Tuesday, December 3, 2013

Kaufman carves out piece of film history

Situated in the “suburbs of New York City,” as one member of the press put it, The Kaufman Astoria Studios in Queens, New York, is now the proud home to the city's very first backlot. The space made its official debut earlier today at a well-attended ribbon-cutting ceremony. Though the weather was mild, sunny, and cooperatively ripe for the public display of an outdoor facility, the attenuating press conference was held inside Kaufman studios itself. Journalists and the city’s cultural movers and shakers schmoozed by the set of Amazon’s hit Web series “Alpha House,” though they were cordoned off from the show’s important, breakable items (facades of painted-brick houses and a long, imposing hallway with the look of sterile governmental officiousness about it provided the backdrop for what was really a congenial photo-op for the event’s politician speakers).

After getting off to a late start – not that many of the attendees minded, given the dark chocolate and peanut-butter cupcakes available – several important personages, figureheads and influential personalities alike, discussed the benefits of the new Kaufman Studios backlot. Council Member Jimmy Van Bramer was the day’s master of ceremonies, providing the opening remarks and setting the excited and hopeful, if often self-congratulatory, tone. “We like to think of it as Hollywood East,” he said of the studio space. “What [Head of Kaufman Studios] George Kaufman started here has produced billions – literally billions – of dollars in revenue,” and countless jobs.


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Subsequent speakers, including Senator Charles Schumer, George Kaufman’s right-hand man Hal Rosenbluth, Queens Borough President Helen Marshall, Senator Michael Gianaris, Assembly Member Aravella Simotas, and Senior Vice President of Film, Arts and Culture Development for New York State Rhoda Glickman, each echoed Van Bramer’s sentiments in turn. George Kaufman’s achievement – renovating the studio space after it fell into disrepair around 1980, subsequently revamping New York City’s film industry – was universally lauded, as were the benefits of the city’s film tax exemptions.

“The breaks come back to us – so much money comes back to us,” said Senator Schumer. The reinvigorated movie business has “created hundreds of thousands of good-paying jobs – not tens of thousands,” he was quick to emphasize.

Rosenbluth sounded, “Today is the celebration of a vision coming true,” while Senator Gianaris challenged the haters (none of whom were in attendance). He asked that “for all those who want to be critical, to rewind 10 years… It’s not just the talent, Tom Cruise and Harrison Ford, that’re making money off these productions.” He ticked off carpenters, electricians, and caterers as examples of those who benefit from a healthy entertainment business. Later, Rosenbluth cited the end credits of a film. “Each name [you see] is a job,” he said, “and each company is many jobs.”

George Kaufman, the man of the hour and its least loquacious, spoke briefly of how proud he felt and of his hopes for the future development and success of those projects that utilize the lot.

The conference moved along at a nice clip. Afterwards, the press was invited outside for more officially staged photos, including those that included the cutting of the ribbon. The speakers grouped together before the lot’s gates and beneath an outdoor catwalk, accessible via a broad spiral staircase and headed by large metal letters spelling out “Kaufman.”


1312033_KaufmanRibbon-0175.jpg.client.x675[1]Photo credit: Jill Lotenberg

Though she didn’t speak during the press conference, “Orange is the New Black” actress Dascha Polanco was on hand to discuss her experience filming Netflix’s popular series on the Kaufman property. As someone living on the border of Brooklyn and Queens, she said, she felt “proud” when she first got wind of a Kaufman backlot. “It’s a great representation of how things [here] keep getting better and improve. I’m witnessing history, and that’s an honor.” Not to mention a memorable way to kick off your 30th birthday.

Polanco’s reference to history is apt. Back when it was known as Famous Players Lasky, the studio officially opened for show-business in 1920. It later went on to house Paramount Studios, and, for many years, was the largest film stage outside of Hollywood. Early luminaries like Gloria Swanson, Claudette Colbert and W.C. Fields all starred in productions filmed in the space. More recently, Kaufman studios continues to play host to TV series “Nurse Jackie” and "Sesame Street," as well as “Alpha House” and “Orange is the New Black.” The Bourne Legacy filmed there, as did the upcoming Ben Stiller drama The Secret Life of Walter Mitty.

