V/H/S: Viral () - Rotten Tomatoes
Dozens of fameobsessed teens flock to the streets with their video cameras and camera phones, hellbent on capturing the next viral video. But there is. Release date. April 22, () (Mann Village Theatre); May 18, () (United States). Running time. 90 minutes. Country, United States. Language, English. Budget, $60 million. Box office, $ million. Shrek is a American computer-animated fantasy comedy film loosely based on the .. The film was released by DreamWorks Home. A second trailer was released on March 12, , with the film Wing Commander . The film was released worldwide on VHS between April 3 and 8, .. "' Star Wars: Episode I' 3D Gets Theatrical Release Date From Lucasfilm, Fox". .. Latino (, uncredited); Mishima: A Life in Four Chapters (); Labyrinth.
However, Asbury left a year later for work on the film Spirit: Stallion of the Cimarronand was replaced with story artist Vicky Jenson.
Both Adamson and Jenson decided to work on the film in half, so the crew could at least know who to go to with specific detail questions about the film's sequences; "We both ended up doing a lot of everything," Adamson said. It was also thought one time that he lived with his parents and kept rotting fish in his bedroom.
He had done over sculptures of Fiona before the directors chose the final design. Chris Farley was initially hired to voice Shrek, and he had recorded nearly all of the dialogue for the character, but died before completing the project. I wanted the opportunity to work with Jeffrey Katzenberg; and [the book is] a great story about accepting yourself for who you are.
The Spy Who Shagged Me.
V/H/S: Viral and The Pyramid Get Release Dates | Collider
I got paid the same. There were clearer story points, fresher gags and comedy bits. However, she was fired from the project with little explanation. Years later, Garofalo stated "I was never told why [I was fired]. I assume because I sound like a man sometimes? I don't know why. But, you know, the movie didn't do anything, so who cares? For some elements, however, it also took advantage of some of the powerhouse animation software in the market. This is particularly true with Mayawhich PDI used for most of its dynamic cloth animation and for the hair of Fiona and Farquaad.
In Shrek, we applied that to whole body. So, if you pay attention to Shrek when he talks, you see that when he opens his jaw, he forms a double chin, because we have the fat and the muscles underneath. That kind of detail took us a long time to get right. This fell into the hands of the surfacing animators who used flow controls within a complex shader to provide the fur with many attributes ability to change directions, lie flat, swirl, etc.
Once the technology was mastered, it was able to be applied to many aspects of the Shrek movie including grassmossbeardseyebrowsand even threads on Shrek's tunic. Making human hair realistic was different from Donkey's fur, requiring a separate rendering system and a lot of attention from the lighting and visual effects teams.
In-film locations were finalized and as demonstrated by past DreamWorks animated movies, color and mood was of the utmost importance. On the Blu-ray release of The Phantom Menace, which was also used for the 3D reissue, a CG Yoda similar to the one from the other prequels is used instead.
Star Wars: Episode I – The Phantom Menace - Wikipedia
On the set, to provide references for the actors, Best was clothed in a suit made of foam and latex and a headpiece. Best's filmed performance was later replaced with the computer-generated character. Lucas described the character as a "good man but he's beleaguered—a bit like [Bill] Clinton ". Silas Carson portrays Nute Gunraythe Viceroy of the Trade Federation who leads Naboo's invasion and tries to force Queen Amidala to sign a treaty to legitimise their occupation of the planet.
Carson also portrays three minor characters: Dominic West plays the role of a Naboo guard. Christian Simpson appears as Lieutenant Gavyn Sykes. The original film was written to introduce a wider story arc that could be told in sequels on the chance that it became successful, so Star Wars evolved from the first film in the series to the first episode of the saga's second trilogy. This was inmore than six years since the release of Star Wars.
Lucas admitted to being "burned out" and announced he would take a break from working on the saga. Because Lucas had developed most of the backstory, the idea of prequels continued to fascinate him.
