[ via BeyondHollywood.com ]

Tron Legacy - Garrett Hedlund

Heute wurde von Slashfilm.com ein weiteres Tron Legacy Set Interview veröffentlicht, diesmal mit dem Hauptdarsteller Garrett Hedlund. Weiter gehts nach dem “jump“…

Today we bring you an interview with Garrett Hedlund, the star of Tron Legacy, who plays Kevin Flynn’s son Sean, who goes into the world of Tron in search of his long lost father.

Question:  Can you talk about the character that you’re playing here?  You’re Flynn’s son and we don’t really know that much more about it.

Garrett Hedlund: Well it’s pretty much, you know, film sort of takes place 20 years, after Flynn has sort of mysteriously disappeared.  And starts off kind of with me.  Sort of see this kid, I mean he’s the biggest shareholder in the company, you know, really at this point.  And he grew up without his father.  Lived with the grandparents, and Alan Bradley kind of always looked after him.  You know, got him out of trouble, things like that.  And then, Allen pays a visit and sort of ushers me to kind of go to Flynn’s…go to the office and check things out.  And I go there.  Me as Sam as a character is kind of a kid with a lot but sort of does a little with it, you know?  Very reclusive and sort of, you know, kind of in his own, introverted and things like that I guess.  And sort of does all these kind of extreme things just because he can.  You know, he’s very interested in base jumping and motorcycles and the container home by the water with the wonderful view.  And he grew up without his father and is now kind of going to search or find his father.  And once he gets into this world it’s, he was right all this time.  And then there’s the light bikes and the discs and the game grid and all this sort of stuff comes to play.

You get to do a lot of physical stuff too in the film?

Hedlund: Yeah, initially when we started this, I started the first week in January.  Started with motorcycle training and getting my license and after the hour and a half of motorcycle training, I’d drive over to 8711 where the stunt coordinator David Leach, that’s his compound.  And so we’d do the fight training there; we’d do, you know, sort of exercises and jumps.  And do that for an hour and a half and a lot of hand-to-hand combat.  And then trained with the trainer Logan Hood who, you know, sort of trained all the 300 guys for Jeff Silver.  And trained with him for an hour, intensive training so.  The two months of that felt like I’d already filmed the film.  And now we come on to this and we got to continue and keep it up.  But everything is great sort of abilities to acquire.

Did you get to, I know the light cycles are CG but are you actually riding a motorcycle at some point in this?

Hedlund: Motorcycle yeah.  The beginning sequence in the film is kind of a pseudo chase and also, yeah a big old sort of chase sequence with the motorcycle there.  And then we get onto the light bikes and I think that we’ll be doing in September back in L.A. or something, motion capture or something.

Did you do any father-son bonding with Jeff Bridges?

Hedlund: Yeah, somewhat.  I mean, you know, very long days here and a lot of the times it can be distracting.  I mean, usually you had time between camera setups but most of us are always being fiddled with getting lights glued back on or battery packs changed and or this and that and, you know, it’s always kind of something and-

Was that part of rehearsals though?  To get a good vibe going?

Hedlund: Within the, yeah with I’ve always been such a fan of him and his kind of self character and his charisma and everything.  And I knew I’d really get along with him and we did.  It’s kind of…he’s got a very big portion of him that’s still just a kid.  So it’s very easy for us.  I mean we just kind of play games.  I was saying yesterday, you know, he had the game, Pigs, the old fashioned one, where it’s the snout or the leading jowl or how they land.  And, you know, so it’s always funny going back and forth like that, like woo man yeah!  So but yeah I mean such long hours the weekends you’re really just trying to restore, regain, what you’ve lost over the week.  So most of us sort of flee our own ways and cocoon and then we come back to set, hopefully refreshed.

Did you pick up any of his, maybe his mannerisms at all since you’re his spawn?

Hedlund: I think…naturally for father and son and stuff like that if he was doing something I would, you know, almost kind of mirror it a little bit.  Gestures and leaning up against something kind of had that, cause I know I have that with my dad.  I’d come back in from the field, he’d be like did you finish cultivating?  I’d be like well I went up and down, I still got to go kitty-corner and then I’d lean and then, you know, so it’s like you lean just like your father.  So it was those little things, you know?  Or hands and what you’re doing with your gestures, how you annunciate things and so it’s nice, yeah.

I don’t know the end of the movie but your character is sort of the protagonist in the same way that Jeff’s character was in the first Tron.

Hedlund: Yeah I mean-

So, did you guys compare notes?

Hedlund: You know, it’s funny chatting to him about it.  I mean I won’t say how he referred to what he felt of his performance within that but.  Definitely, you know, trying to still have a sense of life and freedom and all of this kind of energy.  And also the wits and the smarts and always trying to sort of achieve something or always putting something together.  And figuring things out, you know?  That’s what a lot of this is, is I’m always just trying to figure something out.  And, you know, that’s, there’s a lot of tricks that kind of go on throughout this film and a lot of revealing, you know, so it’s.

