right now, or wherever they hang out." Colin Farrell and Melissa McCarthy were also on hand at The Parker hotel for the festivities.
See full article at Popsugar »

Jonah Hill Still Can't Believe He's Friends With Leonardo DiCaprio

  • BuzzSugar
Palm Springs International Film Festival attendees followed a late night at Saturday's official awards gala and afterparty with a mimosa-soaked brunch at Variety's Creative Impact Awards today. Jonah Hill was honored with the event's acting award for his role in The Wolf of Wall Street. Jonah reflected on expanding his talents beyond comedy in his acceptance speech and also talked about how surreal it is to have worked with Leonardo DiCaprio and Martin Scorsese. "I really want to thank Leonardo DiCaprio and Martin Scorsese," he said, "which sounds crazy that I'm referring to them in a way that I actually know them, as opposed to abstract, heroic figures. I love those guys." He also took a guess at how they might be spending their morning. "They're probably on Mars right now, or wherever they hang out." Colin Farrell and Melissa McCarthy were also on hand at The Parker hotel for the festivities.
See full article at BuzzSugar »

Variety Creative Impact Award in Directing: John Lee Hancock

Variety Creative Impact Award in Directing: John Lee Hancock
John Lee Hancock was already a Disney veteran when he came onboard “Saving Mr. Banks,” having helmed “The Rookie” for the studio a decade ago. But in telling the knotted tale of Walt Disney’s struggle to adapt P.L. Travers’ “Mary Poppins” books, the helmer, Variety’s Creative Impact in Directing honoree, had to contend with a multi-decade negotiation that was less than a jolly holiday for all.

“The script was completely developed outside of Disney,” Hancock says of Kelly Marcel and Sue Smith’s Black List screenplay, “and I don’t think it could have been developed inside the walls of Disney. I think they might have chipped away at Walt’s character and it would have been a very different script, and I think they might admit that as well.”

Hancock credits the fact that other producers, including Australia’s Hopscotch and the U.K.’s BBC and Ruby Films,
See full article at Variety - Film News »

King Tut Event Series in the Works at Spike TV

King Tut Event Series in the Works at Spike TV
Spike TV has added another event series to its development coffers. The Viacom-owned cable network announced Thursday that it is developing Tut, a six-episode limited series based on the story of Tutankhamun, otherwise known as King Tut. Tut hails from Muse Entertainment, best known for Emmy-nominated The Kennedys as well as Pillars of the Earth. The company's Joel S. Rice and Michael Prupas as well as Greg Gugliotta (The Fosters) will executive produce alongside writer Michael Vickerman (Impact) and Bradley Bredeweg and Peter Paige (The Fosters) Story: The 'Bible' Effect and the Resurrection of the TV Miniseries

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See full article at The Hollywood Reporter - Movie News »

WWE: Looking At The “We The Sheeple” Editions Of Main Event And Nxt

On the eve of Independence Day here in the Us, WWE gave us there Stars & Stripes editions of Nxt and the Main Event. The two-hour block showcase some Real Americans battling for pride in their country and chasing the American dream of championships and briefcases. As always, let’s begin with the Main Event.

We begin the night’s festivities by introducing tonight’s announce team the returning son of the “American Dream” Cody Rhodes and Josh Matthews. Another solid showing from Rhodes in the booth. Especially in the opening match of the night featuring his best friend Damien Sandow as he goes against Christian.

Christian makes his entrance first to a mixed reaction as Sandow comes out cutting a promo calling his opponent a troglodyte. Sandow also added a quote from a great man, Damien Sandow saying, “in the Valley of the Stupid, the half-wit is king”. The enlightened
See full article at Obsessed with Film »

Brilliant Syfy Renews Being Human for a Fourth Season

  • ScifiMafia
Last night, Syfy had its “Upfront” presentation, the event when they announce what shows are coming and what’s in development. Not surprisingly, we received seven press releases today for your consumption. I’ve posted the happiest news first:

Syfy Renews Original Drama Being Human For Fourth Season

New York, NY – April 10, 2013 – Syfy is ordering a fourth season (13 episodes) of its hit drama series Being Human, it was announced today by Mark Stern, President of Original Content, Syfy and Co-Head of Original Content, Universal Cable Productions. The announcement comes on the heels of the Season 3 finale which aired Monday, April 8 and in time for Syfy’s Upfront presentation this evening in New York City.

Being Human stars Sam Witwer, Meaghan Rath, Sam Huntington and Kristen Hager as vampire Aidan, ghost Sally and werewolves Josh and Nora. Together they struggle to suppress their supernatural secrets and temptations and live their lives
See full article at ScifiMafia »

The Possession Interview: Casting A Demonic Child

When Natasha Calis was just nine years old, she decided to turn on The Exorcist without her parent’s permission. She became so terrified by Linda Blair’s portrayal of Regan that she couldn’t finish the whole movie. Calis takes on a similar character and aims to send that same chill down your spine in the upcoming horror flick, The Possession.

