Revered cinematographer Roger Deakins has ‘never worked on a film with so many different sets and lighting challenges’ as ‘Blade Runner 2049.’
Denis Villeneuve’s sequel to Ridley Scott’s 1982 original film looks to be a jaw-dropping mix of visual feats that stay true to both the story and the technical innovation that made Blade Runner an instant classic. Villeneuve acknowledges this legacy, stating “I have massive respect for the world Ridley created. Blade Runner revolutionized the way we see science fiction.”
Villeneuve is likely the right man for the job, as he took science fiction down an entirely new road himself, ostensibly reinventing the hackneyed alien genre with 2016’s Arrival, for which he was nominated for an Academy Award in Directing.
Blade Runner 2049 indeed brings several heavy-hitters to the table to help ensure its success, including no less of a cinematographer than multiple Oscar-nominated Roger Deakins, who also shot for Villeneuve on 2015’s Sicario. No stranger to complex action movies (the James Bond hit Skyfall, for one), Deakins admits in the featurette, “I’ve never worked on a film with so many different sets and lighting challenges. Technically, it’s quite challenging.”
Director Neill Blomkamp is known for inventive depictions of extraterrestrial warfare, like in District 9 (2009) and Elysium (2013). True to form, his latest short, Rakka, features a richly textured post-apocalyptic world where humans and otherworldly creatures battle over their entwined fates. And in keeping with sci-fi tradition, the queen of alien ass-kicking, Sigourney Weaver, leads a group of people who have planned a rebellion against the creatures who “came here to exterminate us.”
Rakka does feel somewhat like an extended trailer, and that is by design. The film is the first release from Blomkamp’s new venture, Oats Studios, which is an experimental incubator for feature-length ideas and new storytelling formats. The studio has released the film for free, but asks audiences to support its future work by voluntarily paying for the work in return for some digital assets like scripts, concept art, and 3D models.
Blomkamp told The Verge that Rakka is just the seed of a larger project, whose form is yet unknown. “Rakka feels like it could almost be more of an episodic thing,” he said, “because there’s a lot of avenues to explore. The footage is too unconventional and weird [for a mainstream feature], and the audience has to think of the footage as a snapshot of the window of this world.”
Mondo Tees has announced the THE THING ™ INFECTION AT OUTPOST 31, their very first board game in collaboration with USAopoly’s designer games division, Project Raygun. The regular version of the game will be in stores and online nationwide this October, and a limited edition Mondo exclusive version will be available at MondoTees.com.
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An alien lifeform has infiltrated a bleak and desolate Antarctic research station assimilating other organisms and then imitating them. In the hidden identity game THE THING ™ INFECTION AT OUTPOST 31, you will relive John Carpenter’s sci-fi cult classic in a race to discover who among the team has been infected by this heinous lifeform.
The game has been designed to be as authentically cinematic as possible, ensuring that the players will experience the paranoia and tension that makes the film so great.
“Mondo brought more than their storied design acumen to the table,” said Joe Van Wetering, Creative Design and Game Development at Project Raygun. “Thanks to their deep understanding and reverence for THE THING, they helped define the tone and shape the game play itself. INFECTION AT OUTPOST 31 reflects a true collaboration between our two brands resulting in a game that will excite table top and film aficionados alike.”
The regular version of the game features artwork and designs by Justin Erickson of Phantom City Creative. The Mondo exclusive version, sold exclusively through MondoTees.com, is limited to 1,982 copies, and features different packaging artwork by Jock. The limited edition game will also come with a Mondo print, enamel pin and two additional sculpted movers: the Norwegian character and the Palmer Thing.
Commenting on the design, artist Justin Erickson said, “with THE THING box art, I wanted to focus on the isolation of Outpost 31 and hint at the hidden alien dangers that lurk around every corner. The title of the game cut out of the ice/snow is a call back to the Thing originally being cut out of the ice by the Norwegians.”
The Thing™ Infection at Outpost 31 Gameplay
It is the start of the bleak, desolate Antarctic winter when a group of NSF researchers manning the claustrophobic, isolated U.S. Outpost 31 comes into contact with a hostile extra-terrestrial lifeform. Bent on assimilating Earth’s native species, this being infiltrates the facility—creating a perfect imitation of one of the Outpost 31 crew. The staff frantically begin a sweep of the base, desperate to purge this alien infection before escaping to warn McMurdo Station that somewhere, out there in the frigid darkness, something horrible is waiting.
