Midnight Mass is Netflix’s follow-on series to its successful horror story, The Haunting of Hill House andThe Haunting of Bly Manor. Continuing to employ cast and crew from that series, Midnight Mass was the brainchild and pet project of creator Mike Flanagan, who has amassed his own portfolio of horror thrillers, directing everything from Oculus to the sequel to The Shining to the Ouija Board movie. In Abbie Bernstein’s look behind the movie,Midnight Mass: The Art of Horror, fans of horror and Flanagan’s work will encounter more than the steps to get this series from idea to your television screen.
If you’re a fan of hard-hitting science fiction and noir of the Blade Runner variety, your top pick for binge-watching this month should be the first seasons of Altered Carbon (reviewed here and here at borg). Abbie Bernstein, author of several film and TV tie-in books arrives with her latest book, Altered Carbon: The Art and Making of the Series. In design and layout, this is the next book in the series of behind-the-scenes studies of top-level sci-fi television series from Titan Books that includes The World of the Orville (reviewed here) and The Man in the High Castle: Creating the Alt World (reviewed here).
Unapologetically pulling its look and feel from the original Blade Runner, the creators of Altered Carbon made a world that could easily be a spin-off of the Philip K. Dick realm, a region just north of the cityscapes in Ridley Scott and Syd Mead’s futuristic dystopia. Altered Carbon: The Art and Making of the Series is not a look at the concept art, but full coverage of the first two seasons of the series as seen through the eyes of the writers, cast, production designers, costume designers, stunt department, visual effects artists, and more. Based on a trilogy of books from novelist Richard K. Morgan, the challenge for series creator Laeta Kalogridis and second season showrunner Alison Schapker and a team of writers was how to split up the novels between seasons. Pulling Morgan into the writers room they based season one on the first novel and the theme “what does it mean to be human”–a common theme of many sci-fi stories–but more loosely adapted the next two books into the second season, focusing more on the love story between lead character Takeshi Kovacs and his former leader Quellcrist Falconer, asking, “Can love between two people survive, even for centuries?”
Bernstein doesn’t hold back any content or story arc, digging into the relationships between characters, taking apart key sequences, and highlighting dozens of the series’ key characters, including accounts from the actors. Because of the significant physical combat sequences among the major cast, the actors joined their stunt performers in daily sessions to bring greater believability to the visual effects elements. Readers can expect hundreds of full-color photographs, including set photographs, film stills, and an entire chapter of sample storyboards from the series.
Fans of director Yimou Zhang′s international mega-production The Great Walldidn’t need to go all the way to the Great Wall of China to have a chance at obtaining a piece of the 2016 film this past week. Auction house Prop Store′s Los Angeles location joined with Legendary Entertainment to offer 477 lots of both key and background costumes, armor, prop weaponry, and set pieces from the first partnering of the United States and China on a giant blockbuster film. The Great Wall is a Chinese dynasty fantasy set at the famous landmark, merging giant battles and action with the mega-sized monster genre, pairing China’s biggest stars with an international cast, backed by a crew from 100 countries. Although the movie received mixed reviews from critics, what can’t be denied are the visual concepts and craftsmanship of New Zealand’s Weta Workshop and Mexican costume designer Mayes Rubeo, who designed imagery for the film never seen before. Check out our review of the movie here at borg back in 2016, along with Abbie Bernstein’s ground-breaking book The Great Wall: The Art of the Film (reviewed here).
Weta Workshop kitted out the armies of The Great Wall with an arsenal of color. The workshop design studio rendered more than a thousand concepts for the film, with 6,000 final weapons used by the key cast and 600 extras, including shields, spears, axes, daggers, crossbows, swords, and arrows featured in the auction. Mayes Rubeo, known for her designs in Thor: Ragnarok and Avatar (and she created costumes for both the original Total Recall and the halted Mouse Guard live-action movie), utilized historic Chinese fabrics, textiles, techniques, hand embroidery and applique, and leathers in each costume with about 18 components per person, all featuring an animal and unique color combination: the blue crane corps, red eagle corps, gold tiger corps, black bear corps, and purple deer corps.
