Gaspar Noé Talks Love, 3D Sex, Drugs, and Intimacy

Six years after his groundbreaking, psychedelic epic ‘Enter The Void’, French Argentinian provocateur Gaspar Noé is back with his latest film – the shot in 3d, (very) sexually explicit ‘Love’. The story follows film student Murphy (Karl Glusman) who enters a intensely passionate relationship with the unstable Electra (Aomi Muyock) as they invite their attractive neighbor (Klara Kristin) into their bed. We sat with Noé to discuss the film’s range of critical reactions, working with non-actors performing actual sex and his process in creating one of year’s most controversial films.

Gaspar Noe

Watch the Filming of the Largest Film Stunt Explosion Ever from the Set of Spectre

SPECTRE has been awarded a Guinness World Records™ title for the Largest Film Stunt Explosion. Producer Barbara Broccoli, Daniel Craig and Léa Seydoux, accepted the record certificate in Beijing, China on behalf of winner Chris Corbould, who served as Special Effects and Miniature Effects Supervisor on SPECTRE. The explosion was filmed in Erfoud, Morocco and used 8418 litres of fuel and 33kg of explosives.

Spectre Explosion

How Facebook is Stealing Billions of Views

Facebook just announced 8 billion video views per day. This number is made out of lies, cheating and worst of all: theft. All of this is wildly known but the media giant Facebook is pretending everything is fine, while damaging independent creators in the process. How does this work?

The “Smarter Everyday” video mentioned:


The tech of the art of The Peanuts Movie

Converting a beloved and iconic comic strip into a 3D animated feature is a considerable task – Blue Sky Studio opens up and shares some of their processes in bringing Peanuts to the Big Screen.


‘When in doubt, go back to the strip.’ That was The Peanuts Movie director Steve Martino’s mantra during production on Blue Sky Studio’s newest CG animated film, according to animation supervisor Scott Carroll, who fxguide spoke to recently at the VIEW Conference in Italy.

The strip Martino is referring to is, of course, Charles M. Schulz’s beloved Peanuts comic starring Charlie Brown, Snoopy and a host of familiar neighborhood characters. Blue Sky was determined to stay faithful to the 2D world of Peanuts despite the 3D world in which the film would exist. That meant coming up with a wave of artistic and technical solutions to still ensure the studio would always be going ‘back to the strip’.

So what were those 2D aspects of the comic strip (and several television specials) that Blue Sky wanted to preserve and how did studio tackle them in 3D?

While researching 50 years of Peanuts strips, Blue Sky quickly realized that Schultz (nicknamed ‘Sparky’) drew his characters from only limited camera angles and in proportions that worked for the particular frame they were in. But translating a Sparky-drawn character directly to 3D would immediately cause strange in-betweens and interpolations and cause the characters to go off-model. So Blue Sky had to work out 3D ways to echo the 2D drawings. The solution was effectively to retain thse front-on and profile views and occasionally sculpt and animate specifically to the camera.

FXGuide | Read the Full Article

Superfan JJ Abrams on Directing “The Force Awakens”

Wired interviews the J.J. Abrams on what it’s like to direct the most anticipated film of the year.

JJ Abrams by Dan Winters

WIRED: How are you feeling? It seems like only yesterday you were announced as the director of Episode VII.

J.J. ABRAMS: Good! It’s a crazy thing, right? I can’t wait for people to see the movie. We’ve been baking this cake for a long time, and now it’s time to serve it.

How much of The Force Awakens  is geared toward welcoming people back to the Star Wars franchise versus starting something completely new? How do you strike a balance between those two imperatives?

We wanted to tell a story that had its own self-contained beginning, middle, and end but at the same time, like A New Hope, implied a history that preceded it and also hinted at a future to follow. When Star Wars first came out, it was a film that both allowed the audience to understand a new story but also to infer all sorts of exciting things that might be. In that first movie, Luke wasn’t necessarily the son of Vader, he wasn’t necessarily the brother of Leia, but it was all possible. The Force Awakens has this incredible advantage, not just of a passionate fan base but also of a backstory that is familiar to a lot of people. We’ve been able to use what came before in a very organic way, because we didn’t have to reboot anything. We didn’t have to come up with a backstory that would make sense; it’s all there. But these new characters, which Force is very much about, find themselves in new situations—so even if you don’t know anything about Star Wars, you’re right there with them. If you are a fan of Star Wars, what they experience will have added meaning.

Wired | Read the Full Article

Working Writers Answer Some of the Common Screeenwriting Questions from Twitter

Nick Hornby (An Education, Brooklyn), Beau Willimon (House of Cards), Nancy Meyers (Somethings’s Gotta Give, The Intern), Andrew Bovell (Strictly Ballroom, A Most Wanted Man), Jimmy McGovern (Accused, Banished) answer questions from the Twitterverse about Screenwriting.

Nancy Meyers


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