Tag Archive: Grant Major


We’ve seen Disney go back to the well as the norm lately, with a host of live-action remakes of animated movies from the “vaults.”  Ticking off the list so far have been Aladdin, Cinderella, The Jungle Book (twice), and Pete’s Dragon, with Beauty and the Beast, Lady and the Tramp, the second take on The Jungle Book, and The Lion King remakes really more CGI than live-action, with a few centered on classic villains, including two Maleficents and one Cruella.  What other animated Disney films will audiences see adapted to the real world in the future?  So far news of pre-production has been mentioned for The Little Mermaid, The Hunchback of Notre Dame, Lilo & Stitch, Pinocchio, Peter Pan, The Sword and the Stone, yet another take on The Jungle Book, and spin-offs including Tink, Rose Red, and Prince Charming.  With more than a dozen live-action remakes of animated Disney movies in production, it’s a surprise to see a preview for one that looks like it could have been a standalone live-action film from the get-go.  Utilizing the production designer of The Lord of the Rings movies, Disney has upped the ante for Mulan.

Based on the 1998 animated Oscar-nominated film, which was based on a Chinese folk legend of a young heroine who posed as a boy to fight for her people (The Ballad of Mulan), with a lot of influence from Jin Yong’s heroine Huang Rong in Legends of the Condor Heroes, next year’s Mulan replaces roles voiced in the animated film that included Eddie Murphy, Harvey Fierstein, Donny Osmond, and Miguel Ferrer, instead showcasing a legion of Chinese and Chinese-American actors and a film steeped more in traditional Chinese folklore.  In the title role is Yifei Liu (also known as Crystal Liu) an actress who has grown up with roles in wuxia stories, starring in Return of the Condor Heroes, and appearing with Jackie Chan and Jet Li in John Fusco’s Forbidden Kingdom.  In the first trailer for Mulan (below) we meet her father, played by Wu Assassins and The Man in the High Castle’s Tzi Ma.  Other key cast members include Jason Scott Lee (Dragon: The Bruce Lee Story, Crouching Tiger, Hidden Dragon: Sword of Destiny) as Bori Khan, Gong Li as the Cyclone Mei-inspired witch Xian Lang, Rogue One’s Donnie Yen as Commander Tung, M*A*S*H and Star Trek’s Rosalind Chao as Hua Li, and Chinese mega-action star Jet Li as The Emperor.

Mulan is directed by Niki Caro, who you may know as the director of the fantastic and inspiring McFarland USA, among other award-winning films.  Clearly this is not going to be a shot-for-shot remake as we’ve seen with past Disney efforts.  Costumes were designed by Bina Daigeler (Volver, Grimm), and the music was created by the prolific film composer Harry Gregson-Williams.  The rich production look is courtesy of Grant Major (The Lord of the Rings, King Kong, The Meg, X-Men: Apocalypse, Crouching Tiger, Hidden Dragon: Sword of Destiny).

Take a look at this fantastic, exciting new trailer for Mulan:

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Review by C.J. Bunce

The trailers didn’t lie.  With only a month to go, The Meg might be the most fun movie you’ll see this summer.  The Meg has everything: a stellar international cast with plenty of chemistry, big action scenes, great sets, and even some drama.  For Jason Statham fans, look for another must-see Statham movie with his tough-as-nails deep-sea diver Jonas Taylor getting in and out of some big crises.  For fans of underwater adventure movies like The Abyss, Leviathan, and Sphere, a better movie has arrived.  A combined production from China and the U.S., it also pushes past last year’s much bigger budget action film The Great Wall–the combination of the two cultures from these films is setting up the future of action films.  If you liked the Pacific Rim franchise, recent Godzilla movies or Battleship, you’ll probably find The Meg a better all around production.  For an only PG-13 rating, it’s loaded with blood, chum, and other viscera (the newfound terror gobbles up plenty of characters both major and minor), but it balances that out with some good worldbuilding, likeable characters, and plenty of humor along the way.

The trailers also didn’t give anything important away.  Beginning with a John Hammond-esque deep-sea research base, we meet a perfect set-up of international personalities, led by Chinese superstar Bingbing Li (Resident Evil, Transformers series) as a scientist working with her father (1911 and Eat Drink Man Woman’s Winston Chao) on breaking through a new-found barrier to the deep sea.  The movie is really two films–the first a slowly-building drama detailing the background and players in the research facility, and the second a 1980s/1990s Sylvester Stallone, Bruce Willis, or Steven Seagal action-rescue movie (think Cliffhanger, Under Siege, Striking Distance, Executive Decision), sensibly swapping out the much younger Statham (who played Stallone’s #1 guy in The Expendables series), the modern incarnation of this brand of action star.  For the action, we learn Statham’s Taylor quit diving for a rescue operation five years past that didn’t go as planned.  He returns thanks to an old friend working at the facility (played by Fear the Walking Dead’s Cliff Curtis) when Taylor’s ex-wife, played by Australian actor Jessica McNamee, is piloting an exploratory vessel, along with scientists played by Japanese-American actor Masi Oka (Heroes, Hawaii Five-O) and Ólafur Darri Ólafsson (Fantastic Beasts: The Crimes of Grindelwald, BFG), which runs aground with the help of a mysterious creature.  Rounding out the cast is The Office’s Rainn Wilson as the show’s Hammond, an Elon Musk-inspired exec who funded the facility, Rush Hour’s Page Kennedy as another scientist, and the new lead of the CW’s Batwoman, Ruby Rose, whose character designed the facility.  Rose proves in The Meg she’s got the right stuff to dawn that red cape.

Based on Steve Alten’s 1997 science-fiction/horror book Meg: A Novel of Deep Terror, this fish tale is somewhat Michael Crichton-lite.  It’s surprisingly better than all the Jurassic sequels, as well as Crichton’s lesser action film adaptations like Congo and Sphere.  But the marketing may have set expectations off-kilter in one regard:  The shark–the megalodon–of the title may have you thinking Jaws or Sharknado.  It’s neither.  Think Godzilla and King Kong and you’ll be much closer.  The chemistry among the cast is what makes The Meg really stand out.  Statham and Bingbing Li (only six years apart in real life) make a great pair I’d love to see again.  Statham and Curtis seem like they really have been pals for years.  Young actor Sophia Cai may be the next best child actor, holding her own with both Statham, Li, Kennedy, and the rest of the crew.  The camaraderie of everyone involved and top-level production values (thanks to King Kong and The Lord of the Rings’ Oscar-winning production designer Grant Major) beg for a sequel or series.

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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.

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