It should be no surprise that the top costume sales went for the two stunning, blue, armored costumes worn by the film’s Chinese star Tian Jing as Commander Lin Mae. Featuring sheathed swords, helmets, leg daggers, feathered suit and hard armor, they sold for slightly more than $9,000 and $17,500 each. Other hero costumes that sold included Matt Damon as William costume variants ($1,687, $2,625, $4,375 and $5,125), The Mandalorian actor Pedro Pascal′s character Tovar’s costumes ($937, $1,625, and $1,687), Willem Dafoe′s character Ballard ($344, $531, $875, and $1,437), General Shao’s (Zhang Hanyu) black armor ($2,187 and $4,500), Commander Wu’s (Eddie Peng) gold armor ($2,750 and $4,250), Commander Chen’s (Kenny Lin) red armor ($2,250 and $3,875), Commander Deng’s (Xuan Huang) purple armor ($1,625 and $3,875), and Strategist Wang’s (Andy Lau) costumes ($1,000 and $2,500). A variety of historically-inspired, ornate hero (lead actor-used) swords ranged from $400 to $3,875 for one of the swords unique to Tian Jing.
One of the benefits of behind-the-scenes and making of/art books for major studio movies is that anyone diving into the production process for the first time can usually learn plenty about the stages of filmmaking from pre-production to final product. Just pick a film you like and jump right in. Abbie Bernstein′s The Art of Godzilla: King of the Monsters is no exception, but it will be particularly fun for anyone who is a fan of concept art and mega-monsters. It’s also weighted toward pre-production and the pre-visualization process. Readers wouldn’t expect a film with giant creatures to be filmed with practical sets, but with a modern studio Godzilla movie filmed in the U.S., you automatically expect a predominantly CGI movie. The Art of Godzilla: King of the Monsters is filled with trial pieces from artists showcasing the process of turning the classic Japanese kaiju characters into something new and different.
Fans of Scott Chambliss will want to read what guided him to make the choices and decisions for the look of the film. Chambliss has his own style, and when watching the film my reaction was how many sets, and specifically the color and lighting choices, felt like Star Trek 2009, a film in which Chambliss also served as production designer. Chambliss discusses the visual tricks he used to make Godzilla, Mothra, Rodan, and King Ghidorra appear to have immense scale, but also appear real. Several effects companies worked on components of this film, each trying to make their creations the best of the pack without competing against each other–the goal being to create the best final product they could. Some artists worked on familiar software programs, combining photographs and 3D imaging of locations like San Francisco’s Union Square to combine with actors in Atlanta. Others made sculptures of each creature–in a variety of materials–and then those sculptures were scanned and manipulated into what the audience sees on screen by others, after even more creators contributed their colors, texture, lighting, and other touches.
The Art of Godzilla: King of the Monsters is a great companion book to Mark Cotta Vaz’sGodzilla: The Art of Destruction, the behind the scenes look at Gareth Edward’s 2014 Godzilla film that was the starting point for Godzilla: King of the Monsters, and Simon Ward’sThe Art of Kong: Skull Island. All of these massive monsters will come together soon in Godzilla vs. King, so it’s a good time to be a fan of kaiju. For fans of the new Legendary Pictures movie, it’s a good opportunity to understand the characters better from those who created them, and learn more from actors about their experiences on set, including Millie Bobby Brown, Vera Farmiga, Kyle Chandler, O’Shea Jackson, Jr., Elizabeth Ludlow, Thomas Middleditch, Anthony Ramos, and Bradley Whitford.