Is it difficult as an actor, I mean, my assumption is that the way it sounds at least in how it’s been described is that your character sort of stumbles into this world that you’ve never really experience before.  Is it difficult as an actor shooting a movie out of sequence and to sort of track that sense of sort of wonder and amazement at everything you’re seeing, your character is seeing presumably for the first time?

Hedlund: Mmm hmm, yeah, definitely.  Just kind of within that, you know, very sort of once you get into the world and once me and Flynn come to being together it’s sort of very impressed with everything that this man has kind of accomplished.  And at the same time, it’s all blue screen, you know, at this point.  So yeah, you got to look out.  I mean, um, I’m constantly ask what you’re seeing here, how bright is that, you know, how loud is that, how many of them are there?  And…

And how do you get the answer?  Do you have pre-viz that you look at or…

Hedlund: Yeah they do have their, they do have a rough assembly of pre-viz of what they’re going to sort of, it’s going to kind of track to look like.  Other than that, then you also don’t want to do the same, you know, steal from your pre-viz character what he’s doing…like how he stepped there.  You know, or I like how, or that was a really good reaction just seeing that [LAUGHTER].  You know, the pre-viz doesn’t even look like me, it looks like some sort of six foot four Italian guy. So, it’s like is that what they really wanted?

Do you feel some kind of, you know, you are the protagonist and this kind of restarts a continuation of what is currently going to be a major franchise, a budding franchise for Disney.  Day to day does that feel like a big load on your shoulders? How does that manifest?

Hedlund: Not really, I mean, I’ve always kind of felt that, you know, if you think about things that way it can only take away from you.  I mean I sort of approached this film like, you know, the last film I did was a smaller budget film.  You had the ability to be yourself; there wasn’t so much pressure on you.  It’s only what you put out there is, you know, sometimes you’re not asked for certain things.  And so it’s always trying to, I mean, within that yeah, I just try and alleviate all of the possibilities of stress whatsoever from my mind.  Because I don’t feel an extreme amount of pressure in this position.  Maybe that’s good or maybe somebody wouldn’t feel as much but, you know, each day is such a new sort of thing.  I mean a new, a new part of the story where, you know, from the solar sailor, you know, on the game grids or every day is so different to where you’re mostly just trying to focus on that day in particular.  What you’re going to do, how you’re going to make it believable.  And not about, you know, the grand sort of spectrum of things to what could be or, you know, all that.  It’s more of a fear than, you know, anything else, you know?  I have an extreme amount of curiosity to see what this is all going to look like because for now when you look at playbacks in the monitor it’s just, you know, your mug and a blue screen.  You can become critical, you’re like oh I flinched there, or I blinked there.  Man I shouldn’t blink so much and then it’s like [LAUGH] but there’s going to be all this glorious stuff back there that’s going to be taking a lot of focus off yourself as well.  So I can.

I don’t know how much of a fan you were of the original film but have you had that moment where you say to yourself oh my god I’m in Tron?

Hedlund: Yeah from the, I mean, when we were doing the disc stuff for me because we haven’t really tackled the the light bike stuff yet or anything but, you know, a couple weeks ago we had to do the disc game platform.  And I remember watching the first one and, you know, when I must have watched, I probably watched it in 2003.  So when you’re watching that you just say you’re kind of giggling to yourself like man there’s a story around, you know, being within a sort of computer.  And all this and they’re wearing hockey helmets, and throwing, you know, a Frisbee is the weapon.  Or like, you know, and then it actually was the Frisbee and so now, you know, how many years, you know, after that point when I just watched it out of pure amusement, you know?  Now you’re throwing, I can’t even say it.  But no, you’re throwing the discs and doing the spin and, you know, saying your lines and it’s all very surreal within that, yeah.

How many discs can you hit?

Hedlund: I hit them in the head.  Take 37 apples.

40 feet away, it was a great shot.

Hedlund: It was funny because these guys are sitting at a monitor which, I mean, you know, where their video village was like that.  It’s so hard, if you would’ve seen the target that I had to throw at it was basi- it was literally the size of a barn.  And it stuck to my hand and flings off this way and sort of does a curve back this way and they’re all watching the monitors with the glasses on them.  And like oh I wonder where that one’s going to go.  But I’m like Claudio!  And like they all, you know, Claudio ducks out of the way, the DP.  And he ducks down and because I got this visor on it’s like wearing prescription glasses when you don’t have a prescription.  You know, so I can’t see so by the time he ducked down I thought I had killed him. [LAUGHTER] And then like Claudio, are you alright?  And then all I see is, you know, Claudio is still ducking and I see Justin come up like this. [LAUGHTER]

That’s real 3D.

