The miniature model of the White House destroyed in 1996’s Independence Day. Pic comes from the Facebook page of American Cinematographer Magazine, which has been putting up some fantastic behind the scenes images on its social media outlets.
Shooting miniatures for the houseboat-bound finale of Martin Scorsese’s 1991 Cape Fear remake. The film marked Scorsese’s follow-up to Goodfellas and remained the iconic director’s biggest box office hit until 2004’s The Aviator.
Photo courtesy of the Facebook page Behind the Clapperboard.
Special effects legend A. Arnold Gillespie in the model tank set of Ben-Hur (1959). The biblical epic’s effects earned an Oscar – one of the film’s record 11 Academy Awards. Gillespie also lent his talents to The Wizard of Oz, North by Northwest and Forbidden Planet.
Pic courtesy of the fantastic blog Matte Shot – A Tribute To Golden Era Special FX.
The latest constellation in the Marvel Cinematic Universe hits screens this weekend with Avengers: Age of Ultron (2015). It’s predestined to make a billion dollars at the box office regardless of whether anyone actually digs it or not, but for me it marked a step backward from Joss Whedon’s 2012 tentpole starter. I could’ve done without Black Widow morphing into a googly-eyed romantic and the digression to Hawkeye’s idealized bucolic utopia with pregnant wife and two moppets in tow. And if you’re taking a grade-school-age kid – one of those little tykes who make this franchise transcendently lucrative by gobbling up toys, Underoos or whatever Avenger-branded accoutrements are on shelves these days – you probably could do without the grim forced sterilization monologue or the zucchini-related sexual innuendo. On the plus side, you get a droll James Spader-voiced evil robot as the villain. And that’s fun for children of all ages.
When David Cronenberg’s 1975 horror film They Came From Within hit screens – partially funded with taxpayer dollars by the Canadian Film Development Corporation – a Canadian national magazine famously featured the headline, “You Should Know How Bad This movie Is – You Paid For It.”
No such disclaimer was necessary when WolfCop howled its way into theaters last year. Canadian audiences knew exactly what kind of romp they were in for. After all, they helped get it made.
Both WolfCop’s $1 million budget and Canadian theatrical release in select Cineplex Odeon theaters came via the paradigm-disrupting CineCoup Film Accelerator, a 12-week contest in which nearly 100 potential feature films battled for fan votes and social media engagements to determine which received a greenlight.
WolfCop writer/director Lowell Dean spoke to Deep Fried Movies about that unique preproduction process, the benefits of using action figures to create storyboards and breaking every rule in the Coors Light product placement playbook. Continue Reading ›
With Ridley Scott’s latest, Exodus: Gods and Kings (2014), out today on home video, here’s a look back at Scott’s pre-greenscreen effects days with a gallery of “making of” pics from Blade Runner featuring the film’s miniatures.
The pics were recently posted by an imugr user with the handle minicity. Check out the entire album, which boasts nearly 150 pictures, right here.
“I don’t know how much movies should entertain. To me, I’m always interested in movies that scar. The thing I love about Jaws is the fact that I’ve never gone swimming in the ocean again.” – David Fincher in a 2010 interview with The Independent
With Gone Girl out on home video tomorrow, Deep Fried Movies takes a look back at the career of David Fincher via this gallery of set stills encompassing each of this 10 films as director. Continue Reading ›
Kevin Bacon and Gone Girl’s Kim Dickens on the set of Hollow Man (2000) in a Before/After visual effects comparison from the frontier days of green-suited CGI. The film earned more than $190 million at the worldwide box office, yet was RoboCop and Starship Troopers director Paul Verhoeven’s last big studio film.
Pics come from the Facebook page of Sony Pictures Imageworks, who created the Hollow Man effects.