In THE THING™ INFECTION AT OUTPOST 31, relive John Carpenter’s sci-fi cult classic as a hidden identity game designed to push you to the edge. Play as one of a dozen characters like helicopter pilot MacReady, mechanic Childs, or station manager Garry. Face sabotage and infection as you investigate the facility—gather gear, battle The Thing, expose any imitations among you, and escape Outpost 31!
Jonathan Demme, the Oscar-winning filmmaker who observed emphatically American characters with a discerning eye, a social conscience and a rock ’n’ roll heart, achieving especially wide acclaim with The Silence of the Lambs and Philadelphia, died on Wednesday at his home in Manhattan. He was 73.
His publicist, Leslee Dart, confirmed the death. Mr. Demme disclosed that he had cancer in 2015.
Mob wives, CB radio buffs and AIDS victims; Hannibal Lecter, Howard Hughes and Jimmy Carter: Mr Demme (pronounced DEM-ee) plucked his subjects and stories largely from the stew of contemporary American subcultures and iconography. He created a body of work — including fiction films and documentaries, dramas and comedies, original scripts, adaptations and remakes — that resists easy characterization.
Robert Jonathan Demme was born on Long Island, in Baldwin, on Feb. 22, 1944, and grew up mostly in nearby Rockville Centre, where he listened to music and went to the movies.
The family moved to Miami, where Jonathan went to high school and worked in a kennel and an animal hospital. Wanting to be a veterinarian, he attended the University of Florida with that in mind until he failed chemistry, at which point he went to the university newspaper, discovered it had no movie critic, and assumed the job himself, he said, so that he could get into movies free.
It happened that Mr. Levine was on vacation in Miami Beach, staying at the Fontainebleau Hotel, where he had become acquainted with the hotel’s publicist, Robert Demme. The elder Demme introduced Mr. Levine to his son, whose review of Zulu impressed him. Mr. Levine offered him a job.
A personable man with the curiosity gene and the what-comes-next instinct of someone who likes to both hear and tell stories, Demme had a good one of his own, a Mr. Deeds kind of tale in which he wandered into good fortune and took advantage of it. A former movie publicist, he had an apprenticeship in low-budget B-movies with the producer Roger Corman before turning director.
In 1971, he took a job as a unit publicist in Ireland for a Roger Corman film, Von Richthofen and Brown, about a German flying ace. Shortly after that, he began making films of his own for Corman’s production company. He wrote (with Joe Viola) and produced a biker film, Angels Hard as They Come, and wrote and directed a handful of others, including Caged Heat (1974), a heavy-breathing women’s prison movie, and Crazy Mama (1975), a campy road story with a ’50s rock score that starred Ann Sothern and Cloris Leachman as mother-and-daughter outlaws.
Demme then became known early in his career for quirky social satires that led critics to compare him to Preston Sturges. They included Handle With Care (1977), originally titled Citizens Band, and Melvin and Howard (1980), a tale inspired by true events.
“Music was my first love, movies came second,” Demme once told the New York newspaper The SoHo News. In a 1988 interview with Premiere magazine, he said: “I grew up with rock ’n’ roll — literally,” adding, “The first rock song I remember was ‘Sh-Boom,’ and since then I’ve never stopped obsessing on at least something.”
“I can’t think of any other director who is so instinctively and democratically interested in everybody he shows you,” Kael wrote.
David Byrne of Talking Heads Demme worked together frequently, notably on Stop Making Sense, a 1984 concert film about Talking Heads that many critics (and filmgoers) found mesmerizing, though it had few filmic bells and whistles. (Demme preferred to call it a “performance film” because, he said, it wasn’t about the concert experience — he didn’t show the audience until the end.)
Mr. Byrne also scored Demme’s Married to the Mob, a gaudy 1988 farce in which Michelle Pfeiffer plays the wife of a Long Island gangster (Alec Baldwin) who tries to exit the mob life after her husband is bumped off when he dallies with the girlfriend of the local boss (Dean Stockwell). Things get especially dicey when she moves with her young son into a shabby Manhattan apartment and strikes up a romance with an F.B.I. agent (Matthew Modine) who has her under surveillance.
Later, as a known commodity, Mr. Demme directed prestige Hollywood projects like Beloved (1998), an adaptation of Toni Morrison’s novel about the lingering, post-Civil War psychological horror of slavery, with Oprah Winfrey and Danny Glover in starring roles, and The Manchurian Candidate (2004), a remake of the 1962 Cold War drama of the same title about a brainwashed American prisoner of war. Mr. Demme’s updated version, starring Denzel Washington, Meryl Streep and Liev Schreiber, takes place during the Persian Gulf war.