Hedlund: Yeah, yeah.

With regard to the costumes, was, what was your reaction when you saw kind of what you were going to be in and then like how do you get comfortable in it?

Hedlund: It was actually interesting.  Back in Los Angeles we went to a structure in Burbank called the MPCC.  And trying the suit on, I mean, you had to go through every stage of it.  You know, first maybe it just started with a rough form of the pants, you know.  None of these gravings were even in there, no lights, no cords whatsoever, just the pants.  You know, those are naturally uncomfortable.  I mean just wearing, you know, this kind of under armor form, cause we got it under here too, that’s always uncomfortable.  You can feel every single hair on your body movement, you know?  And then you try the top on and then, you know, just kept going in stages.  Then you got to come back and try it on when they got the cords going through.  Then you got to come back and try it on when they got lights to put on it.  Then you got to come back when they got boots ready.  And then you got to come back when they got a helmet they want to try on you.  And then you got to come back when they want to light you up.  And it was all these, I must have went back 29 times.  Even once I got out here, we were filming and all my weekends went to flying back because we had a month shooting real world stuff.  And so I’ve constantly have to take my weekends and fly back and go try the suit on and fly back, get back filming.  You know, so but with the suit it was always funny because for the two hours you’re in it while trying it on you’re always like, jokishly, we got to do this for how long?  You know, and then the next one you’re like, two months?  And then, you know, and so it’s and then once you have to put it on for the first day it’s just, it seems like the longest day in the world.  And, you know, your body is doing different things.  They got foot straps down here to keep the pants low enough so they don’t raise up.  You got this on and you got the boots and the top holds this one up but this has to hold the top down.  And so when I raise my right arm I’m feeling a tug on my left foot. [LAUGHTER] And it’s all these different things and your shoulders go out, I mean.  I’ve had a lot of chiropractic readjustments.  But to the point where I had, you know, both shoulders out and three ribs out, like both hips.  Like it’s all just from the, you know, when you can’t sit down and the lower back is going.

That’s why they pay you the big bucks.

Hedlund: Yeah right. [LAUGHTER]

We were looking at the helmets, I mean-I can’t imagine having that helmet on for all day.

Hedlund: Well that one it’s nice cause you can get that one off.  These, you know, some of the other cast members have little more technical helmets.  In cave, they have to have a cooling system within there, a fan blowing around.  Even one of our other cast members has a screen inside cause he can’t see out of anything in his helmet so there’s a camera here.  And then the night’s dark here, his vision is dark here.  But after two months in the suit, it’s miraculous how it’s just another day at work, you know?  Cause the first week it was just like, is it too late to try and resign?

Did you do any method acting?

Hedlund: Within this?  I mean, what-

Do you try to get far away from it after hours as you can?

Hedlund: Within this it’s trickier than I ever have to, you know, cause on certain films like the last one I did, I played the leader of a whole sort of, you know, kind of gang of thugs in any town anywhere.  And, you know, it’s a very sort of dark story, you know.  And my father’s John Goodman and I shoot him in the head, and, you know.  Kevin Bacon and Kelly Preston, and I kill them and the kid.  Both kids, I kill both kids, so, you know-

I see. So this is the same kind of role?

Hedlund: With that, you know, the trailer time is put to a sort of unique kind of use.  Cause what’s not written on the page you’re constantly striving to sort of, you know, write some down, all these kind of ideas, options, alternates.  And, you know, and you’re in the trailer for hours so there’s this certain annoyance that can just really rise.  There’s, you can go very serious with it, I mean.  In this it’s hard because you’re want to be really serious with what you’re doing and always in track of where you want to go with this, but there’s also, it’s a strange process that in between every take, time that you would be thinking about other routes and other routes people are always constantly around you doing this and doing that.  Fanning the hov or replacing a light, oh we got 10 minutes before the next one?  Let’s replace the light, I’m like no, no let me go and think a little bit.  It’s, you know, it gets hard that way.  Very distracting but, you know, somehow we are able to make it work at the end of the day, you know?

[ via /Film ]

The Expendables Teaser Poster

The Expendables is both written and directed by legendary action actor and filmmaker Sylvester Stallone[...]

[ via FirstShowing.net ]

Avatar - BluRay

Avatar - DVD

20th Century Fox gab nun offiziell bekannt daß Avatar – Aufbruch nach Pandora am 23. April 2010 auf BluRay und DVD erscheinen wird!