Lucas saw there was still a large audience for his idea of a prequel trilogy and with the development of special effects generated with computer-generated imagery CGILucas considered returning to his saga and directing the film. Lucas began outlining the story; Anakin Skywalker rather than Obi-Wan Kenobi would be the protagonist and the series would be a tragedy examining Darth Vader's origins.
A relic of the original outline was that Anakin would, like his son, grow up on Tatooine. This was the final step toward turning the franchise into a saga. The screenplay of Star Wars was adapted from Lucas' page outline that was written inwhich he designed to help him keep track of the characters' backstories and events that occurred before the original trilogy. Eventually, Anakin's younger age led Lucas to rewrite his participation in the movie's major scenes.
The central plot is Palpatine's intent to become Chancellor, which leads to the Trade Federation's attack on Naboo, the Jedi being sent there, Anakin being met along the way, and the rise of the Sith Lords. As with the original trilogy, Lucas intended The Phantom Menace to illustrate several themes throughout the narrative. Duality is a frequent theme; Amidala is a queen who passes as a handmaiden, Palpatine plays on both sides of the war, among others.
All three approached directors told Lucas that he should direct the film, as they each found the project "too daunting. McCallum stated that his experience with The Young Indiana Jones Chronicles led to many of his decisions on The Phantom Menace, such as long-term deals with actors and soundstages, the employment of recent graduates with no film experience, and the creation of sets and landscapes with digital technology.
In AprilMcCallum started searching for artists in art, architecture and design schools, and in mid-year he began location scouting with production designer Gavin Bocquet.
With the exception of the Gungan city, which had an art nouveau -inspired visual, these locations would be given distinctive looks with some basis in the real world. The concept drawings of Ralph McQuarrie for the original trilogy served as the basis for Mos Espa—which was also inspired by old Tunisian hotels and buildings and had touches such as a market place to differentiate it from A New Hope's Mos Eisley—and Coruscant, in particular a metropolis design which became the basis for the Senate.
Chiang uses that orientation to base the droids on the Imperial soldiers, only in the same style of stylized and elongated features seen in tribal African art. Many of the aliens are hybrids, combining features of real animals. At times entire food chains were developed even though only a small percentage of them would appear in the film.
Whitlatch also designed detailed skeletons for the major characters and facial muscles on Jar Jar Binks as a reference for ILM's animators. Each creature would reflect its environment; those on Naboo were more beautiful because the planet is "lush and more animal-friendly", Tatooine has rough-looking creatures "with weather-beaten leathery skin to protect them from the harsh desert elements", and Coruscant has bipedal, human-looking aliens.
Lucas wanted the lightsaber battles to be fast and more intense, depicting the Jedi in their prime. This scene was highly praised by critics and audiences.
Stunt coordinator Nick Gillard was recruited to create a new Jedi fighting style for the prequel trilogy. Gillard likened the lightsaber battles to a chess game "with every move being a check ". Because of their short-range weapons, Gillard thought the Jedi would have had to develop a fighting style that merged every swordfighting style, such as kendo and other kenjutsu styles, with other swinging techniques, such as tennis swings and tree-chopping.
While training Liam Neeson and Ewan McGregor, Gillard wrote a sequence which lasted around 60 seconds and intended to be around five or six sequences per fight. The preference of hand-to-hand combat was intended to give a spiritual and intellectual role to the Jedi. Designer Trisha Biggar and her team created over 1, costumes that were inspired by various cultures. Tatooine followed A New Hope with sun-bleached sand colors, Coruscant had grays, browns and blacks, and Naboo had green and gold for humans while Gungans wore "a leathery look, like their skin".
The Jedi costumes followed the tradition from the original film;  Obi-Wan's costume was inspired by the costume that was worn by Guinness. Lucas said he and Biggar would look at the conceptual art to "translat[e] all of these designs into cloth and fabric and materials that would actually work and not look silly".