Demme may be best remembered for two films from the 1990s that were, at the time, his career’s biggest anomalies. The first, The Silence of the Lambs (1991), was a vivid thriller based on the novel by Thomas Harris that earned five Oscars, including best picture and best director. Unlike his previous films, with their mischievous pleasure and tender melancholy, this was straightforward and serious storytelling with only a few moments of shivery humor.
The story is told largely from the perspective of an F.B.I. trainee who becomes a key figure in the pursuit of a serial killer known as Buffalo Bill when she is assigned to conduct a prison interview with Hannibal Lecter, a mad and murderous psychiatrist, hoping to extract from him clues to Bill’s identity.
It was just over a month ago that Liz Wrightson announced that her husband, legendary artist Bernie Wrightson was retiring. Liz confirmed on Sunday that after a long battle with cancer, Bernie has passed away. Here is the full transcript from Liz. My condolences to the Wrightson family, Rest in Peace Bernie.
A Message from Liz Wrightson.
After a long battle with brain cancer, legendary artist Bernie Wrightson has passed away.
Bernie “Berni” Wrightson (born October 27, 1948, Baltimore, Maryland, USA) was an American artist known for his horror illustrations and comic books. He received training in art from reading comics, particularly those of EC, as well as through a correspondence course from the Famous Artists School. In 1966, Wrightson began working for The Baltimore Sun newspaper as an illustrator. The following year, after meeting artist Frank Frazetta at a comic-book convention in New York City, he was inspired to produce his own stories. In 1968, he showed copies of his sequential art to DC Comics editor Dick Giordano and was given a freelance assignment. Wrightson began spelling his name “Berni” in his professional work to distinguish himself from an Olympic diver named Bernie Wrightson, but later restored the final E to his name.
His first professional comic work appeared in House of Mystery #179 in 1968. He continued to work on a variety of mystery and anthology titles for both DC and its principal rival, Marvel Comics. In 1971, with writer Len Wein, Wrightson co-created the muck creature Swamp Thing for DC. He also co-created Destiny, later to become famous in the work of Neil Gaiman. By 1974 he had left DC to work at Warren Publishing who were publishing black-and-white horror-comics magazines. There he produced a series of original work as well as adaptations of stories by H. P. Lovecraft and Edgar Allan Poe. In 1975, Wrightson joined with fellow artists Jeff Jones, Michael Kaluta, and Barry Windsor-Smith to form “The Studio,” a shared loft in Manhattan where the group would pursue creative products outside the constraints of comic book commercialism. Though he continued to produce sequential art, Wrightson at this time began producing artwork for numerous posters, prints, calendars, and coloring books.
Wrightson spent seven years drawing approximately 50 detailed pen-and-ink illustrations to accompany an edition of Mary Shelley’s novel Frankenstein, which the artist considers among his most personal work. Wrightson drew the poster for the Stephen King-penned horror film Creepshow, as well as illustrating the comic book adaptation of the film. This led to several other collaborations with King, including illustrations for the novella “Cycle of the Werewolf,” the restored edition of King’s apocalyptic horror epic, “The Stand,” and art for the hardcover editions of “From a Buick 8” and “Dark Tower V.” Wrightson has contributed album covers for a number of bands, including Meat Loaf. The “Captain Sternn” segment of the animated film Heavy Metal is based on the character created by Wrightson for his award-winning short comic series of the same name.
Characters he worked on included Spiderman, Batman and The Punisher, and he provided painted covers for the DC comics Nevermore and Toe Tags, among many others. Recent works include Frankenstein Alive Alive, Dead She Said , the Ghoul and Doc Macabre (IDW Publishing) all co-created with esteemed horror author Steve Niles, and several print/poster/sketchbooks series produced by Nakatomi.
As a conceptual artist, Bernie worked on many movies, particularly in the horror genre: well-known films include Ghostbusters, The Faculty, Galaxy Quest, Spiderman, and George Romero’s Land of the Dead, and Frank Darabont’s Stephen King film The Mist.
Bernie lived in Austin, Texas with his wife Liz and two corgis – Mortimer and Maximillian. In addition to his wife, he is survived by two sons, John and Jeffrey, one stepson, Thomas Adamson, and countless friends and fans. A celebration of his life is planned for later this year.