[ via moviereporter.net ] ]]> http://blog.fenrix.net/archives/2753/feed 0 http://blog.fenrix.net/archives/2753 http://feedproxy.google.com/~r/Fenrixnet/2009/~3/n2TYWdEQj0c/2746 http://blog.fenrix.net/archives/2746#comments Tue, 16 Mar 2010 10:30:52 +0000 logan http://blog.fenrix.net/?p=2746 Slashfilm.com hat ein paar Bilder vom Tron Legacy Set und ein Interview mit Jeff Bridges veröffentlicht. Ich kann euch natürlich beides nicht vorenthalten!

[ via /Film ]

Das Interview gibts nach dem “jump”

It’s amazing to see you back in this role.

Jeff Bridges: Isn’t it amazing? It’s been 28 years.

How has Flynn changed?

Jeff Bridges: Well, this is kind of a challenge for me because I don’t want to give too much of the — I don’t want to deprive anybody of the enjoyment of seeing the film with any kind of twists and turns. So I’m probably not gonna answer too many of the plot — too many of your questions about that because I want to make it fun for people without telling the whole plot. But it’s certainly a different deal. We made Tron, there was no internet, man. No cell phones. No laptops or any of that stuff. So it’s completely different world that we’re showing up in here and the look of the film it certainly, you know, benefits from that.

Is your character in charge of Encom?

Jeff Bridges: Well, see I don’t want to get too much. I don’t want to say too much of the story. We got to get a good thing to tell this folks. Something that we can present that addresses a little bit of what’s this about.

Are you the focus of the film?

Jeff Bridges: Am I the focus? I’m one of the focuses. I’ve been here the entire shoot. Garrett Hedlund is the protagonist in the story.

Which world do we meet you in?

Jeff Bridges: I can’t say. Isn’t that terrible?

What’s it like coming back to this character 28 years later? Is it hard getting back into his shoes?

Jeff Bridges: It’s not really, it seems like we had a long weekend basically because Lisberger who directed the first one is involved, very involved in this one which is great. You know, having the source of the material still engaged. I think it gave us all a lot of pleasure because he’s such a wild cat but it’s also kind of grounded in that first movie that was so unique and everything.

I heard that years before it came out I heard oh, they’re gonna do a Tron 2 and I couldn’t believe. I said you’re kidding me? Nothing happened and finally this came about and I was so pleased and we did kind of a hey, this is not that strange. The first time I heard about this the Coen Brothers did this where they shoot the trailer for a movie first without ever having made the movie in hopes to entice the financers. That’s what they did with this one, to really entice Disney to say oh, yeah we own this thing, we might as well do one of these. So the trailer came off well. We played it at Comic-Con and went over well.

Were you surprised at the reaction?

Jeff Bridges: Yeah, a little bit. I haven’t been to Comic-Con. I got to this one coming up but I hear it’s kind of a crazy thing.

Did you take photos on this set?

Jeff Bridges: You know I took a few but I’ve kind of lost the desire to do that for some reason. I think when I put a book out a few years ago, kind of a compilation book of these smaller books that I made as gifts for the cast and crew of these movies and once I put that book out I kind of felt like I hatched my egg. I made a few smaller books after that but I’ve noticed that my interest in documenting what it’s like making movies this would have been a great one to do it. I did a few but the light is so low that our wonderful director of photography Claudio Miranda, that I can’t get the right exposure on my camera, this wide luxe camera.

Have you seen the 3D footage of the light cycle stuff and what’s your reaction?

Jeff Bridges: It’s just great. I mean it’s, you know, better, more sophisticated, more refined. Joe, our director, was an architect. That’s where he’s coming from. It’s interesting different filmmakers where they come from and what they bring to the film and he’s an architect and so the film has a very, you know, heightened design feel to it. And he hired this wonderful production designer, Darren Gilford. And this is I think his first major movie. I think he did one smaller, independent film. And he is out of car design so it adds another thing. It’s not somebody, you know, who is an interior decorator. It’s car so the world has a really wonderful feel to it.

What was your reason for wanting to come back? Did it take persuading?

Jeff Bridges: Well, I got a pitch from Joe who by the way this is his first film. Can you imagine? I don’t know if it’s the most expensive ever made but it’s right up there. To have a first time guy. Got to give Disney credit for taking that risk. They were smart because he’s such a calm, can do guy. He’s gonna pull this off. He made this wonderful pitch on the story, where it was going and that was intriguing to me and he showed me his commercial reel. He’s out of commercials and I saw some of the technology that he had available to him, that he could use. And then it was basically the same reason that I did the first one. The first one was cutting edge technology at that time and this one certainly is for this time. And it’s a whole different way of making movies I hadn’t experienced. A little bit in Iron Man but nothing like this.

Why does Tron continue to resonate with people?

Jeff Bridges: I don’t know.

When was the last time you saw it?