After a rigorous audition process for the film, director Ole Bornedeal (Nightwatch) knew that he had found the right actress in Natasha Calis (Impact, Gone) to take on the role of “Em.” She had to immerse her innocent, 13-year-old psyche into a character that explored some dark and emotionally disturbing territory. It wasn’t an easy task for the tween who started her acting career at 7 years of age. She had to embody two

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See full article at CineMovie »

FIFA 13: 10 Big Reasons To Be Excited

Ahead of this year’s addition to EA Sports’ juggernaut FIFA football game franchise, and fresh with some officially released new details, we’ve been looking forward to what we might get from FIFA 13, and here are the ten most exciting things gamers can look forward so far…

More Captured Faces Than Ever

Tech developed by Glasgow-based digital capture firm Dimensional Imaging will be used by EA Sports to pack FIFA 13 with more realistic faces than ever before, according to Mike Harrison, director of EA Capture at Electronic Arts:

“We recognised a few years ago that raising the quality of facial appearance was an increasing priority for our game teams. Working closely with Dimensional Imaging has allowed us to develop a highly accurate 3D facial capture pipeline that is now so efficient that we can apply it to more characters than we ever thought possible.”

Dimensional Imaging CEO Colin Urquhart
See full article at Obsessed with Film »

'FIFA' to become a Wii U launch title? - E3 2011

FIFA might be one of the launch titles with the Wii U, it has been revealed. EA Sports has suggested that the football franchise could be "invited" when asked if it could release day one on the new Nintendo console, according to Eurogamer. "FIFA has the great fortune of being invited to all the VIP parties," said senior vice president Andrew Wilson. The controller's touch-screen could be used to display on-screen elements such as the radar, or used for tactical play or menu screens. "This concept of cleaning up everything you see on the big screen and putting all that here [on the controller screen], is an interesting proposition," said Wilson. Watch the FIFA 12 Impact Engine trailer below: "The radar can go there. You could trigger wing play. You could play an offside trap here. There are a whole bunch of things (more)
See full article at Digital Spy - Movie News »

Weekend Meme: Max Adler Talks Bullies, A Carolina Panther Says" NOH8," and Gwyneth Paltrow Is "Straight Outta Compton"

  • The Backlot
Alec Baldwin is not going to pull out of Adam Shankman’s Rock of Ages movie. I can’t decide if that’s a good or bad thing.

Despite earlier reports, Sarah Michelle Gellar’s new pilot Ringer is not going to be picked up by The CW, because they can’t afford it. Turns out CBS felt the series didn’t fit their demographic.

Rep. Tammy Baldwin is “very likely” to run for an upcoming vacancy in the Senate. If she wins, she would become the first openly gay U.S. Senator. True story: When she was running for her first term, I was on a sales call in Minneapolis, and the customer I was dealing with was driving us to lunch when he started talking about how that “dumb dyke” would never get elected. My coworker had to physically restrain me from climbing over the back of the car.
See full article at The Backlot »

Film review: No Impact Man

This eco-documentary about living a low-impact lifestyle is undermined by irritating devices and ersatz drama, says Peter Bradshaw

Superdownsize Me could be the subtitle of this eco-conscious documentary, presented in all an too familiar format; it advances important and laudable ideas, but in a cliched, gimmicky way. Colin Beavan is a New York blogger and environmentalist who at the end of 2006 came up with an idea that soon made him a media darling – to his own elaborate, saucer-eyed surprise. For one year, he and his family will live a lifestyle that has "no impact" on the environment: no car-driving, no TV, no buying anything new, no unnecessary packaging, no electricity, and – gulp! – no toilet paper. What is supposed to make this story cute is that Colin's wife Michelle is a high-flying Business Week journalist with a Carrie-Bradshaw-type love of retail therapy, and for her, the No Impact experiment is
See full article at The Guardian - Film News »

Visual Effects supervisor Steven Eric Hodgson dies

HollywoodNews.com: Steven Eric Hodgson, an accomplished and acclaimed visual effects supervisor for numerous feature films and TV projects, died suddenly June 16 while on the set of the upcoming TV series “Camelot.” Hodgson, who was 50 when he died, had been battling cancer for several years.

Among his recent credits are Charlie St. Cloud, Hot Tub Time Machine, The Uninvited, Vantage Point and the mini-series “Impact.” Hodgson had just begun work on Starz’ “Camelot,” the upcoming series focusing on the King Arthur legend, when he died.

Hodgson was nominated for a Gemini Award – Canada’s highest honors for work in TV – in 2009 for his effects efforts on “Impact,” and in 2004 for “The Collector.” His effects work on “Impact” earned him a Leo Award – celebrating film and TV productions from British Columbia – and “The Collector” netted him a Leo Award nomination.

Born Oct. 6, 1959 in Bellshill, Scotland, Hodgson was based in Vancouver. He
See full article at Hollywoodnews.com »
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