“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.”
“It’s finding the right balance of what looks good on the person and also on our sets, and in our costumes.”
“Somebody told me once, ‘Just don’t make it sound like Star Trek,’ and that was kind of funny to me, but I don’t know if that’s a real rule or not, there you go.”
Ahsoka VFX supervisor, Richard Bluff, helps keep awe alive in the galaxy by painting the extraordinary as ordinary.
One of the artist behind all the rollicking mutant action and compelling drama takes Immersive behind the scenes of X-Men ’97.
“It’s credit to the storyboard team, as people with experience in animation,
wanted the art to be dope.”
Emerging from the ashes like a literal phoenix, X-Men ’97 has garnered praise from critics and fans alike.