Jeff Bridges: I didn’t see the whole thing in entirety. It must be I don’t know 20 years. I didn’t look at it before this. I saw little bits of scenes. Not all the way through. I remember the music of Tron was quite, you know, Wendy Carlos did a great score and that kind of — remember that opening shot of coming in. There are certain things like the light cycle ratio those were so kind of fun to watch. I don’t know if you guys have seen the cardboard Tron? Have you seen that? If you go onto my site on the stuff page I think you’ll see it. And it’s a little drawing of a guy in a Tron outfit in a cardboard box. And what he did was reconstructed every shot of the race using little cardboard figures and stuff. I mean he really got into it. That kind of thing has kept it alive and I suppose the video games have too.

You said once the thing you remember most about making the first one was this really uncomfortable dance belt, so is the same thing happening in this one?

Jeff Bridges: No dance belt, thank god. Here we have these wonderful suits that light up so they have their own kind of problems, you know, heating up and stuff like that but the suits are quite a bit different.

Are they using an LED light?

Jeff Bridges: Yeah, they’ve got all kinds. I don’t know all the technical stuff but these suits are amazing. You know, I was talking about the lighting being so low that they’re using. One of the reasons for that is so you can really see the suits and the suits can even light the other actors off your suits.

Tell me about Lisberger.

Jeff Bridges: Well it is a little bit strange. I’m excited because I think he’s gonna be in it somewhere in the movie. It will be fun to play with him. Just him being involved in it was a big plus for me. I think you asked what made me gave involved again. Another chance to work with Steve and do that. And Bruce too. Bruce is in it. Boxleitner.

Are some of the younger cast coming to you asking for advice, like, “How do I throw this disc?”

Jeff Bridges: No, I think we just used Frisbees in the old one. We were more sophisticated. It was pretty funky back then.

Do you have a lot of scenes with Bruce?

Jeff Bridges: Not really, no I don’t.

What is it about your makeup that takes three hours?

Jeff Bridges: You’ll see.

Can you compare the directors, as wasn’t it Steven’s first film as well?

Jeff Bridges: You know, it’s kind of a shame in a way but the more seasoned directors a lot of times have more difficult getting a job than first time guys. New kid on the block kind of thing. I’ve had great luck with first time directors. I love working with them because it’s like you know, Orson Wells directing Citizen Kane. He doesn’t know what he can’t do. He’s just so open, you know. And Steven was like that. I remember I couldn’t believe it we showed up the first day at work and around the walls of the studio — this is the first Tron — are video games that you have to put quarters in just all over. I said god, Steve you don’t think this is gonna raise a little hell with the work, you know. I mean guys are gonna be — he said I don’t know I figured you might want to prepare before you go on the grid. I said okay. So actually both things did happen. It did hold up the work every once in a while but it was great fun. I remember I got locked into this game, Battle Zone. You familiar with that game? The tanks. God, hours and they would come and try to yank me away. I’d say I’m preparing, I’m preparing.

Do you still play?

Jeff Bridges: No, I haven’t gotten into the new stuff too much either.

Speaking of video games, I saw on the walls video games covered up. Were you able to go to that set? Did you have flashbacks?

Jeff Bridges: Yeah, that was wonderful. They did a great job in recreating that.

Is it similar to the original?

Jeff Bridges: It’s as closely as they could come. I mean I think that was a practical location in the original and it’s torn down.

What’s it like shooting in Vancouver?

Jeff Bridges: Oh, wow what a great city. Just loving it. You know, tooling around Stanley Park a lot on my bike. And getting up to Grouse Mountain.

Do you do the grind?

Jeff Bridges: No, I don’t do the grind but I took my girls up there. My three daughters visited me for Father’s Day. We had a great time up there.

How different is it working with special effects this time?

Jeff Bridges: Wow, it’s so different. I mean the original you’re basically working with the duvetyne, that black stuff and white adhesive tape. Those were the design basically and so they wanted to make something they would kind of do that. Shot in 70 millimeter black and white and then all hand tinted by Korean ladies. That was the extend of the technology and there was no internet or anything like that. And now it’s just this whole other realm. And one of the reasons I wanted to do it because I felt this is where movies are starting to go now, you know, where they’re taking the actors and putting them inside a computer very much like Tron. I mean they can do whatever they want with them. They can say let’s put Bridges, but I want a little Al Pacino in there, and let’s throw in a little Joey Pants, what the heck. Let’s see what kind of guy we can come up with, you know, and that’s happening. They can do that. It’s right around the corner.

Do you get the feedback immediately? Can you see what you’re doing?

Jeff Bridges: Well this is shot in 3D. The first movie I’ve done in 3D. Kind of interesting and the video playback is in 3D so you can see what that’s like but all of the effects they’re not. They have a thing called “previz” which is a preview but in a very low res. Oh, here these are shots off of previz. These things up here. So the whole movie is basically previz’d already and that helps a lot when you’re doing things where you can’t see what’s actually gonna be in a movie that the director can actually talk you through.