Biggar also consulted Gillard to ensure the costumes would accommodate action scenes, and consulted the creature department to find which fabrics "wouldn't wear too heavily" on the alien skins. A huge wardrobe department was set up at Leavesden Film Studios to create over costumes for the main actors and 5, for the background ones. Jackson expressed interest in appearing in a Star Wars film, he was approached by casting director Robin Gurland to play Windu.
Lucas and McCallum were so impressed with the test tape that they gave Park the role of Maul. His voice was considered "too squeaky" and was dubbed over in post-production by Peter Serafinowicz.
V/H/S: VIRAL and Alexandre Aja’s THE PYRAMID Both Due Later This Year
Hugh Quarshie considered the part of Panaka as "a good career move" and a production that would be fun to make. As she prepared the script for her directorial debut The Virgin SuicidesSofia heard Lucas would make a new Star Wars film and asked him if she could accompany him during filming. Lucas offered Coppola a role in the royal entourage, which she accepted because it "seemed like a good vantage point to watch without getting in the way". Filming began on June 26,and ended on September 30 of that year, primarily taking place at Leavesden Film Studios in England.
Leavesden was leased for a two and a half year period so the production company could leave the sets intact and return after principal photography had been completed. On the night following the third day of shooting in Tozeur, an unexpected sandstorm destroyed many of the sets and props.
The production was quickly rescheduled to allow for repairs and was able to leave Tunisia on the date originally planned. Scenes with explosions were filmed on replica sets in Leavesden.
A binder with the film's storyboards served as a reference for live-action filming, shots that would be filmed in front of a chroma key blue screen, and shots that would be composed using CGI. The sets were often built with the parts that would be required on screen; often they were built only up to the heights of the actors. Chroma key was extensively used for digital set extensions, backgrounds or scenes that required cinematographer David Tattersall to seek powerful lamps to light the sets and visual effects supervisor John Knoll to develop software that would remove the blue reflection from shiny floors.
Knoll, who remained on set through most of the production, worked closely with Tatterstall to ensure that the shots were suitable to add effects later.
The cameras were fitted with data capture models to provide technical data for the CGI artists. Some scenes, mostly of elements filmed by the special effects team, were shot on high definition, digital video tapes to test the performance of digital recordings, which Lucas and McCallum considered the next logical step because of the amount of digitizing—an expensive process compared to recording directly on digital media—for the compositing of computer-generated effects.
All future films would be shot using Sony CineAlta high-definition video cameras. The visual effects crew did not like the original results and crafted Fode and Beed as an entirely computer generated alien. Ben Burtt —who was also the film's sound editor —was responsible for action sequences under Lucas' supervision. Non-linear editing systems played a large part in translating Lucas' vision; he constantly tweaked, revised and reworked shots and scenes.
The final sound mix was added in March and the following month the film was completed after the delivery of the remaining visual effects shots. You can't write one of these movies without knowing how you're going to accomplish it. About 1, of the shots in The Phantom Menace have visual effects.VHS Viral Official Trailer 2014
The scene in which toxic gas is released on the Jedi is the only sequence with no digital alteration. Knoll previewed 3, storyboards for the film; Lucas accompanied him to explain factors of the shots that would be practical and those which would be created through visual effects.
Knoll later said that on hearing the explanations of the storyboards, he did not know how to accomplish what he had seen. The result was a mixture of original techniques and the newest digital techniques to make it difficult for the viewer to guess which technique was being used.
Knoll and his visual effects team wrote new computer software, including cloth simulators to allow a realistic depiction of the digital characters' clothing, to create certain shots. Another goal was to create computer-generated characters that could act seamlessly with live-action actors.
While filming scenes with CGI characters, Lucas would block the characters using their corresponding voice actors on-set. The voice actors were then removed and the live-action actors would perform the same scene alone. A CGI character would later be added into the shot to complete the conversation.