Advertisements

Category: Movies


Back in September here at borg.com we predicted the November Bonhams auction of Robby the Robot and his “space chariot” from the 1956 science fiction classic Forbidden Planet would hit the $1 million mark and we even entertained the possibility of a $10 million sale.  Yesterday the hammer fell at $4.5 million at Bonham’s “Out of this World” auction of entertainment memorabilia and with the addition of a buyer’s premium resulting in a final sale price of $5,375,000, Robby and his car became the highest movie prop lot ever to sell at public auction.  Technically a costume that doubled as a prop, Robby the Robot also became the second highest sale price for any piece of entertainment memorabilia to sell at public auction, eclipsed only by the 2011 sale by auction house Profiles in History of the iconic Marilyn Monroe subway vent dress from The Seven Year Itch, which sold for $5.52 million including buyer’s premium (yesterday Bonhams and the mainstream press, including The New York Times and CBS, mistakenly claimed Robby’s sale surpassed the Monroe dress price, but their reports neglected to factor in the buyer’s premium for the dress–a fee the auction house charges bidders based on a percentage of the hammer price, and the Monroe dress had a hammer price of $4.6 million).  The Robby the Robot costume/prop was used in dozens if not hundreds of appearances over the decades, including in key episodes of Lost in Space and The Twilight Zone.

Still, top prop honors is nothing to sneeze at.  The sale of Robby and his car nudged from the top spot the sale of the 1966 Batmobile from the 1960s television series, which sold for $4.62 million in 2013, including buyer’s premium.  The rest of the pantheon of prime public auction screen-used prop and costume sales includes one of two original James Bond Aston Martins from Goldfinger ($4.6085 million/2010), one of the falcon props from The Maltese Falcon ($4.085 million/2013), Audrey Hepburn My Fair Lady and Breakfast at Tiffany’s dresses ($3.7 million/2011 and $807,000/2006, respectively), Sam’s piano from Casablanca ($3.4 million/2014), the Cowardly Lion suit from The Wizard of Oz ($3.1 million/2014), Von Trapp kids’ costumes from The Sound of Music ($1.5 million/2013), Steve McQueen’s racing suit from LeMans ($984,000/2011), and one of four pairs of ruby slippers from The Wizard of Oz ($666,000/2000).

In the science fiction genre, the artifact to beat was another robot–an R2-D2 that was pieced together from several screen-used components, which sold this past June for $2.76 million, and a Back to the Future III DeLorean time machine sold for $541,000 in 2011.  Robby easily nudged these props aside yesterday.  Would the sale price have been the same without the space car?  You’ll need to track down the anonymous telephone buyer to get the answer to that question (the four final bidders all dueled it out via phone bids), although you might keep an eye out at Paul Allen’s Museum of Pop Culture in Seattle, as this is the kind of high-end prop he has purchased in the past.

Continue reading

Advertisements

Review by C.J. Bunce

One of the high points from a scientific standpoint this year was the discovery in August of the USS Indianapolis on the floor of the Pacific Ocean by undersea adventurer and billionaire Paul Allen, more than 70 years after it was sunk during World War II, and thirty-two years after undersea explorer Robert Ballard first discovered the location of the wreckage of the most well-known maritime disaster, the sinking of the RMS Titanic.  In 1995, 2001, and 2005, director James Cameron, well-known already for Aliens, the first two Terminator movies, and True Lies, would take knowledge he learned filming The Abyss to pursue a lifelong dream of undersea explorer in Ballard’s and Jacques Cousteau’s footsteps.  Ultimately Cameron would make thirty dives on the site of the wrecked RMS Titanic, more than anyone, first for footage that would be used for his film Titanic (which would win 11 Academy Awards), and later for pure scientific knowledge and exploration.  Cameron documented his expeditions in his book Exploring the Deep: The Titanic Expeditions, now available in a paperback edition from Insight Editions.

