“I think I wanted it to feel very classic, kind of like an old-school Disney movie. But I also didn’t want it to feel too much like a biopic. It was like, how do we push it? How do we make this really cinematic? And just introducing those few elements seemed to really work, and everybody seemed to really like it. I think very early on, it was established that we didn’t have to be super true to the period.”
“John Williams is a Hollywood icon, and it seems the word was invented for him and has been overused for other people, but I also knew the importance of it to my relationship with Steven, who I’ve known for 30 years, and he’s given me so many incredible opportunities that, not that I ever going to think that I’m going to screw them up, but I just knew that this was going to be one of those situations where I had to hit it right away.”
“There is this sort of deep musical culture of the Henson creations. He wasn’t a musician per se, but he was obviously very musical.”
“He was an artist. He would draw and he would draw characters. He would draw little monsters and characters. But puppetry allowed him to take all these different crafts, filmmaking, writing comedy art, and combine them and do something innovative in one new medium, one medium, which was puppetry.”
Ahsoka VFX supervisor, Richard Bluff, helps keep awe alive in the galaxy by painting the extraordinary as ordinary.
Beloved shows such as Baby Reindeer, Fallout, Shōgun, and Feud: Capote Vs. The Swans are few of the many shows nominated.
“It’s honoring the initial mission statement when Stan was creating the X-Men with all the artists”
One of the artist behind all the rollicking mutant action and compelling drama takes Immersive behind the scenes of X-Men ’97.
Two of the minds behind one of the finest dramas of the year spoke with Immersive Media about displaying empathy and honesty in true crime.
“If we wanted to make the game, we probably could.”