“This is a game-changer for New York,” Schumer stated. We have the talent, he said, as so many people would rather live here than in California. In other words, and in sum:  “Hollywood, watch out!”



'American Hustle' wins top NYFC honor

The New York Film Critics Circle has announced its 2013 list of awardees, kicking Oscar punditry, predictions, and proselytizing into high gear. David O. Russell's American Hustle walked away with the Best Picture title, while star Jennifer Lawrence was named the year's Best Supporting Actress (cue mockingjay hand signal of solidarity). The list of winners is below:


 


 Best Picture: American Hustle
 Best Actor: Robert Redford, All Is Lost
 Best Actress: Cate Blanchett, Blue Jasmine
 Best Director: Steve McQueen, 12 Years a Slave
 Best Screenplay: American Hustle
 Best Supporting Actor: Jared Leto, Dallas Buyers Club
 Best Supporting Actress: Jennifer Lawrence, American Hustle
 Best Animated Film: The Wind Rises
 Best Cinematographer: Bruno Delbonnel, Inside Llewyn Davis
 Best First Film: Fruitvale Station
 Best Foreign Film: Blue Is the Warmest Color
 Best Non-Fiction Film (Documentary): Stories We Tell
 Special Award: Frederick Wiseman


 



'The CG Story' chronicles a remarkable sea change in movies

“Toy Story presents a remarkable feature breakthrough: characters so three-dimensional-looking you feel like you could grab them off the screen, but existing wholly within the confines of a computer-generated world.”


That was me in 1995, marveling at the wonders of Pixar’s feature debut in my review for Film Journal International. But who could have predicted that this movie breakthrough would lead to a sea change in the animated world, with every year bringing huge new advances in the art of computer-generated visuals and the near-elimination of 2D, hand-drawn imagery from movie screens?


The debut of Toy Story is just one key moment in The CG Story, the handsome new coffee-table book from The Monacelli Press, written by Christopher Finch, the author of The Art of Walt Disney. CG Story final Cover Hi-Res
Finch declares that the development of computer animation is as important to the history of motion pictures as the introduction of color and sound, and the copious illustrations and blockbuster examples in his 368-page volume make a persuasive argument.


The CG Story traces the roots of this technology in the computerized motion-control photography of movies like Star Wars, Close Encounters of the Third Kind and Blade Runner, leading to true CG imagery in the groundbreaking Tron (1982) and the stained-glass knight sequence in Young Sherlock Holmes (1985). Around the same time, the Lucasfilm Graphics Group, which included future Pixar co-founders Ed Catmull and John Lasseter, unveiled the first fully computer-animated short, The Adventures of André and Wally B. A decade later, after achieving success with commercials and a series of delightful shorts, Pixar unveiled the massively popular Toy Story.


BTS (Before Toy Story), there were other breakthroughs in the live-action realm, chiefly Terminator 2: Judgment Day, Jurassic Park and Jumanji, to be followed in the second half of the ’90s by such landmarks as Titanic, The Matrix, and George Lucas’ Star Wars: Episode I, in which every one of its 2,000 shots incorporated some kind of CG imagery. Meanwhile, Pixar was creating its string of hits, with PDI-DreamWorks following closely behind.


With the turn of the millennium, computer-generated imagery became an essential tool of one giant film franchise after another: Harry Potter, Spider-Man, The Lord of the Rings, Pirates of the Caribbean, The Chronicles of Narnia. The new era of digital 3D that hatched with 2005’s Chicken Little led to stunning 3D visual-effects spectacles like Avatar, Hugo, The Avengers, Life of Pi and Gravity (the latter too recent to be included in this volume).


And let’s not neglect Pixar’s brilliant series of popular and critical hits in the 2000s: Monsters, Inc., Finding Nemo, The Incredibles, Ratatouille, Wall-E, Up, and Toy Story 3. And the very fine output of other animation studios like DreamWorks and Blue Sky, particularly the blockbuster Ice Age series and the gorgeous How to Train Your Dragon.