One of the low points of the year was the death of beloved actor Bill Paxton.  What many people may not know is the role Paxton (known for dozens of films including Edge of Tomorrow, True Lies, Aliens, and Tombstone) played in the exploration of the real Titanic after starring in Cameron’s film Titanic.   He accompanied Cameron on four deep-sea dives, documenting his experiences and serving as narrator on one of Cameron’s documentaries, the 2003 film Ghosts of the Abyss.  In his foreword to Exploring the Deep: The Titanic Expeditions, Paxton notes his reservations of traveling to the ocean floor.  “At the time, because I had young children at home, I felt it was more risk than I should be taking,” he said.  He spoke highly of Cameron, “He is someone who values his friendships and has a deep appreciation of just how brief our time on earth is–and he’s determined to make the most of it.”  The feeling was mutual.  Of Paxton, Cameron wrote, “Bill has become the pitch-perfect explorer.  He acquired the clipped tone of a test pilot when he played Fred Haise in Apollo 13, and of course he played  treasure hunter Brock Lovett in the Titanic movie, but if he’s playing a part now, it’s merged so perfectly with reality that there is no difference.  He’s now a real explorer, and this is a real mission, two and a half miles down.”  Indeed, half the fun of Exploring the Deep is following Paxton via his words and photographs in his adventure, adding his own insights and bits of humor along the way.

James Cameron and Bill Paxton exploring the remains of the Titanic two and a half miles down on the floor of the Atlantic Ocean in Exploring the Deep: The Titanic Expeditions.

But it’s the knowledge learned by Cameron one hundred years after the Titanic sank that makes the book compelling and thrilling and even chilling at times.  Cameron, along with the other leading experts in Titanic history–Dan Lynch, Ken Marschall, and Parks Stephenson–lay out each expedition step by step, including development of the technological tools created by Cameron to be able to film the ship and eventually more easily maneuver the rooms inside the ship’s remains, something no one else had yet done.  The book includes a detailed log written by Cameron for the fifth dive in September 2001, including recollections of his historical research as he observed actual locations on the ship tied to known events and passengers, some famous, some members of the crew.  He uses photographs of the Titanic’s sister ship, the RMS Olympic, to highlight identical artifacts inside the ship.  Many artifacts surprisingly are still intact, like mirrors, windows, glassware, and dishes–and equipment in the Marconi Wireless Telegraph rooms, which were instrumental in saving the 706 survivors.  Where possible he includes rare photographs taken the day of or just before the Titanic went to sea on its maiden and only voyage, and otherwise he incorporates for reference Ken Marschall’s detailed paintings, Parks Stephenson’s computer-generated simulations, and his own recreations used in his film Titanic–all with an eye toward conveying to readers what Titanic looked like in 1912.

Continue reading

At this year’s D23 convention, director Brad Bird and Disney/Pixar creator John Lasseter revealed a first look at the coming sequel to 2004’s The Incredibles with the return of superhero costumer Edna “no capes” Mode.  Bird suggested that Holly Hunter’s character Helen aka Elastigirl would be in the drivers’ seat for the eagerly awaited sequel, but a new teaser for the movie shows the Incredibles family baby “Jack-Jack” will get some attention of his own.

In the original film Jack-Jack revealed his powers to his babysitter.  This time father Bob Farr aka Mr. Incredible (voiced by Craig T. Nelson) learns what his baby boy is already aware of.  According to The Incredibles director Bird, who will also direct the sequel, expect a return of the same mid-century modern artistic style, shown particularly in the Parr family’s new house (the original was destroyed last time around).

Most of the original cast will be back, including Nelson, Hunter, Samuel L. Jackson (Frozone), Sarah Vowell (Violet), with Huck Milner replacing Spencer Fox as the new voice of son Dash.  Michael Giacchino will also be back with an update to his exciting original musical score.