What kind of physical preparation did you have to do? Is you performance in this as action oriented as the first one?

Jeff Bridges: Physical stuff? Mainly just keeping my back in shape. I have some back problems so I have to do my back exercises and stuff like that and that’s about it. Nothing too much.

It seems like there are little homages to the first one… Are there things that stick out in your mind? Are there things that they’ve recreated?

Jeff Bridges: Well they’ve done the light cycles and the disc game. People I think are fans of that so they wanted to keep that. That’s still in there but it’s taken to the next level but it’s quite remarkable what they’ve done on that.

Is there a new vehicle?

Jeff Bridges: There’s another little vehicle. There’s all kinds of new twists on it. Have you seen the demo or the trailer? So you can get an idea of how the guys flip on their — run and jump on their baton that has light cycles and all kinds of different things.

It seems like there are a lot of practical sets. What set was most impressive to you?

Jeff Bridges: This set that you guys are gonna see I think today is an amazing set. I was there the other day and it’s this big bar, The End of the Line Club. Isn’t that a computer term?

It’s from the first movie.

Jeff Bridges: Tell me about that again.

Every time the computer would talk to Sark, he would say “end of line.”

Jeff Bridges: I was hoping that we would get that Sark back, David Warner back. I had this funny scenario that didn’t fly that he was sort of my butler.

Were there any references that you wanted to get in there that were meaningful to you from the first movie?

Jeff Bridges: One of the challenges of the movie was, you know, the script and working with the whole slew of writers and tying to come up with what the story is and what I’m gonna say tomorrow. But the good news was that everybody was up to the task both with their talent but also they were good folks. Because it could it have been a real train wreck if we had some guys that didn’t get along or couldn’t come up with the goods that fast.
But they seemed to do that with these big — they did it with Iron Man too. I don’t know what that’s like that. I don’t understand why they do that. I think maybe they have a release date that they have to get and they think oh, we can get this done and then they don’t.

What special effects movies do you like?

Jeff Bridges: One that popped in my mind when you said it was another one that I did a remake of that was terrible special effects, King Kong. I thought this last one was great but ours, oh god, what a joke. You had a Rick Baker in that suit juxtaposed to this giant 80 foot ceramic thing. Oh, god but I though the ape in that was really wonderful.

How accurate is this movie trying to be in terms of computers and programming in comparison with the first film?

Jeff Bridges: It’s probably a little more sophisticated but it’s still in the fantasy realm.

Are you doing motion capture?

Jeff Bridges: Yeah, there’s some of that.

Can you talk about it a little?

Jeff Bridges: The fact that it’s kind of the wave of the future and there’s, you know, things that are challenging for actors who like to dress up and play pretend. You know, I don’t get to wear any cool outfits or you don’t need a set. I mean I can shoot a scene for the movie right here with you guys. I can just put this hat on and go to town. And everything is done in post. The camera angle. That’s like a new thing that’s happening that you’re gonna have to figure out different skills for how you do it. Bizarre.

[ via /Film ]

Robert Rodriguez' Perdators

[ via /Film ]

Starring Nicolas Cage, Christopher Mintz-Plasse, Mark Strong, Aaron Johnson, Lyndsy Fonseca, Xander Berkeley, Clark Duke, Chloe Moretz, Michael Rispoli, Omari Hardwick, Adrian Martinez, Tim Plester, Deborah Twiss, and directed by Matthew Vaughn.

[ via BeyondHollywood.com ]

mehr Bilder:

Predators is being directed by Nimród Antal, of Kontroll, Vacancy, and Armored previously. The screenplay was co-written by newcomers Michael Finch and Alex Litvak and is based on early draft written years ago by producer Robert Rodriguez, who also worked with them on the script. (Firstshowing)

[ via FirstShowing.net ]

After challenging an evil dragon, rescuing a beautiful princess and saving your in-laws’ kingdom, whats an ogre to do? Well, if you’re Shrek, you suddenly wind up a domesticated family man. Instead of scaring villagers away like he used to, a reluctant Shrek now agrees to autograph pitch forks. Whats happened to this ogre’s roar? Longing for the days when he felt like a “real ogre,” Shrek is duped into signing a pact with the smooth-talking dealmaker, Rumpelstiltskin. Shrek suddenly finds himself in a twisted, alternate version of Far Far Away, where ogres are hunted, Rumpelstiltskin is king and Shrek and Fiona have never met. Now, it’s up to Shrek to undo all he’s done in the hopes of saving his friends, restoring his world and reclaiming his one True Love.

[ via BeyondHollywood.com ]

Follows Robin (Russell Crowe) from his early days in King Richard's army to his return to Nottingham to his creation of a band of mercenaries who challenge the sheriff and eventually try to prevent civil war.