All this recent history and more are covered in enlightening detail in The CG Story. We’ve all been living through a remarkable period in movie history, during which the wildest visions of filmmakers can be realized and made palpable with enough money, personnel and data storage, so that the adage “The camera doesn't lie” simply doesn’t apply. Many will argue that since so much of what we see onscreen today is computer-animated, a human element and the believability of real-life situations have been lost. Will young moviegoers ever be charmed again by the stop-motion artistry of a Ray Harryhausen or awed by spectacles that employed actual casts of thousands? It’s a different era now, ruled by a different sensibility, but there’s no denying the “Wow” factor still lives in countless modern movies. The CG Story is a valuable account of one seismic transition.



Monday, December 2, 2013

Girl power propels Thanksgiving box office

Thanks to popular heroine Katniss Everdeen and a pair of sparring sisters, this year’s Thanksgiving weekend was the most lucrative on record. Hunger Games: Catching Fire continued to feed viewers’ appetite for action fare, love triangles, and watching Jennifer Lawrence drive both, earning an incredible $110 million over the five-day (Wednesday-Sunday) spread. Flying past Harry Potter and the Sorcerer’s Stone, which took in $82.4 million over the same period in 2001, Catching Fire is now the most successful film to have ever screened over the long Thanksgiving weekend.


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Frozen, Catching Fire’s worthy challenger, set a record of its own these past several days. The Disney princess movie had the highest Thanksgiving opening of all time. It earned $93 million over Wednesday-Sunday night. Toy Story 2 previously held the record for most successful Thanksgiving debut, having opened to $80.1 million in 1999. Very loosely based on Hans Christian Andersen’s fairytale The Snow Queen (they both involve siblings and chilly Nordic weather), Frozen is now the top earner for Disney Animation Studios, way ahead of Tangled and that title’s 2010 Thanksgiving haul of $68.7 million.

It was mostly due to the efforts of the aforementioned, female-driven offerings that the holiday box office tallied out at $294 million, an uptick of 3 percent from last year’s $291 million. No other films came close to the weekend’s top two earners. In third place, Thor: The Dark World continued to do steady, if no longer stellar, business, drumming up $11 million in sales, a drop of 22 percent from last weekend. The Best Man Holiday took in $8.5 million, boosting its overall cume, after two-and-a-half weeks in theatres, to $63.4 million.


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And then there are the rest of those films that had hoped to score big with a Turkey Day debut. None of them managed to lure audiences away from their tables and subsequent leftovers – or rather, from Catching Fire and Frozen. Homefront earned $9.8 million over the five-day period; Black Nativity, which was expected to lead the charge of smaller new releases, earned just $5 million; and Oldboy bombed with $1.25 million.

The Book Thief did fine business, clocking in at $4.85 million, though it’s unclear how successful the Nazi-era family film will continue to be in the weeks ahead. Philomena, which opened in 835 theatres, earned $4.6 million, with high expectations for further steady sales.



Wednesday, November 27, 2013

Can ‘Frozen’ cool ‘Fire’s’ streak?

This year’s Thanksgiving weekend is serving up a battle of the elements, as Frozen goes head-to-head with reigning champion, Catching Fire. (Which reminds us of these classic antagonists.) The Disney animated musical and latest princess movie opens wide in 3,742 theatres today. The film’s tracking strong on Rotten Tomatoes at 88% fresh, and boasts a megawatt cast of Broadway stars, including Wicked’s Idina Menzel, Jonathan Groff and Josh Gad, as well as Kristen Bell as spunky and motormouthed protagonist Anna. Already, Frozen is out-selling 2010’s Tangled in advance ticket sales. Expectations, as they generally are for Disney family fare, are high, with pundits seeing receipts in the $70 million range.


