Release date: Friday June 24, 2011 (Wide) Genre: Animation, Comedy Director: Brad Lewis , John Lasseter Studio: Walt Disney Pictures Producer(s): Denise Ream Cast: Owen Wilson, Larry the Cable Guy, John Turturro, Eddie Izzard Official Site:disney.go.com/cars/cars2 Rating:Not yet rated Available film art:Cars 2 movie posters
Official Synopsis: Star racecar Lightning McQueen and the incomparable tow truck Mater take their friendship to exciting new places in ‘Cars 2′ when they head overseas to compete in the first-ever World Grand Prix to determine the world’s fastest car. But the road to the championship is filled with plenty of potholes, detours and hilarious surprises when Mater gets caught up in an intriguing adventure of his own: international espionage. Torn between assisting Lightning McQueen in the high-profile race and towing the line in a top-secret spy mission, Mater’s action-packed journey leads him on an explosive chase through the streets of Japan and Europe, trailed by his friends and watched by the whole world. Adding to the fast-paced fun is a colorful new all-car cast that includes secret agents, menacing villains and international racing competitors.
Release date: Friday May 20, 2011 (Wide) Genre: Adventure, Action Director: Rob Marshall Studio: Walt Disney Pictures Producer(s): Jerry Bruckheimer Screenplay: Terry Rossio, Ted Elliott Cast: Johnny Depp, Geoffrey Rush, Penélope Cruz, Ian McShane, Jami Gertz Official Site:disney.go.com/pirates Rating:Not yet rated Available film art:Pirates of the Caribbean: On Stranger Tides movie posters
Synopsis Flamboyant seafarer Jack Sparrow (Johnny Depp) lands himself in a bit of a bind after being lured onto Blackbeard’s (Ian McShane) ship by enigmatic siren Angelica (Penélope Cruz), and forced to seek out the Fountain of Youth. Trapped on the Queen Anne’s Revenge with the most nefarious pirate in history, Captain Jack reflects on his past with the elusive Angelica while embarking on his wildest adventure to date.
So The Hollywood Reporter just did a bit of number-crunching, and have pronounced that since Twilight first hit theaters in November of 2008, Hollywood has already grossed a staggering $7 billion from vampire-related properties, with worldwide box-office grosses accounting for $3 billion of that total. This might not seem like such a seismic cultural phenomenon when you consider that films about humans have domestically grossed nearly $20 billion in that same time period, but the breadth of our obsession with vampires is what puts those undead blood-suckers in a league of their own.
Despite the fact that vampires wantonly feast on the blood of the innocent, Americans young and old can’t help but invite this latest wave of folkloric parasites into their homes and hearts. Teenage girls across the country are tearing Justin Bieber off their walls in favor of giant Max Schreck posters, and you’re unlikely to find an adult who can’t quote Park Chan-Wook’s Thirst from start to finish and in Korean. …No? Okay, so maybe the financial figures are just more evidence that the True Blood and Twilight franchises are both wildly popular, but with the effortless parody Vampires Suck almost out-grossing the deservedly ballyhooed likes of Scott Pilgrim vs. The World and the final two Twilight films on the horizon, it’s time to concede that the $7 billion barrier actually means something beyond confirming the prevailing obsessions of our day? Could seeing a vampire in a film become as ordinary as seeing a kid in a film, or a Samuel L. Jackson?
In short – I doubt it. Vampires were around before we got here and they’ll be here long after we’re gone (they’re immortal, you know), their longevity is a result of the extent to which they tap directly into our greatest shared desires, and they’re as narratively versatile as mythological creatures get. But this is a phenomenon, and the blockbuster content will dry up. The Harry Potter films have collectively grossed $5.5 billion thus far, and though they’ll continue to inform the adventure fare Hollywood churns out, I don’t expect to see a glut of films about boy wizards in the wake of The Deathly Hallows (I do, however, expect to see a glut of films about endless camping trips).