Check out this incredibly short teaser for The Incredibles 2:

Continue reading

Review by C.J. Bunce

As much as you may hear general moviegoers asking if we may be near the end of the Alien franchise–and earlier this month Alien director Ridley Scott said as much, that the franchise has basically “run out”–you probably won’t hear that from fans of Alien who keep coming back for more.  But no worry: two future movies are expected from the franchise.  Along the way tie-in authors continue to expand the universe before and after the first film that premiered way back in 1979.  The best of these so far is arguably Tim Lebbon’s Alien: Out of the Shadows (reviewed here at borg.com along with an interview with the author here).  In that novel Lebbon cleverly intercut between films a new tale of Ellen Ripley encountering xenomorphs again.  Earlier this year we reviewed an anthology, Alien: Bug Hunt here, and a new interactive in-world book in the Alien universe will be reviewed here soon.  Ridley Scott returned to direct another film in the series this year with Alien: Covenant, and a new tie-in novel bridges the gap between 2012’s Prometheus and Covenant.  Titled Alien: Covenant–Origins, it features the return of one of fandom’s favorite writers, Alan Dean Foster, and readers will find the story completely unexpected.

Since the 1970s Foster has written famous science fiction expansion stories that brought classic films home to audiences before the days of home video, including the novelization of the original Star Wars and the first Star Trek tie-ins.  His success with those would lead him to write the novelizations of the first three Alien films and Alien: Covenant, Terminator: Salvation, The Chronicles of Riddick, the first two Transformers movies, Star Wars: The Force Awakens, Star Trek (2009), Star Trek Into Darkness, adding to a catalog of books that include The Thing, The Black Hole, Outland, The Last Starfighter, Starman, and AlienNation.  So Foster knows the Alien world well and with Alien: Covenant–Origins, Foster looks beyond the monstrous xenomorphs of the franchise to the political and corporate machinations behind the first effort to colonize outer space by Earthlings.  Springboarding off what we can imagine to be a Michael Crichton’s Rising Sun-inspired corporate takeover of CEO Peter Weyland’s tech company by competitor Hideo Yutani after the events of Prometheus find Weyland lost in space, we encounter the new Weyland-Yutani Corp. as it prepares to send a ship full of colonists to habitable planet Origae-6.  But on Earth the company first encounters espionage, intrigue, and sabotage, earthbound topics wrestled with similarly in Carl Sagan’s classic novel Contact. 

More action-thriller than sci-fi, Foster plants us into a mad dash to get the Covenant into space, with Yutani’s daughter kidnapped, assassination attempts, and a strange faction bombarding the company at every step to stop all efforts to go into space to avoid what one human is foreseeing as an invasion of horrible alien demons in Earth’s future if Weyland-Yutani proceeds with its flight.  It’s the same warning Sagan and NASA encountered from members of the public when the United States sent two Voyager space probes to the edge of the galaxy and beyond in the 1970s–what if aliens find us and they’re not so friendly?

Continue reading

Review by C.J. Bunce

Many have asked:  Why make another Agatha Christie’s Murder on the Orient Express?  You could just as easily ask: Why adapt another Shakespeare play?  Or Why make another Sherlock Holmes series?  When your story is great, and becomes as classic as Agatha Christie’s famous, timeless 1934 novel, it’s sort of the point of cinema, isn’t it?  From an actor standpoint, being in one of the film versions of Murder on the Orient Express, and portraying such iconic roles, is something like being cast as King Lear.  And who better than Kenneth Branagh to inject his own vision of the story into a new snapshot of acting greats for a new era of audience members?  Of Branagh’s twenty directorial pursuits, you must go back to the early era of Dead Again and Peter’s Friends to find Branagh not serving as puppetmaster of someone else’s well-known world, whether it’s Shakespeare in Henry V, Much Ado About Nothing, Hamlet (and the list goes on), or adaptations of Mary Shelley’s Frankenstein, Marvel Comics’ Thor, Mozart’s The Magic Flute, Tom Clancy’s Jack Ryan, Branagh is the king of directing adaptations and remakes.  Add Murder on the Orient Express to that list, a faithful adaptation of the book, stylishly filmed with lavish, sweeping sets and landscapes courtesy of cinematographer Haris Zambarloukos, Branagh’s choice cameraman on four of his past films.