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Odds are, however, Catching Fire will continue to light up the box office. The successful Hunger Games sequel and Lionsgate’s early Christmas present (to themselves) had earned $170 million domestically as of Monday. It’ll likely hold strong through the weekend. Where previous November blockbuster Twilight: Breaking Dawn Part II fell 69% over the holiday weekend, Catching Fire’s inevitable sophomore dip shouldn’t be more than 50, 55%.


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Also hoping to wrangle a large slice of the holiday b.o. pie – or what’s left of it, anyway – Black Nativity, starring Jennifer Hudson, Forest Whitaker, and Angela Bassett; Homefront, with Jason Statham, James Franco, Winona Ryder, and Kate Bosworth; and Oldboy, Spike Lee’s Korean cult-movie remake starring Josh Brolin, are all bowing today. Nativity, targeted toward an African American audience and opening just as the Christmas season begins in earnest, should perform the best of the bunch with around $10 million. Neither Homefront nor Oldboy have garnered particularly favorable reviews, but they can both count on built-in audiences (Statham fans, original Oldboy fanboys) to show up, regardless of a grousing peanut gallery. With Homefront opening in 2,572 theatres, it’s expected to gross in the high single digits. At just 583 locations, Oldboy will likely reap around $3 million.

There aren’t any specialty releases opening today, but Philomena and The Book Thief will both expand. Judi Dench and Steve Coogan’s odd-couple drama will broaden its audience base as it goes from screening in four to 835 theatres. Thief will open in 1,234 locations across the country and, most likely, gross between $5 and $9 million.

Happy Thanksgiving!

 



Tuesday, November 26, 2013

MoMA atrium immersed in Isaac Julien's 'Ten Thousand Waves'

Now through April 17, 2014, Ten Thousand Waves, an installation by filmmaker Isaac Julien, is on display in the Donald B. and Catherine C. Marron Atrium at New York's Museum of Modern Art. Featuring nine double-sided screens and over 20 speakers, this is the most ambitious staging to date of Julien's piece, which had been seen previously in Sydney, Berlin and other cities.


Ten Thousand Waves combines footage of a 2004 incident in which 23 Chinese immigrants drowned while working in England; the making of Ruan Ling-yu's most famous film, The Goddess, in 1934 Shanghai; and a retelling of how the water goddess Mazu rescues 16th-century fishermen.


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Julien worked from a wide range of sources: satellite imagery, HD video, Super 16, archival footage of Shanghai, and more. Similarly, his immersive soundtrack includes Jah Wobble and the Chinese Dub Orchestra; transcripts of emergency radio calls; and a score by Maria de Alvear.


There’s no single viewing point for Ten Thousand Waves. The narrative spreads across all nine screens, at times interweaving the three narrative strands, at times juxtaposing stories and images. Uniquely for this installation, the screens are arrayed at different heights and angles. Viewers must move through the installation to follow the story, which can also be seen from several floors overlooking the atrium.


This is the most complicated video installation ever attempted by MoMA. The audiovisual staff initially tested the placement of screens with a 3D model of the atrium. Still, staffers had fewer than 20 days to hang and align the screens. They range in size from 16 to 23 feet wide. Audio Visual Design Manager Aaron Harrow tested 15 different materials before settling on a screen from Gerriets.


"One thing Julien definitely wanted was an evenly lit image from both the front and rear of the screen," Harrow said at a press preview. "Gerriets provided the most in terms of viewing angle, transition to light, brightest image, things like that. You'll notice there are no hot spots."


"One small change in the size or placement of the screens would snowball," Aaron Louis, Director of Audio Visual, noted. "We'd have to change all nine screens, all nine projectors. You're shooting angles, you have to shoot under or next to a screen."


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"Some of the tolerances for the projector beams to avoid the sides of screens are a couple of inches," Harrow added.


When it came to projectors, Christie was the first choice. "We have a relationship with Christie," Harrow pointed out. "We know we can pick up a phone and say, 'Hey, I need help on this,' and they will be there." We do a lot of special events, and Christie's always our go-to firm. They're reliable. It's kind of a no-brainer."