A behind the scenes book for a 2019 movie, which consists of a third or more of its images from 2005? As fascinating as the special effects developed for the film, the history of the movie merits its own book, and it gets it in Abbie Bernstein‘sAlita: Battle Angel–The Art and Making of the Movie, now out from Titan Books. It turns out executive producer James Cameron and artists were working on the pre-production of Alita: Battle Angel during the development of his film Avatar. According to interviews with Cameron and Alita director Robert Rodriguez, in the early 2000s the technology was not yet advanced to deliver what they wanted for their adaptation of Yukito Kishiro’s manga novel. But now that it’s arrived, fans of the film can trace its development over the past 15 years.
Alita: Battle Angel–The Art and Making of the Movie is filled with concept art, split between 2005 digital ideas in advance of knowing what actors might be cast and final characters developed, and a renewed look at the project as it began to get fully underway only a few years ago. Key interviews with Rodriguez, Cameron, producer Jon Landau, production designers Caylah Eddleblute and Steve Joyner, art director Todd Holland, visual effects supervisors Richard Hollander and Eric Saindon, costume designer Nina Proctor, Weta Digital’s Joe Letteri, and others tell the story–a marriage of practical effects and CGI. In fact the commenters almost seem to have a battle between those responsible between the practical effects and CGI–all with an eye toward realism. The most interesting aspects of the discussion are the incorporation of Alita star Rosa Salazar’s motion capture (or per Rodriguez, “performance capture” since motion doesn’t include the “emotion” element required to make a story come together) with Proctor’s real-world costumes, and the CGI layering that ends up as the final image that made it to the screen.
No doubt a highlight of the film and of the book are detailed images of Alita’s cyborg body shell, as created by the character of Dr. Ido in the film. In real life it looks incredibly porcelain, but the artists discuss how the body and all the components of the film were actually fabricated. The commenters don’t reference their inspirations for the look of the Iron City in the film or its cyborg inhabitants, but fans of the genre will no doubt see the influences–from the borg designs to story elements–from films including Chappie, Elysium, District 9, Ex Machina, Ghost in the Shell, Mad Max: Fury Road, Cameron’s The Terminator, and even the light cycles of Tron. Readers will learn more about the science behind the cyborgs in the film–how Cameron and others estimated weights of body parts, including Alita’s removable metal heart, as an example–all needed for 3D and CGI work and viewer believability.
DC Entertainment and Marvel Studios offered superhero genre fans live-action adaptations of some of the comic book world’s best-loved superheroes last year. The concept artwork behind each of DC’s Justice League and Marvel’s Thor: Ragnarok are the subject of two new books for fans wanting to dig deeper into the development of these films: Justice League: The Art of the Film, by Abbie Bernstein, and The Art of Thor: Ragnarok, by Eleni Roussos. Both share the feature of being primarily photographic essays, visual guides illustrating the phases of characters and environments leading to the final art design used in the films. So both will make good souvenir or coffee table books in addition to showcasing the artists’ visions for film aficionados and comic book fans.
Justice League: The Art of the Film is a 206-page, full-color, hardcover book similar to last year’s Wonder Woman: The Art and Making of the Film. This volume gives much attention to the variety of costumes created for the film, particularly the looks of the new characters to the film series, Aquaman, The Flash, and Cyborg. Cyborg’s cybernetics were added in post-production via CGI. This is not so much a behind-the-scenes, detailed account with interviews about the production as we’ve seen in other volumes, but it does include statements from each of the key actors and production members peppered throughout the photographs The layout of pages and overall design is stylized keeping with the themes of the story.
An excerpt from Justice League: The Art of the Film.
Well-designed with gorgeous concept art, The Art of Thor: Ragnarok is a hefty 320 pages in a slipcase holder, featuring classic Jack Kirby art on the book cover inside the dust jacket. Kirby’s designs can be found as inspiration throughout the film, and are reflected in the concept art and design work, particularly that found in the fantastical world of Sakaar. Each of the key characters you’d expect get plenty of coverage. Readers will find hundreds of images of Mayes C. Rubeo’s costume designs for Thor, Hulk, Hela, Loki, Odin, Skurge, and the Grandmaster, as well as supporting characters. The fiery Surtur has a surprisingly thorough section, showing the various stages that resulted in the finished look seen in the film.