The year’s casting award goes to Lucy Bevan for bring filmgoers back to the age of the all-star cast, where you’d look to 1970s disaster movies (Airport ’76, Towering Inferno, Earthquake) or the odd comedy (think It’s a Mad, Mad, Mad, Mad, Mad World) for a pantheon of stars like that found in Orient Express.  Branagh as Hercule Poirot sports that classic era moustache with confidence (Christie herself called Poirot’s moustache “magnificent” and “immense”) and he adds his own quirks and humor to Christie’s legendary greatest detective, providing a new twist on the Holmes/Monk/House, M.D. frustrated genius detective archetype.  So many of the cast members appear every bit like Golden Age film stars here, including Branagh, Johnny Depp, Michelle Pfeiffer, Josh Gad, Daisy Ridley, Willem Dafoe, Judi Dench, Penélope Cruz, Derek Jacobi, and Leslie Odom, Jr., with a particularly engaging performance by Tom Bateman as Poirot’s friend Bouc, in what will no doubt be seen as a great breakout role for the actor.

The film will be best for those unfamiliar with the story.  A famous detective receives a message requiring him to squeeze onto a full train at the last minute with a little more than a dozen passengers aboard.  When one passenger who fears for his life and requests assistance from the detective winds up dead in a brutal, bloody murder, the whodunit begins.  Once a snowy avalanche blocks the path of the train, the game is afoot as the delay provides enough time for Detective Poirot to begin interviewing the passengers.  The mystery is laid out with several clues, including just enough to allow the viewer to figure out who killed the victim if he/she is paying close attention.  And Branagh stages the investigation like a game of Clue/Cluedo–including overhead angles that at times make the viewer feel like Murder on the Orient Express is indeed a virtual reality version of the board game.  We know the murder weapons and the location, but who is responsible for the death and why?

Continue reading

Review by C.J. Bunce

Rarely has anyone been able to create a single work that includes so much information in such spectacular fashion about such an epic body of work.  Writer Daniel Falconer has done just that with Middle-earth: From Script to Screen–Building the World of The Lord of the Rings and The Hobbit, his new 512-page, exhaustive, encyclopedic chronicle of the making of both of director Peter Jackson’s trilogies adapting J.R.R. Tolkien’s The Lord of the Rings and The Hobbit.  Never before seen photographs, never before published recollections of cast and crew of the films that all-told would add up to nearly 24 hours of award-winning cinema, garnering seventeen Academy Awards for The Lord of the Rings films and seven nominations for The Hobbit.  Weta Workshop’s Daniel Falconer, who has written some of the best-reviewed books we have looked at here at borg.com, catches up The Lord of the Rings to the coverage he has documented in his books on the making of The Hobbit trilogy, without providing any redundant content from his prior books, including The Hobbit: An Unexpected Journey, Chronicles: Art and Design, The Hobbit: An Unexpected Journey Chronicles–Creatures & Characters, The Hobbit: The Desolation of Smaug Chronicles: Cloaks & Daggers, The Hobbit, Smaug: Unleashing the Dragon, The Hobbit: The Battle of the Five Armies Art & Design, and The Hobbit: The Battle of the Five Armies, The Art of War.  In doing so he has created the definitive resource for fans of the films, and fans of the Tolkien books now have a visual, fully-realized geographic resource guide to Middle-earth.