With studios already gearing up for projects such as The Passage, Dracula Year Zero, and Castlevania, Hollywood is obviously going to ride this money train and keep blood-suckers in theaters for as long as the trend holds (insert joke about AMC doing their part with bedbugs, here), but the poor performance of films like Daybreakers and The Vampire’s Assistant suggests that fangs aren’t enough to guarantee success, and that lust and branding still trump subject. I’ve yet to be shown any definitive correlation between the respective successes of Twilight and True Blood beyond the fact that the former probably proved to HBO that a “genre” show was worth a shot – the rest can largely be attributed to fit naked people doing bad, bad things to each other. So Hollywood will read as much into those $7 billion as they can because they have nothing else to go by, and vampire projects will be greenlit that might not have been otherwise, but all that number really tells me is that Hollywood does itself a favor by respectfully acknowledging that the stuff of B-movies can also be the stuff of A-money.
Besides, everyone knows that there can never be a greater vampire film than the legendary Nicolas Cage vehicle, Vampire’s Kiss. Take a deep breath, accept that your life is about to be forever changed, and observe:
Angus Maclaine (Directing Animator) discusses the making of Wall E.
“In the life of an animator you learn not to throw everything into a scene. If you just have one scene to animate on a film, you’re going to animate the hell out of that thing, and you’re going to put lots of stuff in there, because you want to show everyone you can move stuff around. As a Directing Animator on the film, my goal is not to get in the way of the story. Animation added a lot – seeing stuff move around or not move around really brought it to life – but at the same time the context of the story was what was most important.
If you see a shot of WALL-E staring off screen left, then you see a shot of tumbleweed going by, then you cut back to WALL-E and he’s staring at it and his head slightly rotates and then goes up and down with a sound of a sigh, there’s a mood established by it. That’s mostly story. Animation-wise, you’re mostly still for one shot and in the next shot you’re just going up and down and rotating the head a little bit. There’s not much there. It was easy in that sense because I didn’t have to do very much! But to be honest, a lot of it was not doing very much, and having the courage not to do very much comes with time and confidence.
Because the camera was handheld-operated, it didn’t make everything feel still, so then we just tried not to get in the way of the storytelling with our animation. I think story should take a bigger bow than animation here, because the context they provided for the story allowed for a simplicity of animation that seemed like great animation, but only because it wasn’t doing that much.
Ultimately, everything we needed we had for both EVE and WALL-E. That was fortunate, but we spent a lot of time upfront getting that. The way we eventually came upon the arm design for WALL-E, allowing the arms to slide along the body, let us move the arms in front of the face, which gave us this unsure hand-wringing pose that was key to any scene with EVE where he’s unsure of his approach to her. That, to me, is huge, and largely unrecognised as a big thing in addition to the expressiveness of the eyes.
Description: Animal, the wild-eyed drummer from “The Muppet Show’s” Electric Mayhem Band, has inspired generations of rockers with his outrageous behavior and uninhibited appetite for the wild life! For still photos, an Animal Photo Puppet was built with wire armatures instead of hand openings. Some say this was for posability, but the truth is that Animal himself never stood “still” in his life. Now, Master Replicas is proud to present a first-ever authentic Animal Photo Puppet replica, created using the original patterns and similar materials. Let the wild times begin!
Click on the link below for more details as this one is sure to sell out quickly. Limited to 1, 500 pieces worldwide.
Product Description: Bring Home a Real Treasure Inspired by the Past – No Strings Attached!
This is an authentic limited-edition replica of the original marionette used in the creation of Walt Disney’s animated masterpiece, Pinocchio. After filming, the sculpted model of the marionette’s head was presented to master puppeteer Bob Baker, whose work Walt Disney knew and deeply admired. That same model, safeguarded for many years, has inspired Bob’s meticulous recreation of this real treasure from the past. He’s yours for making dreams come true – with no strings attached!
This item is extremely limited. Just click on the link below for more details