Our borg.comBest of 2017 list continues today with the Best in Print. If you missed them, check out our review of the Best Movies of 2017 here, the Kick-Ass Heroines of 2017here, and the Best in Televisionhere.
So let’s get going. Here are our selections for this year’s Best in Print:
Best New Edition of Previous Published Work – The Wind in the Willows, Kenneth Grahame, David Petersen (IDW Publishing). David Petersen’s artwork was the perfect excuse to get Kenneth Grahame’s wonderful classic The Wind in the Willows into the hands of new readers. The new edition from IDW Publishing was the perfect storybook, and Petersen, known best for his Mouse Guard series, showed his understanding of these characters and their natural world full of wonder through his fantasy images.
Best Read, Best Retro Read – Forever and a Death, Donald E. Westlake (Hard Case Crime). Not every good idea comes to fruition. Not every excellent project gets off the ground. Not every great book gets published. The Hard Case Crime imprint of Titan Books came through again, seizing the opportunity to take a lost, never before published work of Donald E. Westlake--Forever and a Death--and brought it to life. And what a great adventure! Originally the story commissioned to be the James Bond film Tomorrow Never Dies, the projected was shelved, and only now do we get fantastic characters (like environmental activist and diver Kim Baldur) in a very Bondian situation–destroying Hong Kong as payback for China taking it back from Great Britain. Honorable mention for Best Retro Read: Turn on the Heat,Erle Stanley Gardner, and Dragon Teeth, Michael Crichton.
Best Sci-Fi Read – Slaves of the Switchboard of Doom: A Novel of Retropolis, Bradley W. Schenck (Tor Books). Imaginative, new, and fun, Schenck took us into a timeless world full of nostalgia and classic science fiction. Great tech, and a sprawling story. Interesting characters and great world-building, this novel will be a great surprise for sci-fi readers. Honorable mention: War for the Planet of the Apes: Revelations, Greg Keyes.
Best Fantasy Read – An Alchemy of Masques and Mirrors, Curtis Craddock (Tor Books). The plot of this debut novel is labyrinthine and action-packed, full of assassination attempts from all quarters, courtly intrigue galore, grandiose philosophies, and a cast of characters anchored by the strong, smart, resourceful, and eminently likeable heroes. Supporting everything is Craddock’s strong, confident, often-funny, and sharply observant writing that goes from heart-wrenching to hilarious on a single page without missing a beat. A dazzling debut.
Best Genre Non-fiction – Middle-Earth: From Script to Screen, Daniel Falconer (Harper Design). We wish every genre franchise had such a magnificent, thorough, monumental guide. Falconer’s guide to Peter Jackson’s The Lord of the Rings and The Hobbit trilogies is full of interviews at all levels of the creative process, and supported by concept art, photographs, maps, and so much more. Worthy of the six films it covers, it’s the ultimate fan book and a model for any franchise attempting to put everything fans could want into a single volume.
There’s much more of our selections for 2017’s Best in Print and more, after the jump…
So many books chronicle seasons of hit television series, but a new release for BBC’s Orphan Black takes viewers beyond the norm. Like the incredible behind the scenes access we saw in Firefly–A Celebration, Abbie Bernstein’s new book The DNA of Orphan Black shows how the unique science fiction series creates its magic. In 2013 we first saw Sarah Manning watch her doppelganger step out in front of a train. Who knew how many clones we’d meet in the series, and how many roles Tatiana Maslany, last year’s Best Actress Emmy winner, could play in a single scene? It’s not so difficult to wrap your head around the characters of the series because Maslany plays them all so well. But when you try to list your favorite characters on the series, you momentarily forget “they” are a single actress portraying so many incredible people, and none like anyone you’ve seen before.