[ via FirstShowing.net ]

Tron Legacy Billboard Poster #3

Disney hat ein neues Poster zu Tron Legacy veröffentlicht, außerdem gibts 2 Bilder der Disney World Monorail im “Tron look”

Disney World Monorail Tron #1

Disney World Monorail Tron #2

Tron Legacy is directed by first-time filmmaker Joseph Kosinski. The screenplay was co-written by Adam Horowitz (“Lost”), Richard Jefferies (Blood Tide, Living Hell), Edward Kitsis (“Lost”), and the director of the original movie, Steven Lisberger. This first got the greenlight last year because this early teaser played well at Comic-Con. Disney is bringing Tron Legacy to theaters in 3D starting on December 17th, 2010.

[ via FirstShowing.net ]

Prince of Persia: The Sands of Time

Follows a prince who must stop an angry ruler from unleashing a sandstorm that could destroy the world.

[ via FirstShowing.net ]

Ultramarines Movie

We’re very pleased to announce that Terence Stamp, Sean Pertwee and John Hurt head the cast of actors lending their voices – and their facial expressions – to the Ultramarines movie.

Wooohooo, auch wenn’s nur eine Direct-2-DVD Production und ein CGI-Film wird, ich freue mich drauf, allein schon weil  das Screenplay von Dan Abnett ist!

[ via ultramarinesthemovie.com ]

Sam Flynn (Garrett Hedlund), the tech-savvy son of Kevin Flynn (Jeff Bridges), looks into his father’s disappearance and is pulled into the digital world of Tron where his father has been living for 25 years.

via FirstShowing.net.

Zombieland

Zombieland-Regisseur Ruben Fleischer hat ein wenig über das kommende Sequel geplaudert:

“We have been talking to the studio and we pitched them some ideas that they seemed to really like. We are definitely doing the film in 3D. Sony has their own 3D division now and we are going to go get a little tour of that, of the 3D department. I know that the cast are all excited to be a part of the sequel, so it should be a great, fun movie to make! The script is about to be written and hopefully we will shoot it sometime towards the end of the year or early next year”.

[ via moviereporter.net ]

Futurama - "YEAH!"

HELL YEAH! Endlich ist es so weit, Comedy Central wird in den USA voraussichtlich ab dem 24. Juni 2010 12 neue Futurama-Folgen ausstrahlen! Endlich, ich freue mich schon drauf!

[ via wunschliste.de ]

Iron Man 2 takes place only six months after Tony Stark (Robert Downey Jr.) revealed his identity as Iron Man at the end of the first movie. Mickey Rourke stars as a powerful new Russian villain named Whiplash.

[ via FirstShowing.net ]

Wolverine ( © Marvel Comics )

Showbiz411 berichtet das Christopher McQuarrie’s Wolverine Sequel Script fertig ist und dem Studio übergeben wurde. Logan/Wolverine (Hugh Jackman) wird es diesmal nach Japan verschlagen…

[ via BeyondHollywood.com ]

Tron Legacy #1

Tron Legacy #2

Tron Legacy #3

Tron Legacy #4

[ via /Film ]

On an island off the coast of Delaware, local residents caught in a family feud must simultaneously fight a zombie epidemic while trying to find a cure to bring their un-dead relatives back to their human state.

[ via FirstShowing.net ]

Indiana Jones 4

Harrison Ford hat diese Woche gegenüber der BBC bekannt gegeben das sich Steven Spielberg, George Lucas und er selbst auf grundsätzliche Idee (‘Germ of Idea’) geeinigt haben:

“Steven [Spielberg] and George [Lucas] and I are sort of agreed on a germ of an idea and we’re seeing what comes of it.”

“The process works like this… We come to some basic agreement and then George goes away for a long time and works on it. Then Steven and I get it in some form, some embryonic form. Then if we like it we start working with George on it and at some point down the line it’s ready and we do it.”

Ehrlich gesagt hat mir Teil 4 schon gereicht… wenn ich nur an “Nuke the Fridge” denke… Aber ich will mal nicht so sein, vielleicht kehrt Indy in Teil 5 ja zu seinen Wurzeln zurück und der Film wird das absolut Beste was wir je gesehen haben?! …

Naja, man wird ja wohl noch träumen dürfen…

[ via /Film ]

Follows a prince who must stop an angry ruler from unleashing a sandstorm that could destroy the world.

Prince of Persia: The Sands of Time Trailer 2 in HD (myspace.com)

Trailer Park Movies | MySpace Video

[ via FirstShowing.net ]

The Hobbit

Nun also vielleicht doch? Guillermo del Toro hat in einem Forenpost auf TheOneRing.net durchblicken lassen dass er sich nun wohl doch ein The Hobbit 3D vorstellen könnte…

I wouldn’t read much on it just yet, but now, after all this time, after AVATAR doing the Box Office it did, we have had enquires from above about The Hobbit being in 3-D.