Beginning with a fabulous map of Middle-earth that includes cross-references to the pages of the book where each location is discussed, the reader can take his or her own tour across the film (and book’s) fantasy realm and real-life New Zealand filming locations.  The journeys of Frodo and the Fellowship of the Ring from The Lord of the Rings and Bilbo, Gandalf, Thorin and the other Dwarfs in The Hobbit are overlaid so that the reader’s tour sweeps across the landscapes and environments created entirely by concept artists, artisans, and skilled workers of every imaginable category, required to faithfully reflect Tolkien’s and Jackson’s visions.  Even more exciting are accounts, including descriptions and photographs, of places that Jackson filmed, but did not make it to the final cut of the film.  The weight of this task–the task of creating the films and also in creating this hefty document–are reflected in the artistry and organization of every single page.

Along with the primary narrative focusing on selection, planning, building and filming each environment, readers will discover several sidebars covering topics like key characters, races, and creatures, and a veritable how-to guide to making an epic film series that takes readers through breaking down a script, set conceptualization, set drafting, use of “big rigs”–a twist on forced perspective filming, sound design, location scouting, art direction, set construction, set decoration, cinematography, performance/motion capture, building model miniatures, previsualization, aerial and scenic photography, organic sets, the greens department (charged with plant life set dressing), talismans and props, set and prop finishing, post-production, color grading, lighting, shooting on location, using locations responsibly, and creating digital environments.

Throughout the book readers will learn what materials and settings could be re-used from The Lord of the Rings for The Hobbit.  Initially environments were not built to last, but after the success of various filming locations in New Zealand as tourist attractions when filming wrapped on The Lord of the Rings: The Return of the King, many sites were rebuilt to survive past production for The Hobbit films.  This included the creation of 44 Hobbit holes that can be visited today among many other sites.  The journey across the map of Middle-earth will take readers to The Shire, Lands of Arnor, Rivendell, The Misty Mountains, Khazad-dûm, Wilderland, Mirkwood, Lothlórien and the River Anduin, Realms of Rhovanion, Rohan, Enedwaith & Calenardhon, Realms of the North & Wastes of the East, Ithilien & the Morgul Vale, and Mordor and the Shadowed South.

Continue reading

In the realm of fantasy, magical talismans are often the key to a character’s actions or journey, part of the goal, such as destroying the One Ring in The Lord of the Rings, and they typically bestow power on their owners, such as Dorothy’s shoes that can transport her home in The Wizard of Oz or even King Arthur’s sword Excalibur, which bestowed him rule of all of Great Britain.  J.K. Rowling’s world of Harry Potter includes many magical objects, including the horcruxes.  Even more integral to Harry Potter’s journey and all the wizards is the wand.  A major scene in all of the books and films is Harry obtaining his wand from Ollivanders–“T’aint no place better,” says Hagrid.  And the wand chooses the wizard, according to Mr. Ollivander.

Sometimes fans must wait for all the information they want about their favorite films and characters.  It’s been six years since the last Harry Potter movie premiered, but fans of the franchise at last have a photographic guide to the key wands designed for the principal named characters.  This week Insight Editions releases From the Films of Harry Potter: The Wand Collection, including new photographs of 66 actual movie prop wands.  Seventeen thousand wand boxes were created by the prop makers for the shelves of Ollivanders wand shop in Diagon Alley, according to the book, quoting late set decorator Stephenie McMillan.  After the wands were each designed by art director Hattie Storey and concept artists including Adam Brockbank, Alex Walker, and Ben Dennett, then supervising modeler and prop maker Pierre Bohanna would create a single “original” of each wand, which would be later be duplicated in resin or rubber for stunt work in multiples depending on the need of the production.

From the Films of Harry Potter: The Wand Collection begins with a brief discussion of the in-universe use of wands as written in J.K. Rowling’s books, along with an overview of the behind the scenes production creation of the props with interviews of cast members and prop makers.  The bulk of the oversized book, an elegantly designed hardcover in a long 12 x 6 inch format to allow for close-up photography of each wand, includes a brief description of the wand, the character wielding the wand in the film, and discussions with actors, designers, and excerpts from the source books.  Hagrid’s lengthy wand is featured in a double-sized pull-out image, the wand sporting his trademark umbrella component.  Another pull-out includes multiple handles of the Death Eaters, and another includes detail of the unique handle of the wand of Jason Isaacs’ character, Lucius Malfoy.