In The DNA of Orphan Black fans get unprecedented access to the development process, as told by the show’s creators John Fawcett and Graeme Manson. We learn how Maslany sees each character and created the nuances of each personality. And we learn from the supporting cast, plus makeup designer Stephen Lynch, hair designer Sandy Sokolowski, costume designer Debra Hanson, art director Jody Clement, and production designer John Dondertman, and more. Wrapping up its series finale in only four weeks, Orphan Black doesn’t have anything left to hide. So we learn the tricks of the trade, and how the sleight of hand by the production team has created such complex scenes like Helena’s dream sequence and the clone dance party. How do viewers know we’re not seeing Maslany’s Rachel, but her Krystal posing as Rachel? Makeup designer Stephen Lynch explains how. You’ll learn great tidbits about the show, like how the hair designer created only one “hero” wig for each of Maslany’s characters (each cost $5,000 to $8,000).
The DNA of Orphan Black is not just another TV show souvenir book. It’s full of behind the scenes images, but it also includes surprisingly detailed interviews, thanks to author Abbie Bernstein (whose last book, The Great Wall–The Art of the Film, was one of the best film art books we’ve reviewed at borg.com). You’ll see from the table of contents (below) that not only does Maslany provide a few pages of content as lead actor, as found in many TV books, each of her characters gets separate discussion as they would if they’d been played by different actors on any other series. So as a fan you can get right to your favorite performance by Maslany. Equal to Bernstein’s handling of the sestra clones is her attention to the key secondary characters: Felix (Jordan Gavaris), Art (Kevin Hanchard), Donnie (Kristian Bruun), Siobhan (Maria Doyle Kennedy), Delphine (Evelyne Brochu), the Castor clones (Ari Millen), and probably most significantly, Maslany’s acting double, Kathryn Alexandre.
The best thing about reading a book about the making of a film, without first watching the film, is that your view of the book is not skewed by your opinion of the film. If you knew nothing about The Great Wall, the new behind-the-scenes look in The Great Wall: The Art of the Film will prompt you to want to see it. Not only will you find incredible concept art, set design, costumes, and props, the book itself is unique. In the past five years “making of” film and art books have vastly improved in quality. Abbie Bernstein’s new book from Titan Books features the best quality images, the best layouts, and the best book design of any book yet reviewed at borg.com–the book itself has a traditional Chinese book binding and gilded edges. It also features an element left out of many film books these days–it includes images of the entire film, and doesn’t remove spoiler elements, such as, in this case, detailed images of the film’s monsters and ending (the art book for Star Wars: The Force Awakens provided no final image of Luke Skywalker and several costumes and props, as an example).
An icon of China cinema, the man behind several “art house” films in China and the opening ceremony at the Beijing Olympics, director Zhang Yimou discusses in the book why The Great Wall is unique and how it became the biggest production in China film history. If you have watched stunning Chinese film work over the years and aren’t a fan of dubbed or subtitled films, the barrier is language–how can you connect U.S. and Chinese film audiences? Yimou intended just that by making a Hollywood-esque film as a Chinese production in English with a cast and crew from dozens of nations, including more than 100 on-set translators. Beyond that goal, the powerful imagery of the film as displayed throughout The Great Wall: The Art of the Film, is the stuff of Academy Award-winning costume design and art design.
Along with interviews with Zhang are chapters featuring producer Peter Loehr, actors Matt Damon, Pedro Pascal, Jing Tian, and Willem Dafoe. The most visually stunning chapters detail The Nameless Order, with Zhang’s color coding of each fighting corps, including the royal blue Crane Corps–the fighting unit consisting entirely of women. We see frosted plastic pages displaying each corps symbol, and poster quality designs highlight each leader, along with their shields and weaponry. Detailed sections feature the creation and design of the film’s monsters–the mythical Tao Tei–and how WETA and Industrial Light and Magic created them. And each key sequence of the film is revealed with photographs of special effects and the actors in action.