No impositions or heavy leaning. Just enquires. Just fulfilling my promise to let you all know if discussions ever started.

Cheers

GDT

[ via FirstShowing.net ]

Tron Legacy

Kevin Flynn’s son Sam (Garrett Hedlund) drives his bike to the old Flynn’s Arcade to investigate after receiving a mysterious phone call from a Kevin’s old disconnected office phone number.

[ via /Film ]

Pirates of the Caribbean 4 - On Stranger Tides

Scheinbar wird Herr Depp nun doch im 4. Teil der Pirates of the Caribbean Serie (Pirates of the Caribbean 4: On Stranger Tides) wieder die Rolle des Piraten Jack Sparrow übernehmen… über den Film sagt er folgendes:

“In the earlier films there were so many subplots that the audience, and even I, was sometimes confused. The next part is fun, a lot of fun”.

Ich weiss noch nicht so recht ob ich mich auf den 4. Teil freuen soll… hoffentlich, da muss ich mye von moviereporter.net recht geben, wird er nicht wieder so überdreht wie Teil 3.

[ via moviereporter.net ]

Survival of the Dead

Off the coast of Delaware sits the cozy Plum Island where two families are locked in a struggle for power, as it has been for generations. The O’Flynn’s, headed by patriarch Patrick O’Flynn (Kenneth Welsh) approach the zombie plague with a shoot-to-kill attitude. The Muldoons, headed by Shamus Muldoon (Richard Fitzpatrick), feel that the zombies should be quarantined and kept ‘alive,’ in hopes that a solution will someday be found. The O’Flynn’s, who are clearly outnumbered, are forced to exile Patrick by boat to the mainland, where he meets up with a cynical band of soldiers, headed by Guardsman Sarge (Alan Van Sprang). They join forces and return to the island, to find that the zombie plague has fully gripped the divided community, and the body count is rising.

Starring Devon Bostick, Kathleen Munroe, Kenneth Welsh, Athena Karkanis, Julian Richings, Alan Van Sprang, Wayne Robson, Joris Jarsky, George Stroumboulopoulos, Matt Birman, Stefano Colacitti, Heather Allin, and directed by George A. Romero.

[ via BeyondHollywood.com ]

Featuring the voice talents of Jay Baruchel, Gerard Butler, America Ferrara, Jonah Hill, Christopher Mintz-Plasse, Craig Ferguson, Kristen Wiig and T.J. Miller. “How To Train Your Dragon” starts in 3D on March 26th.

[ via BeyondHollywood.com ]

Follows Perseus and his quest to battle Medusa and the Kraken in order to save the Princess Andromeda.

[ via FirstShowing.net ]

Air, Water, Earth, Fire. Four nations tied by destiny when the Fire Nation launches a brutal war against the others. A century has passed with no hope in sight to change the path of this destruction. Caught between combat and courage, Aang (Noah Ringer) discovers he is the lone Avatar

with the power to manipulate all four elements. Aang teams with Katara (Nicola Peltz), a Waterbender, and her brother, Sokka (Jackson Rathbone), to restore balance to their war-torn world. Based on the hugely successful Nickelodeon animated TV series, the live-action feature film “The Last Airbender” is the opening chapter in Aang’s struggle to survive.

[ via BeyondHollywood.com ]

Boba Fett Life-Size Bust

Da schlägt das Fanboy-Herz schneller, Sideshow Collectibles feier den 30. Geburtstag von Star Wars: The Empire Strikes Back mit einer Lebensgroßen Boba Fett Büste! Ab dem 4. Quartal 2010 ist das 30 inch hohe, 25 inch breite, 10 inch tiefe und 35 pounds schwere Modell für $799.99 zu haben. Sicherlich viel Geld, aber ich bin mir sicher die Büste findet ihre Käufer und wird schnell ausverkauft sein… um ehrlich zu sein… ich habe mich schon dabei ertappt wie ich darüber nachgedacht habe wo ich das Teil wohl am besten aufstellen könnte… (Es geht übrigens auch noch um Einiges teurer, z.B. R2-D2 für $5450!)

Created in conjunction with Spectral Motion effects house, the Boba Fett Life-size Bust has been meticulously sculpted to capture every detail of the Mandalorian’s iconic helmet. Each piece is individually painted and hand-finished, each with its own unique quality and detail that is the trademark of a handcrafted Sideshow Collectibles product. Complete with real fabric cape, the Boba Fett Life-size Bust is sure to become the premier addition to any Star Wars display. Please note that no portion of this product is intended for wear or for use as a costume item.

[ via /Film ]