Continue reading

Kansas City Comic Con 2017 wrapped after three days yesterday, full of great opportunities to meet comic book and other genre creators, celebrities, and participate in all sorts of activities from how-to classes on cosplay armor building to LEGO building, and several panels covering a variety of topics.  For regular convention attendees the best part is the ability to see friends you’ve known for sometimes decades, and forging new bonds with other like-minded, positive and fun people.

What came as a surprise for many this year was the enormous participation of attendees in their favorite cosplay.  On Saturday the open areas of the convention floor were often so filled with cosplayers and others getting photographs that you could hardly move through without bumping into someone.  That’s a pretty great feat, because Bartle Hall in downtown Kansas City is a major sized venue.

So let’s take a look at a few of the hundreds of great characters found at this year’s show:

   

To my left above is one of the first people to create Obi-Wan Kenobi as designed by Mike Mayhew in Star Wars Issue #15, written by Jason Aaron.  He really nailed the look with the great backback, rifle, and goggles.  This wins my “I am definitely going to borrow this idea” award.  This is the version Sideshow is expected to release in 1:6 scale in late 2018:

Here is Jennifer and Nicholas Forrestal with their Morticia and Gomez Addams from The Addams Family:

  

And a great Uncle Fester was on-hand as well.  The best ad lib physical humor award goes to Kevin Dilmore for his quick rendition of Thing.

I was surprised by all the Rogue One cosplayers that Elizabeth Bunce (as Jyn Erso in Imperial disguise) and I (as the Blue Squadron X-Wing pilot general) were able to get some photos with, including our boss, Mon Mothma:

… and a soldier from the Battle of Scarif (where we both met our doom):

Continue reading

Kansas City Comic Con 2017 has been an event full of fun for both visitors and the creative guests the attendees came to meet.  One of the show highlights was a Green Arrow Quiver/Sounds of Violence reunion of writer Kevin Smith and artists Phil Hester and Ande Parks.  The trio delved into the impetus for bringing Oliver Queen/Green Arrow back from the dead back in early 2001 after the character had been killed off and replaced with Connor Hawke as the Green Arrow for a generation of readers.  “I was a big fan of the character going back to the day.  I loved Grell’s Longbow Hunters and I loved the book that followed Longbow Hunters.  It was like a Vertigo book, but wasn’t technically a Vertigo book, but it was very grown-up.”  When Smith was visiting the DC Comics offices discussing a Superman screenplay back around 1996, Smith said he popped his head into Green Arrow editor Darren Vincenzo’s office and said, “Hey, man, if you ever want to put Green Arrow in the Top 10, let me write the book.  I think I got a story.”  A year later when Smith was working on Daredevil, Vincenzo recalled the conversation and asked if Smith was serious about Green Arrow. 

Smith, Hester, and Parks had each worked with editor Bob Schreck, who had just moved to DC from Oni Press, where Schreck had been co-founder.  Schreck wanted Smith for the Green Arrow project idea and asked who he’d like for his artistic team, and Smith suggested Hester and Parks in part because of their work on Swamp Thing.  “I fell in love with it deeply,” Smith said.  The team was solidified and they moved forward with the project.  “Having these two dudes enabled me to go where I wanted to go,” Smith added.  Already established artists at the time with a catalog of works, Hester and Parks expressed gratitude to Smith for selecting them for the project and Smith said the collaboration with Hester and Parks on the project helped cement his position in the comic book industry as a creator who is now regularly tapped for insight into the comics industry in documentaries on comics, among other things.  “The only reason I get to be in that stuff is because I have credibility in the comic book community because of stuff like Quiver.  Quiver was the one particularly,” Smith said, further noting the book won national awards.

