They block-shot the season, so a director would do two episodes and another director the next two. We were editing as the dailies were coming in, and we edited episodes four and five at the same time. So four is the day in the life, and five is the bank heist… It gets a little confusing because you’re trying to focus on the story of both and make sure both feel polished. It was a tight schedule, but it was also interesting doing back-to-back episodes.
In the latest entry in the Marvel Cinematic Universe (MCU), Marvel antiheroes — Yelena Belova (Florence Pugh), John Walker (Wyatt…
We shot it in New York and not another place to capture New York, and we wanted it to feel very much like a New York show. Being grounded in New York, the way New York is now… the old Hell’s Kitchen is no longer now. It’s regentrified and revitalized itself, so we wanted to capture that. That feeling like, ‘There are a few spots that retain the same old Hell’s Kitchen feel, but New York has changed, and it’s a different place”… We shot on the streets all the time, but we also had to build many sets.
Lucasfilm’s Emmy®-nominated thriller “Andor,” returns for its long-awaited conclusion on April 22. The second season takes place as the horizon…
I think the difference in this one is a lot of the fight stuff is hand-to-hand combat. The idea of Wolverine, the claws have that classic “snikt” sound. That’s something that has been around since the beginning. I augmented it a little bit, but I wasn’t about to reinvent iconic sound. That’s the thing with the Marvel Universe is you don’t need to reinvent the shield but what you can do add to the universe for the movie that you’re in. Our film is a much more realistic take on a Marvel film.
“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.