The installation uses eight Christie WU14K-M projectors and one Christie HD14K-M projector—"pretty much off the shelf," Harrow pointed out. "Each projector has a different lens for different screen sizes and angles, but they're pretty much the stock M series."


A visual tour de force thanks to cinematographer Zhao Xiaoshi, Ten Thousand Waves also features an arresting performance by Zhao Tao as Ruan Ling-yu, perhaps the most accomplished Chinese actress of the 1930s.


Ten Thousand Waves also marks the return of Asian superstar Maggie Cheung, last seen here as a recovering heroin addict in Olivier Assayas's Clean (2004). Cheung won Best Actress for that project at the Cannes Film Festival, but apart from a cameo in Hot Summer Days has avoided movies until Julien persuaded her to take the part of Mazu.


Cheung downplayed her work. Speaking at the opening night ceremonies, she said, "I couldn't imagine what this would be like, I just kind of trusted Isaac. I thought, okay, this is not a movie movie, it's an art installation. I don't need to know what's the last scene, what's the next scene. It was very easy, we did it in an afternoon."


The most radiant of Hong Kong stars over the past three decades, Cheung insisted she has moved on from acting to working behind the camera. "I'm learning editing," she said excitedly. "More than the actual filmmaking itself, editing is where the decisions are made."



Monday, November 25, 2013

‘Catching Fire’ does just that

As predicted, records were shattered this past weekend, thanks to The Hunger Games: Catching Fire’s fantastic bow. The sequel to 2012’s Hunger Games (and we thought that film was popular) earned $161.1 million domestically and $307.7 worldwide. Here’s how it stacks up against previous cinematic and pop culture phenoms:



  • Catching Fire had the highest-grossing November opening of all time. The old record-holder, The Twilight Saga: New Moon, debuted to a paltry (it’s all relative) $148.2 million.

  • Catching Fire had the fourth highest-grossing opening ever. Its cume ranks just behind The Avengers’ $207.4 million, Iron Man 3’s $174.1 million, and the last Harry Potter movie’s $169.2 million.

  • Katniss & Co. just barely dethroned The Dark Knight Rises, which got bumped down a peg to the No. 5 slot on the list of most successful domestic opening weekends. Knight opened to $160.9 million back in 2012.


Catching Fire is also Lionsgate’s most successful release to date. It had the 12th most lucrative international opening ever.


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Some other movies made some money this weekend, too, although their stories are less uplifting. Thor: The Dark World earned $14.1 million, the most money of any film that was not Catching Fire. As its total suggests, The Dark World suffered a freefall of a drop in sales, down 61% from last week. The Best Man Holiday, last weekend’s surprise success story, also staggered, falling 58% to gross $12.5 million. While reverberations from the revolution brewing in The Hunger Games' Panem have clearly hurt the cinema’s other offerings, neither The Dark World nor Holiday has been fatally wounded. The Thor sequel will likely finish out with a little over $200 million, while The Best Man Holiday will probably top out at $75 million.

Similar reassurances cannot be made on behalf of Vince Vaughn’s latest vehicle, Delivery Man. The comedian begat a bomb with his tale of a boy-man sperm donor whose contributions result in 500+ children. Delivery Man grossed $8.2 million, less than half of each of Vaughn’s last two films, The Internship and The Dilemma. At least Vaughn can take comfort in knowing other name stars, at least those who were not christened Jennifer Lawrence, have also seen their stock fall this season. Both Runner Runner, starring Ben Affleck and Justin Timberlake, and The Counselor, whose credits read like the guest list for Vanity Fair’s Oscar party (Penelope Cruz, Cameron Diaz, Javier Bardem, Michael Fassbender, and Brad Pitt) opened to less than $10 million. Times, they are a changin’.


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One thing, however, remains constant: the undeniable appeal of Judi Dench. The grand dame’s Philomena opened in four locations and earned a respectable (how could it could have been anything other than?) $133,716, or $33,429 per theatre.

Neither has Tom Hanks lost his enduring appeal. The actor’s Oscar contender Captain Phillips sailed past the $100 million domestic mark this weekend, its seventh, with no sign of slowing pace.