And speaking of Mike Grell, Grell was also a guest at KCCC this year. Always great for a conversation, Grell was busy working on sketch commissions for attendees this weekend.

Smith also discussed working with Dynamite Comics to bring together later projects with Phil Hester and artist Jonathan Lau on Green Hornet and The Bionic Man.  Hester said there was much back and forth communication in creating the story, and Smith emphasized the collaborative effort, “I used to be a guy that was like ‘oh, I just want to write it myself–I don’t want any input.  And then one day you work with people who add something, and then it’s ‘God, that’s incredible!'”  He used as examples contributions from Chris Rock in his film Dogma and Will Ferrell in Jay and Silent Bob Strike Back–both actors who made contributions to the script but didn’t ask for or want any writing creditsand creator David Mandel in the animated Clerks.  When fans reference great lines that Smith didn’t write he said he makes sure to credit the writer.  “It’s important for collaborators to cite those people who are your collaborators.”  The panel was hosted by the Worst Comics Podcast Ever’s Jerry McMullen (shown above after the panel with Hester, Parks, and Smith).

Lee Meriwether and Doug Jones at KCCC 2017.

In the celebrity autograph area at KCCC 2017, a reunion and momentous meet-up involved actress Lee Meriwether and actor Doug Jones.  Both Meriwether and Jones worked together on the film The Ultimate Legacy, which also starred Raquel Welch and Brian Dennehy.  Meriwether and Jones are unique in that they represent contemporaries in acting but also represent bookends of a sort for the 51-year Star Trek franchise.  In addition to her many famous roles in series like Barnaby Jones, All My Children, and Batman, Meriwether played the character Losira in the original Star Trek series episode, “That Which Survives.”  Jones, an actor who has performed both as creature characters where he is often unrecognizable–a Lon Chaney of today as one fan referred to him–as well as more standard roles, has performed in more than 150 films and TV series (from one of the creepy Gentlemen in the Buffy the Vampire Slayer episode “Hush” to the creature in next month’s new Guillermo del Toro release The Shape of Water).  Plus Jones has appeared in 100 commercials, including as the classic McDonald’s moon-shaped mascot “Mac Tonight.”  And Jones currently plays the alien leading character Lieutenant Saru on this year’s latest Star Trek incarnation, Star Trek Discovery.

Gary Fisher and his family meet attendees at KCCC 2017.

Continue reading

Aardman Studios is that British animation company known for director Nick Park and his stop-motion clay animation films, most notably the Academy Award winning Wallace & Gromit, and the groundbreaking series Creature Comforts.  Its full length feature Wallace & Gromit: Curse of the Were-Rabbit also won an Academy Award for best animated feature.  And the studio produced the popular Chicken Run, Shaun the Sheep, and Pirates! Band of MisfitsDirector Hayao Miyazaki, widely considered one of the best animators of all time, counts himself as a fan of the Aardman movies.

Haven’t seen this kind of animation before?  It’s the style every kid in the 1960s grew up with.  Start with the three Wallace & Gromit shorts A Grand Day Out, The Wrong Trousers, and A Close Shave featuring a cheese loving British inventive chap named Wallace and his smart, loyal, and cynical dog Gromit.  The animation, and the quick speeds of certain segments, are simply stunning.  Then try Creature Comforts, a half-hour television series that aired in both the UK and USA, where every day folks were interviewed on the street, then their voices were dubbed into farm and zoo animal characters.  The result is laugh-out-loud funny.

Just released is the preview to the next stop-motion, full-length film, Early Man.  It features the voices of Eddie Redmayne (Fantastic Beasts and Where to Find Them), Tom Hiddleston (Thor), Maisie Williams (Doctor Who, Game of Thrones), and Timothy Spall (Harry Potter series).  Check out this trailer for the film:

Continue reading

%d bloggers like this: