Sam Raimi’s Spider-Man 2 has many iconic scenes that have had a lasting impact. None, however, have been as timeless and memorable as the train scene. From fighting Alfred Molina’s Doc Ock on a moving train to stopping the said train and an entire train car full of people hiding Spider-Man’s identity, it is safe to say the scene left an impact. It has become ingrained in the character’s history, and there have been many attempts to recreate it.
Tobey Maguire’s Spider-Man stopping a train in Spider-Man 2
Even though the entire sequence was less than ten minutes long, the preparation and thought that went into it are truly impressive. Other than the director, it is impressive just how many hands were involved in making it. Here is an in-depth background on how the scene was shot.
The Visual Effects Team Had Their Hands Full...
Tobey Maguire’s Spider-Man stopping a train in Spider-Man 2
Even though the entire sequence was less than ten minutes long, the preparation and thought that went into it are truly impressive. Other than the director, it is impressive just how many hands were involved in making it. Here is an in-depth background on how the scene was shot.
The Visual Effects Team Had Their Hands Full...
- 5/12/2024
- by Ananya Godboley
- FandomWire
The biggest set piece in the most recent live-action Spider-Man film, 2021's "Spider-Man: No Way Home," involves, through a series of multiversal shenanigans, Tom Holland's friendly neighborhood web-slinger teaming up with two other Spider-Men to fight Electro, Sandman, and the Lizard on the Statue of Liberty.
The biggest set piece in 2004's "Spider-Man 2" involves Tobey Maguire's Spider-Man trying to stop a train full of innocent passengers from crashing.
By comparison, the train scene may seem almost quaint, but director Sam Raimi used it as an opportunity to combine then-state-of-the-art action filmmaking with genuine humanity and pathos, resulting in a cocktail that dozens of superhero films have been unable to fully replicate in the 20 years since. You remember the scene: As Spider-Man and Doctor Octopus (aka "Doc Ock") are fighting on a New York City skyscraper, they fall onto an elevated train zooming through the city and continue...
The biggest set piece in 2004's "Spider-Man 2" involves Tobey Maguire's Spider-Man trying to stop a train full of innocent passengers from crashing.
By comparison, the train scene may seem almost quaint, but director Sam Raimi used it as an opportunity to combine then-state-of-the-art action filmmaking with genuine humanity and pathos, resulting in a cocktail that dozens of superhero films have been unable to fully replicate in the 20 years since. You remember the scene: As Spider-Man and Doctor Octopus (aka "Doc Ock") are fighting on a New York City skyscraper, they fall onto an elevated train zooming through the city and continue...
- 4/13/2024
- by Ben Pearson
- Slash Film
Apple Original Films’ post-apocalyptic “Finch,” starring Tom Hanks and dropping Nov. 5 on Apple TV Plus, avoids the familiar sights of zombies and aliens. Instead, it’s a story of a man who survives in a bunker with his dog, Goodyear. When he learns he has a terminal illness, he devises a plan to build an AI robot to care for the pup once he’s gone.
VFX supervisor Scott Stokdyk and his team were called on to build the droid, named Jeff. He’s the only other voice in the film besides Hanks, and comes to develop a soul.
Stokdyk had actor Caleb Landry Jones dress in a special suit complete with a mask as well as practical elements like the robot’s outer arms and gloves. “We used the latest motion capture technology that doesn’t rely on optical cameras,” he explains. “That allowed us to have gyroscopic sensors that can be underneath clothing.
VFX supervisor Scott Stokdyk and his team were called on to build the droid, named Jeff. He’s the only other voice in the film besides Hanks, and comes to develop a soul.
Stokdyk had actor Caleb Landry Jones dress in a special suit complete with a mask as well as practical elements like the robot’s outer arms and gloves. “We used the latest motion capture technology that doesn’t rely on optical cameras,” he explains. “That allowed us to have gyroscopic sensors that can be underneath clothing.
- 11/11/2021
- by Jazz Tangcay
- Variety Film + TV
In a major validation for Sony and Marvel, “Spider-Man: Into the Spider-Verse” has won the Academy Award for animated feature for Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord and Christopher Miller.
While accepting the award, Lord celebrated what the representation in the movie meant for many. “When we hear that somebody’s kid was watching the movie and turned to them and said, ‘He looks like me,’ or ‘They speak Spanish like us,’ we feel like we already won.”
Sunday’s win capped a strong awards season run for the film, which won the top animated film honor at the Annies, Golden Globes, BAFTA and Producers Guild Awards. It’s one of the biggest awards to date for a title based on Marvel characters, along with “Big Hero 6,” which also won the animated feature trophy in 2015.
“Spider-Man: Into the Spider-Verse” centers on 13-year-old Brooklynite Miles Morales, who becomes one of many Spider-Men,...
While accepting the award, Lord celebrated what the representation in the movie meant for many. “When we hear that somebody’s kid was watching the movie and turned to them and said, ‘He looks like me,’ or ‘They speak Spanish like us,’ we feel like we already won.”
Sunday’s win capped a strong awards season run for the film, which won the top animated film honor at the Annies, Golden Globes, BAFTA and Producers Guild Awards. It’s one of the biggest awards to date for a title based on Marvel characters, along with “Big Hero 6,” which also won the animated feature trophy in 2015.
“Spider-Man: Into the Spider-Verse” centers on 13-year-old Brooklynite Miles Morales, who becomes one of many Spider-Men,...
- 2/25/2019
- by Dave McNary
- Variety Film + TV
Luc Besson was born to make “Valerian and the City of a Thousand Planets.” Based on the influential French comics series “Valérian and Laureline” (written by Pierre Christin and illustrated by Jean-Claude Mézières), it’s sci-fi on steroids with a multitude of exotic aliens and baroque environments. Very French and very weird.
But before Besson could tackle his ambitious passion project about a pair of “spatio-temporal agents” (Dane DeHaan and Cara Delevingne) protecting the intergalactic city of Alpha, he first had to make “The Fifth Element.” That was 20 years ago, at the dawn of CG, and his experimental tune-up for “Valerian” became a cult classic.
Bruce Willis played a flying taxi driver in futuristic New York who goes on a wild adventure with the orange-haired, humanoid savior of the universe (Milla Jovovich). Besson even hired Mézières as an uncredited designer because it was easier than just ripping off his comic series.
But before Besson could tackle his ambitious passion project about a pair of “spatio-temporal agents” (Dane DeHaan and Cara Delevingne) protecting the intergalactic city of Alpha, he first had to make “The Fifth Element.” That was 20 years ago, at the dawn of CG, and his experimental tune-up for “Valerian” became a cult classic.
Bruce Willis played a flying taxi driver in futuristic New York who goes on a wild adventure with the orange-haired, humanoid savior of the universe (Milla Jovovich). Besson even hired Mézières as an uncredited designer because it was easier than just ripping off his comic series.
- 7/24/2017
- by Bill Desowitz
- Indiewire
(“Guardians 2” spoilers follow.)
So here’s a poser: In “Guardians of the Galaxy Vol. 2,” we have Peter Quill (Chris Pratt) and his father, Ego (Kurt Russell), a living planet that takes on human form. Weta Digital was challenged with creating the interior look of Ego, along with the various transformations during his climactic fight with Quill.
This involved complicated mathematical patterns known as fractals (inspired by artist Hal Tenny, who served as a consultant). However, not only did Weta have difficulty controlling the fractals, but it also had to make them pliable in short order.
And then there was the biggest challenge: Weta was charged with ensuring that “Guardians” avoided an R-rating. That’s because 40% of Ego gets destroyed in the fight, and his internal organs can be seen dangling behind him. Weta offered to make him look more fractal, oozing black blood, but director James Gunn would have none of that.
So here’s a poser: In “Guardians of the Galaxy Vol. 2,” we have Peter Quill (Chris Pratt) and his father, Ego (Kurt Russell), a living planet that takes on human form. Weta Digital was challenged with creating the interior look of Ego, along with the various transformations during his climactic fight with Quill.
This involved complicated mathematical patterns known as fractals (inspired by artist Hal Tenny, who served as a consultant). However, not only did Weta have difficulty controlling the fractals, but it also had to make them pliable in short order.
And then there was the biggest challenge: Weta was charged with ensuring that “Guardians” avoided an R-rating. That’s because 40% of Ego gets destroyed in the fight, and his internal organs can be seen dangling behind him. Weta offered to make him look more fractal, oozing black blood, but director James Gunn would have none of that.
- 5/9/2017
- by Bill Desowitz
- Indiewire
'Harry Potter and the Prisoner of Azkaban' poster. With Daniel Radcliffe. Rupert Grint. Emma Watson. 'Harry Potter and the Prisoner of Azkaban' quiz question: Does state-of-the-art CGI equal movie magic? (Oscar Movie Series) Alfonso Cuarón seems like an odd choice for director of Harry Potter and the Prisoner of Azkaban, the third installment in the Harry Potter movie series. That is, if one thinks only of Cuarón's pre-Harry Potter sleeper hit, the François Truffaut-esque Y tu mamá también, while ignoring two of his earlier efforts, the critically acclaimed A Little Princess and the moderately respected Great Expectations. This time around, working with a reported $130 million budget (approx. $163 million in 2015), state-of-the-art special effects, and the Harry Potter franchise, Cuarón surely could do no wrong. At the box office, that is. For although Harry Potter and the Prisoner of Azkaban is stylistically superior to Chris Columbus' previous work in the series,...
- 6/7/2015
- by Andre Soares
- Alt Film Guide
The International Press Academy has announced its nominations for the 18th annual Satellite Awards and Alfonso Cuaron's "Gravity," David O. Russell's "American Hustle," and Steve McQueen's "12 Years a Slave" led the pack.
Winners will be announced on March 9, 2014 at a ceremony in Los Angeles. Here's the complete nominations:
Motion Pictures
Actress in a Motion Picture
Amy Adams American Hustle (Sony)
Cate Blanchett Blue Jasmine (Sony Pictures Classics)
Sandra Bullock Gravity (Warner Bros.)
Judi Dench Philomena (The Weinstein Company)
Adèle Exarchopoulos Blue Is the Warmest Color (Sundance)
Julia Louis-Dreyfus Enough Said (Fox Searchlight)
Meryl Streep August: Osage County (The Weinstein Company)
Emma Thompson Saving Mr. Banks (Disney)
Actor in a Motion Picture
Christian Bale American Hustle (Sony)
Bruce Dern Nebraska (Paramount)
Leonardo DiCaprio The Wolf of Wall Street (Paramount)
Chiwetel Ejiofor 12 Years a Slave (Fox Searchlight)
Tom Hanks Captain Phillips (Sony)
Matthew McConaughey Dallas Buyers Club (Focus Features...
Winners will be announced on March 9, 2014 at a ceremony in Los Angeles. Here's the complete nominations:
Motion Pictures
Actress in a Motion Picture
Amy Adams American Hustle (Sony)
Cate Blanchett Blue Jasmine (Sony Pictures Classics)
Sandra Bullock Gravity (Warner Bros.)
Judi Dench Philomena (The Weinstein Company)
Adèle Exarchopoulos Blue Is the Warmest Color (Sundance)
Julia Louis-Dreyfus Enough Said (Fox Searchlight)
Meryl Streep August: Osage County (The Weinstein Company)
Emma Thompson Saving Mr. Banks (Disney)
Actor in a Motion Picture
Christian Bale American Hustle (Sony)
Bruce Dern Nebraska (Paramount)
Leonardo DiCaprio The Wolf of Wall Street (Paramount)
Chiwetel Ejiofor 12 Years a Slave (Fox Searchlight)
Tom Hanks Captain Phillips (Sony)
Matthew McConaughey Dallas Buyers Club (Focus Features...
- 12/16/2013
- by Manny
- Manny the Movie Guy
12 Years a Slave continues to be the leader in the clubhouse when it comes to nominations. After leading the Spirit Award nominations it now leads the International Press Academy's (Ipa) 2013 Satellite Award nominations with a total of ten noms, followed by American Hustle and Gravity, each with eight nominations. The top five nominees were rounded out by Rush with seven nominations and Inside Llewyn Davis and Saving Mr. Banks with six nominations each. The Satellites, however, are an interesting bunch. As you can see there are several nominations in each category, leaving pretty much no stone unturned. I guess you could say no nomination for Octavia Spencer (Fruitvale Station) is a surprise and, in my personal opinion, with such a large field of nominees I'd like to see Joaquin Phoenix (Her) get a nomination, but that certainly isn't going to be a film for everyone even though Arcade Fire was...
- 12/2/2013
- by Brad Brevet
- Rope of Silicon
Oz the Great and the Powerful comes out on Blu-Ray next Monday, the 1st of July. To mark the film’s release, we recently spoke with VFX supervisor Scott Stokdyk. The interview started out in the same way as most VFX artist interviews, discussing what’s real and what’s not, but as it went on we began to discuss digital reshoots, the use of the technology to alter performances in post, and the ethics of this sort of work,.
HeyUGuys: Could you clear up where the practical effects finished, and your job began?
Scott Stokdyk: We kind of try to hide it as much as possible. It’s interesting, because technically, sometimes it’s easier to replace a set entirely, so I’d have to go on a case-by-case basis.
How about then you give me an example, using the treasure room.
The typical rule of thumb is...
HeyUGuys: Could you clear up where the practical effects finished, and your job began?
Scott Stokdyk: We kind of try to hide it as much as possible. It’s interesting, because technically, sometimes it’s easier to replace a set entirely, so I’d have to go on a case-by-case basis.
How about then you give me an example, using the treasure room.
The typical rule of thumb is...
- 6/27/2013
- by Ben Mortimer
- HeyUGuys.co.uk
Visual effects supervisor Scott Stokdyk has worked with director Sam Raimi on all three of the Spiderman movies, but working on Oz: The Great And Powerful was the greatest challenge yet with every single frame of environment having been created from scratch. Scott talks to CineMovie about the unique task of making the world of Oz and the difference between using blue and green screen.
Scott Stokdyk, an Academy Award®-winner and three-time Oscar® nominee, is a senior visual effects supervisor at Sony Pictures Imageworks. He spearheaded the visual effects for the Sam Raimi film, now available on DVD and Blu-ray, starring James Franco, Rachel Weisz and Mila Kunis. Disney invited CineMovie for a day at Sony Pictures Imageworks. While at the special effects house, Stokyk's team presented the how-to of creating China
Read more...
Scott Stokdyk, an Academy Award®-winner and three-time Oscar® nominee, is a senior visual effects supervisor at Sony Pictures Imageworks. He spearheaded the visual effects for the Sam Raimi film, now available on DVD and Blu-ray, starring James Franco, Rachel Weisz and Mila Kunis. Disney invited CineMovie for a day at Sony Pictures Imageworks. While at the special effects house, Stokyk's team presented the how-to of creating China
Read more...
- 6/20/2013
- CineMovie
It’s nearly impossible not to compare Oz the Great and Powerful with the iconic original film. But for this prequel based on L. Frank Baum’s books, director Sam Raimi and the filmmaking team created some new characters and lush environments for the world set over the rainbow. Oscar winning VFX supervisor Scott Stokdyk of Sony Pictures Imageworks--who worked on the first three Spider-Man movies with Raimi -- explains that Disney doesn't own the rights to the 1939 film version of The Wizard of Oz. “Anything unique to that movie and not based in the books, we could not come near,”
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- 3/18/2013
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
The last two bits of news we brought you about director Sam Raimi‘s forthcoming film, Oz The Great And Powerful were that Joey King and Zach Braff had joined the cast, as China Girl and Oz’s assistant respectively, and that iconic composer Danny Elfman would be scoring the film.
Now, Walt Disney Pictures has issued a press release to announce the start of production on the film, and it also includes an official synopsis. Check it out below!
Press Release:
“Oz The Great And Powerful” Begins Production In Michigan James Franco,Mila Kunis,Rachel Weisz,Michelle Williams
Topline Sam Raimi’s New Fantasy Adventure
Pontiac,Mi.,July 25,2011—Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,” directed by Sam Raimi,went in front of the cameras at the brand-new Raleigh Studios in Pontiac,Michigan,on Monday,July 25,2011,boasting a stellar cast that includes Academy Award® nominee James Franco...
Now, Walt Disney Pictures has issued a press release to announce the start of production on the film, and it also includes an official synopsis. Check it out below!
Press Release:
“Oz The Great And Powerful” Begins Production In Michigan James Franco,Mila Kunis,Rachel Weisz,Michelle Williams
Topline Sam Raimi’s New Fantasy Adventure
Pontiac,Mi.,July 25,2011—Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,” directed by Sam Raimi,went in front of the cameras at the brand-new Raleigh Studios in Pontiac,Michigan,on Monday,July 25,2011,boasting a stellar cast that includes Academy Award® nominee James Franco...
- 8/1/2011
- by Jason Moore
- ScifiMafia
All hail Sam Raimi's Mighty Oz. And, no, "Mighty Oz" is not a euphemism. I'm referring to Oz: The Great and Powerful, Disney's Wizard of Oz prequel that Raimi began filming earlier this week.
That's right, the director who gave us Drag Me to Hell and The Evil Dead is now taking us over the rainbow. But from what I can tell, this new look at the Emerald City has little to do with the 1939 Judy Garland classic, but instead draws most of its inspiration from L. Frank Baum's beloved literary series. This makes sense since Baum's first Oz book, The Wonderful Wizard of Oz, written in 1900, fell into the public domain back in the 1950s, making its characters open territory for anyone that wants to use them.
According to Disney's press release, Oz: The Great and Powerful is a "fantastical adventure" that "imagines the origins of L. Frank Baum's beloved character,...
That's right, the director who gave us Drag Me to Hell and The Evil Dead is now taking us over the rainbow. But from what I can tell, this new look at the Emerald City has little to do with the 1939 Judy Garland classic, but instead draws most of its inspiration from L. Frank Baum's beloved literary series. This makes sense since Baum's first Oz book, The Wonderful Wizard of Oz, written in 1900, fell into the public domain back in the 1950s, making its characters open territory for anyone that wants to use them.
According to Disney's press release, Oz: The Great and Powerful is a "fantastical adventure" that "imagines the origins of L. Frank Baum's beloved character,...
- 7/27/2011
- by Theron
- Planet Fury
The press release came in today announcing the commencement of shooting on Sam Raimi‘s Oz the Great and Powerful, which stars James Franco, Mila Kunis, Rachel Weisz and Michelle Williams. Cinematographer Peter Deming (Evil Dead II, Drag Me to Hell) is back on Raimi’s crew and along with him is an all star lineup of technical wizards including two-time Academy Award–winning production designer Robert Stromberg (Alice in Wonderland, Avatar), Oscar-winning film editor Bob Murawski (The Hurt Locker, the Spider-Man trilogy), veteran Oscar-nominated costume designer Gary Jones (Spider-Man 2), visual effects Oscar winner Scott Stokdyk (Spider-Man 2, Spider-Man) and Academy Award–winning special makeup artist Howard Berger (The Chronicles of Narnia series). Keep your eyes peeled for this bad boy because you know it will be nothing short of great. Below is the official press release. Enjoy!
Pontiac, Mi., July 26, 2011—Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,...
Pontiac, Mi., July 26, 2011—Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,...
- 7/27/2011
- by Ricky
- SoundOnSight
“Oz The Great And Powerful” Begins Production In Michigan
James Franco, Mila Kunis, Rachel Weisz, Michelle Williams
Topline Sam Raimi’s New Fantasy Adventure
Press Release:
Pontiac, Mi., July 25, 2011.Walt Disney Pictures. fantastical adventure .Oz The Great and Powerful,. directed by Sam Raimi, went in front of the cameras at the brand-new Raleigh Studios in Pontiac, Michigan, on Monday, July 25, 2011, boasting a stellar cast that includes Academy Award® nominee James Franco (.127 Hours.) as the young wizard, Golden Globe® nominee Mila Kunis (.Black Swan.) as the witch Theodora, Academy Award® winner Rachel Weisz (.The Constant Gardener.) as Kunis. sister Evanora and two-time Oscar®-nominated actress Michelle Williams (.Brokeback Mountain,. .Blue Valentine.) as Glinda, the Good Witch.
The cast also includes Emmy® and Golden Globe® nominee Zach Braff (.Scrubs,. .Garden State.), who will play Franco.s circus assistant as well as lend his vocal talents to one of the CGI creatures in the story . Finley,...
James Franco, Mila Kunis, Rachel Weisz, Michelle Williams
Topline Sam Raimi’s New Fantasy Adventure
Press Release:
Pontiac, Mi., July 25, 2011.Walt Disney Pictures. fantastical adventure .Oz The Great and Powerful,. directed by Sam Raimi, went in front of the cameras at the brand-new Raleigh Studios in Pontiac, Michigan, on Monday, July 25, 2011, boasting a stellar cast that includes Academy Award® nominee James Franco (.127 Hours.) as the young wizard, Golden Globe® nominee Mila Kunis (.Black Swan.) as the witch Theodora, Academy Award® winner Rachel Weisz (.The Constant Gardener.) as Kunis. sister Evanora and two-time Oscar®-nominated actress Michelle Williams (.Brokeback Mountain,. .Blue Valentine.) as Glinda, the Good Witch.
The cast also includes Emmy® and Golden Globe® nominee Zach Braff (.Scrubs,. .Garden State.), who will play Franco.s circus assistant as well as lend his vocal talents to one of the CGI creatures in the story . Finley,...
- 7/27/2011
- by Movie Geeks
- WeAreMovieGeeks.com
Walt Disney Studios has announced the production of Oz The Great and Powerful. The Sam Raimi fantasy adventure directed film will begin production in Michigan and has a cast of James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff and Joey King. So far this is just your usual press release, cast announcements, crew members, and schedule release have all been included in it.
Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,” directed by Sam Raimi, went in front of the cameras at the brand-new Raleigh Studios in Pontiac, Michigan, on Monday, July 25, 2011, boasting a stellar cast that includes Academy Award® nominee James Franco (“127 Hours”) as the young wizard, Golden Globe® nominee Mila Kunis (“Black Swan”) as the witch Theodora, Academy Award® winner Rachel Weisz (“The Constant Gardener”) as Kunis’ sister Evanora and two-time Oscar®-nominated actress Michelle Williams (“Brokeback Mountain,” “Blue Valentine”) as Glinda, the Good Witch.
Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,” directed by Sam Raimi, went in front of the cameras at the brand-new Raleigh Studios in Pontiac, Michigan, on Monday, July 25, 2011, boasting a stellar cast that includes Academy Award® nominee James Franco (“127 Hours”) as the young wizard, Golden Globe® nominee Mila Kunis (“Black Swan”) as the witch Theodora, Academy Award® winner Rachel Weisz (“The Constant Gardener”) as Kunis’ sister Evanora and two-time Oscar®-nominated actress Michelle Williams (“Brokeback Mountain,” “Blue Valentine”) as Glinda, the Good Witch.
- 7/27/2011
- by Mike Lee
- FusedFilm
Pontiac, Mi., July 25, 2011—Walt Disney Pictures’ fantastical adventure Oz The Great and Powerful, directed by Sam Raimi, went in front of the cameras at the brand-new Raleigh Studios in Pontiac, Michigan, on Monday, July 25, 2011, boasting a stellar cast that includes Academy Award® nominee James Franco (127 Hours) as the young wizard, Golden Globe® nominee Mila Kunis (Black Swan) as the witch Theodora, Academy Award® winner Rachel Weisz (The Constant Gardener) as Kunis’ sister Evanora and two-time Oscar®-nominated actress Michelle Williams (Brokeback Mountain, Blue Valentine) as Glinda, the Good Witch.
The cast also includes Emmy® and Golden Globe® nominee Zach Braff (Scrubs, Garden State), who will play Franco’s circus assistant as well as lend his vocal talents to one of the CGI creatures in the story — Finley, the winged monkey who accompanies the magician on his journey to Oz; and 12-year-old actress Joey King (Ramona and Beezus), who will voice...
The cast also includes Emmy® and Golden Globe® nominee Zach Braff (Scrubs, Garden State), who will play Franco’s circus assistant as well as lend his vocal talents to one of the CGI creatures in the story — Finley, the winged monkey who accompanies the magician on his journey to Oz; and 12-year-old actress Joey King (Ramona and Beezus), who will voice...
- 7/27/2011
- by Robert Greenberger
- Comicmix.com
It's a fantasy land with the ultimate fantasy cast.
Filming began Tuesday on "Oz: The Great and Powerful," the star-studded new-spin prequel to "The Wizard of Oz," in Michigan, Disney announced. James Franco takes the lead as the young pre-Wizard, a magician who finds himself cast off into Oz. There he meets a sparkling group of sister witches -- both good and bad -- in Rachel Weisz as Evanora, Michelle Williams as Glinda and Mila Kunis as Theodora, and alongside his assistant, played by Zach Braff, he finds himself further and further immersed into the magical land.
The studio sent out a press release outlining the plot and other details, which you can find below:
Pontiac, Mi., July 25, 2011—Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,” directed by Sam Raimi, went in front of the cameras at the brand-new Raleigh Studios in Pontiac, Michigan, on Monday, July 25, 2011, boasting...
Filming began Tuesday on "Oz: The Great and Powerful," the star-studded new-spin prequel to "The Wizard of Oz," in Michigan, Disney announced. James Franco takes the lead as the young pre-Wizard, a magician who finds himself cast off into Oz. There he meets a sparkling group of sister witches -- both good and bad -- in Rachel Weisz as Evanora, Michelle Williams as Glinda and Mila Kunis as Theodora, and alongside his assistant, played by Zach Braff, he finds himself further and further immersed into the magical land.
The studio sent out a press release outlining the plot and other details, which you can find below:
Pontiac, Mi., July 25, 2011—Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,” directed by Sam Raimi, went in front of the cameras at the brand-new Raleigh Studios in Pontiac, Michigan, on Monday, July 25, 2011, boasting...
- 7/26/2011
- by Jordan Zakarin
- Huffington Post
Disney has announced that director Sam Raimi's new film Oz The Great and Powerful has started shooting in Michigan with actors James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff and Joey King.
The studio also released an official plot synopsis for the film:
"Oz The Great and Powerful" imagines the origins of L. Frank Baum's beloved character, the Wizard of Oz. When Oscar Diggs (James Franco), a small-time circus magician with dubious ethics, is hurled away from dusty Kansas to the vibrant Land of Oz, he thinks he's hit the jackpot—fame and fortune are his for the taking—that is until he meets three witches, Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams), who are not convinced he is the great wizard everyone's been expecting. Reluctantly drawn into the epic problems facing the Land of Oz and its inhabitants, Oscar must find out...
The studio also released an official plot synopsis for the film:
"Oz The Great and Powerful" imagines the origins of L. Frank Baum's beloved character, the Wizard of Oz. When Oscar Diggs (James Franco), a small-time circus magician with dubious ethics, is hurled away from dusty Kansas to the vibrant Land of Oz, he thinks he's hit the jackpot—fame and fortune are his for the taking—that is until he meets three witches, Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams), who are not convinced he is the great wizard everyone's been expecting. Reluctantly drawn into the epic problems facing the Land of Oz and its inhabitants, Oscar must find out...
- 7/26/2011
- by Venkman
- GeekTyrant
Walt Disney Pictures’ fantastical adventure “Oz The Great and Powerful,” directed by Sam Raimi, went in front of the cameras at the brand-new Raleigh Studios in Pontiac, Michigan, on Monday, July 25, 2011, boasting a stellar cast that includes Academy Award® nominee James Franco (“127 Hours”) as the young wizard, Golden Globe® nominee Mila Kunis (“Black Swan”) as the witch Theodora, Academy Award® winner Rachel Weisz (“The Constant Gardener”) as Kunis’ sister Evanora and two-time Oscar®-nominated actress Michelle Williams (“Brokeback Mountain,” “Blue Valentine”) as Glinda, the Good Witch. The cast also includes Emmy® and Golden Globe® nominee Zach Braff (“Scrubs,” “Garden State”), who will play Franco’s circus assistant as well as lend his vocal talents to one of the CGI creatures in the story — Finley, the winged monkey who accompanies the magician on his journey to Oz; and 12-year-old actress Joey King (“Ramona and Beezus”), who will voice another CGI character in the story,...
- 7/26/2011
- LRMonline.com
Last time we heard about filming for Spider-Man 4, it was set to start rolling in January.
But director Sam Raimi has now indicated production won't begin until a couple of months after that. He told MTV: "We're hoping that it's the first week in March."
This is probably because a new screenwriter - Gary Ross - has recently been brought on board to work on the story.
According to Raimi: "He's working on a draft, I just gave him some notes and he's doing a rewrite right now.
"The production is starting to come together. I've got a production designer who is starting to design the sets and the environments that the picture will take place in.
"We just brought aboard Scott Stokdyk as one of the two visual effects supervisors, and I worked with him on all three Spider-Man pictures."
He said: "None of the casting has really taken place,...
But director Sam Raimi has now indicated production won't begin until a couple of months after that. He told MTV: "We're hoping that it's the first week in March."
This is probably because a new screenwriter - Gary Ross - has recently been brought on board to work on the story.
According to Raimi: "He's working on a draft, I just gave him some notes and he's doing a rewrite right now.
"The production is starting to come together. I've got a production designer who is starting to design the sets and the environments that the picture will take place in.
"We just brought aboard Scott Stokdyk as one of the two visual effects supervisors, and I worked with him on all three Spider-Man pictures."
He said: "None of the casting has really taken place,...
- 10/11/2009
- by David Bentley
- The Geek Files
Sam Raimi revealed to MTV that Spider-Man 4 is currently in pre-production, but will start shooting in March of next year.
We're hoping that it's the first week in March. The production is starting to come together. I've got a production designer who is starting to design the sets and the environments that the picture will take place in. We just brought aboard Scott Stokdyk as one of the two visual effects supervisors, and I worked with him on all three Spider-man pictures.
Raimi says the script is still be re-written by writer-director Gary Ross.
He's working on a draft. I just gave him some notes and he's doing a rewrite right now.
Ross is becoming very familiar with the Spider-Man universe. Once Ross finishes the Spider-Man 4 script, he'll start re-writing the script for the Venom spin-off. Raimi, meanwhile, will start the casting process. Tobey Maguire is set to return,...
We're hoping that it's the first week in March. The production is starting to come together. I've got a production designer who is starting to design the sets and the environments that the picture will take place in. We just brought aboard Scott Stokdyk as one of the two visual effects supervisors, and I worked with him on all three Spider-man pictures.
Raimi says the script is still be re-written by writer-director Gary Ross.
He's working on a draft. I just gave him some notes and he's doing a rewrite right now.
Ross is becoming very familiar with the Spider-Man universe. Once Ross finishes the Spider-Man 4 script, he'll start re-writing the script for the Venom spin-off. Raimi, meanwhile, will start the casting process. Tobey Maguire is set to return,...
- 10/10/2009
- by Ryan Gowland
- Reelzchannel.com
Spidey fans rejoice because their harbinger of wise-ass superheroes will get started on Spider-Man 4 sooner rather than later.
In an interview with MTV, the Drag Me to Hell director said that “production is starting to come together.” He also stated that he hopes to kick off production sometime in early 2010 if Gary Ross can complete his eagerly anticipated script. “He’s working on a draft,” Raimi said. “I just gave him some notes and he’s doing a rewrite right now.” Ross is also working on a script for a Spider-man spin-off film of arch-nemesis Venom.
Though no casting has taken place, the 49-year-old director said he’s starting to think about that right now. Tobey Maguire and Kirsten Dunst are expected to return.
“I’ve got a production designer who is starting to design the sets and the environments that the picture will take place in,” the famed horror director said.
In an interview with MTV, the Drag Me to Hell director said that “production is starting to come together.” He also stated that he hopes to kick off production sometime in early 2010 if Gary Ross can complete his eagerly anticipated script. “He’s working on a draft,” Raimi said. “I just gave him some notes and he’s doing a rewrite right now.” Ross is also working on a script for a Spider-man spin-off film of arch-nemesis Venom.
Though no casting has taken place, the 49-year-old director said he’s starting to think about that right now. Tobey Maguire and Kirsten Dunst are expected to return.
“I’ve got a production designer who is starting to design the sets and the environments that the picture will take place in,” the famed horror director said.
- 10/10/2009
- by Diego Mondesi
- ReelLoop.com
Sam Raimi has confirmed that Spider-Man 4 is aiming to go into production in the first week of March, 2010. Speaking to MTV, the director seemed more than enthusiastic about the prospect of returning the series to it’s former glory. As you know, pre-production is already in overdrive, with screenwriter Gary Ross putting the finishing touches to what we’re all hoping is a great script.
“We’re hoping that it’s the first week in March,” said Raimi.
“He’s working on a draft,” he continued. “I just gave him some notes and he’s doing a rewrite right now.”
Spider-Man 4 could be a pivotal turning point for Sony, with the perceived mistakes of the third film, Spider-Man 3 failed to live up to it’s predecessors on many levels. However with Marvel now residing in Disney Towers, every studio holding rights to a Marvel character is feeling overly protective of their property.
“We’re hoping that it’s the first week in March,” said Raimi.
“He’s working on a draft,” he continued. “I just gave him some notes and he’s doing a rewrite right now.”
Spider-Man 4 could be a pivotal turning point for Sony, with the perceived mistakes of the third film, Spider-Man 3 failed to live up to it’s predecessors on many levels. However with Marvel now residing in Disney Towers, every studio holding rights to a Marvel character is feeling overly protective of their property.
- 10/10/2009
- by Craig Sharp
- FilmShaft.com
Early next year, Tobey Maguire is going to start filming "Spider-Man 4". Sam Raimi, the director of "Spider-Man" film franchise, has just announced the production schedule for the upcoming movie, which is set to hit U.S. theaters on May 6, 2011.
"We're hoping that it's the first week in March," Raimi told MTV News on Friday, October 9. Additionally, he confirmed that he is currently in the pre-production of the flick, while Gary Ross still has been working on the script. "He's working on a draft. I just gave him some notes and he's doing a rewrite right now," Raimi said of Ross, whom he described as a "great director and very fine writer".
"The production is starting to come together," Raimi explains further. "I've got a production designer who is starting to design the sets and the environments that the picture will take place in. We just brought aboard Scott Stokdyk...
"We're hoping that it's the first week in March," Raimi told MTV News on Friday, October 9. Additionally, he confirmed that he is currently in the pre-production of the flick, while Gary Ross still has been working on the script. "He's working on a draft. I just gave him some notes and he's doing a rewrite right now," Raimi said of Ross, whom he described as a "great director and very fine writer".
"The production is starting to come together," Raimi explains further. "I've got a production designer who is starting to design the sets and the environments that the picture will take place in. We just brought aboard Scott Stokdyk...
- 10/10/2009
- by celebrity-mania.com
- Celebrity Mania
When possibly the shooting of "Spider-Man 4" will be kicked off has been teased by director Sam Raimi. In an interview with MTV News on Friday, October 9, the 49-year-old filmmaker uttered the hope for the start of production in early 2010. "We're hoping that it's the first week in March," so he said.
Bringing also updates on the development of this superhero project, Raimi mentioned that "the production is starting to come together." He added, "I've got a production designer who is starting to design the sets and the environments that the picture will take place in. We just brought aboard Scott Stokdyk as one of the two visual effects supervisors, and I worked with him on all three 'Spider-man' pictures."
On the status of the script, the director of "Drag Me to Hell" revealed that screenwriter Gary Ross is doing a re-writing. "He's working on a draft," Raimi explained.
Bringing also updates on the development of this superhero project, Raimi mentioned that "the production is starting to come together." He added, "I've got a production designer who is starting to design the sets and the environments that the picture will take place in. We just brought aboard Scott Stokdyk as one of the two visual effects supervisors, and I worked with him on all three 'Spider-man' pictures."
On the status of the script, the director of "Drag Me to Hell" revealed that screenwriter Gary Ross is doing a re-writing. "He's working on a draft," Raimi explained.
- 10/10/2009
- by AceShowbiz.com
- Aceshowbiz
It still feels, somehow, like Spider-Man 4 is just a distant possibility on the horizon, something along the lines of one of Quentin Tarantino's rumored projects or the Barbarella remake, something that might happen but just as easily won't. But Spider-Man 4, in fact, is very very real, with pre-production chugging along Sam Raimi so confident in how things are going that he's got in mind a day to start shooting. "We're hoping that it's the first week in March," Raimi told MTV News. "The production is starting to come together. I've got a production designer who is starting to design the sets and the environments that the picture will take place in. We just brought aboard Scott Stokdyk as one of the two visual effects supervisors, and I worked with him on all three Spider-Man pictures." Tobey Maguire and Kirsten Dunst are back in their lead roles, as we already knew,...
- 10/9/2009
- cinemablend.com
Back in March, a little less than two years after "Spider-Man 3" opened with what was then the biggest first weekend ever, Sony and Marvel Studios announced an official release date for its fourth Spidey flick: May 6, 2011. Still up in the air was the date when production would actually begin.
In an exclusive conversation with MTV News on Friday, franchise director Sam Raimi reveled that if all goes according to plan, shooting will begin early next year.
"We're hoping that it's the first week in March," said Raimi.
At the moment, pre-production is in full swing, even as screenwriter Gary Ross ("great director and a very fine writer," said Raimi) continues to work on the script.
"He's working on a draft," he continued. "I just gave him some notes and he's doing a rewrite right now."
On other fronts, "Spider-Man 4" continues to chug along. "The production is starting to come together,...
In an exclusive conversation with MTV News on Friday, franchise director Sam Raimi reveled that if all goes according to plan, shooting will begin early next year.
"We're hoping that it's the first week in March," said Raimi.
At the moment, pre-production is in full swing, even as screenwriter Gary Ross ("great director and a very fine writer," said Raimi) continues to work on the script.
"He's working on a draft," he continued. "I just gave him some notes and he's doing a rewrite right now."
On other fronts, "Spider-Man 4" continues to chug along. "The production is starting to come together,...
- 10/9/2009
- by Eric Ditzian
- MTV Splash Page
MTV talked to director Sam Raimi, who says he's hoping to start shooting Spider-Man 4 the first week of March 2010 for a May 5, 2011 release. Raimi added that Gary Ross is doing a rewrite of the script using notes Raimi gave him, a production designer has started designing the sets and environments, and Scott Stokdyk is back on board on his fourth Spidey film as visual effects supervisor. Raimi said that no casting has taken place--other than Tobey Maguire and Kirsten Dunst--but that they are starting to think about that now. You can check out the article here .
- 10/9/2009
- Comingsoon.net
Sony Pictures Imageworks is on board to work on the 3-D version of "G-Force" -- one of the earliest scheduled live-action digital 3-D releases -- for Jerry Bruckheimer Prods. and Disney.
Imageworks also confirmed its current slate of visual effects projects. It is the lead VFX house on "Eagle Eye" for DreamWorks, "Watchmen" for Warner Bros., the untitled Ridley Scott film, United Artists' "Valkyrie" and the computer-animated "Cloudy With a Chance of Meatballs" for Sony Pictures Animation and Columbia.
On "G-Force," Imageworks will take the 2-d version of the film and convert all visual effects shots to 3-D. The company's Rob Engle will oversee the stereo effort.
The Imageworks VFX team on "G-Force" is led by visual effects supervisor Scott Stokdyk, who was the VFX supervisor on "Spider-Man 3" and won an Oscar for visual effects for his work on "Spider-Man 2." The "G-Force" crew in?cludes digital effects supervisor Seth Maury and animation supervisor Troy Saliba.
For D.J. Caruso's "Eagle Eye," Imageworks' Jim Berney will serve as VFX supervisor with David Smith as digital effects supervisor and Bob Pietzman as CG supervisor.
The "Watchmen" VFX team includes Imageworks' VFX supervisor Pete Travers; digital effects supervisor Dan Krame; and Kenn McDonald, most recently animation supervisor on "Beowulf."
The VFX on the untitled Scott film will be led by Imageworks' Sheena Duggal as visual effects supervisor along with John Monos as CG supervisor.
Rich Hoover will serve as senior visual effects supervisor on "Valkyrie," along with CG supervisors Peter Nofz, Dan Eaton, Theo Bialek and Patrick Witting.
Imageworks' credits include "Hancock," which opens today, as well as "Beo?wulf" and "The Polar Express."...
Imageworks also confirmed its current slate of visual effects projects. It is the lead VFX house on "Eagle Eye" for DreamWorks, "Watchmen" for Warner Bros., the untitled Ridley Scott film, United Artists' "Valkyrie" and the computer-animated "Cloudy With a Chance of Meatballs" for Sony Pictures Animation and Columbia.
On "G-Force," Imageworks will take the 2-d version of the film and convert all visual effects shots to 3-D. The company's Rob Engle will oversee the stereo effort.
The Imageworks VFX team on "G-Force" is led by visual effects supervisor Scott Stokdyk, who was the VFX supervisor on "Spider-Man 3" and won an Oscar for visual effects for his work on "Spider-Man 2." The "G-Force" crew in?cludes digital effects supervisor Seth Maury and animation supervisor Troy Saliba.
For D.J. Caruso's "Eagle Eye," Imageworks' Jim Berney will serve as VFX supervisor with David Smith as digital effects supervisor and Bob Pietzman as CG supervisor.
The "Watchmen" VFX team includes Imageworks' VFX supervisor Pete Travers; digital effects supervisor Dan Krame; and Kenn McDonald, most recently animation supervisor on "Beowulf."
The VFX on the untitled Scott film will be led by Imageworks' Sheena Duggal as visual effects supervisor along with John Monos as CG supervisor.
Rich Hoover will serve as senior visual effects supervisor on "Valkyrie," along with CG supervisors Peter Nofz, Dan Eaton, Theo Bialek and Patrick Witting.
Imageworks' credits include "Hancock," which opens today, as well as "Beo?wulf" and "The Polar Express."...
- 7/1/2008
- by By Carolyn Giardina
- The Hollywood Reporter - Movie News
For Spider-Man 3, helmer Sam Raimi and his fellow filmmakers wanted to deliver something the audience had not seen before. So they set themselves a visual effects challenge by introducing two complex new villains -- Sandman and Venom -- according to producer Grant Curtis and visual effects supervisor Scott Stokdyk, both veterans of the first two Spider-Man films.
Curtis also moonlighted on the project as an author. During production, the busy producer simultaneously penned The Spider-Man Chronicles, a 233-page hardcover from Chronicle Books that details the making of the film and the creation of the villains.
From preproduction until the book was completed, Curtis said he wrote nightly to accurately document the process as well as provide unique details, including an early plan to have Adrian Toomes, or the Vulture, appear with Sandman as the film's villains. The Vulture eventually would be dropped in favor of Venom for plot reasons, but not before artists began to create sketches of the character.
The visual effects work began in early 2005, not long after wrapping Spider-Man 2.1 for DVD. The result was 930 visual effects shots, shared by 14 visual effects houses, with Sony Pictures Imageworks again playing the leading role. To bring the new villains to the screen, Thomas Haden Church (Sandman) and Topher Grace (Venom) were participants in an elaborate pipeline that combined live action with photorealistic character work and effects animation.
Curtis also moonlighted on the project as an author. During production, the busy producer simultaneously penned The Spider-Man Chronicles, a 233-page hardcover from Chronicle Books that details the making of the film and the creation of the villains.
From preproduction until the book was completed, Curtis said he wrote nightly to accurately document the process as well as provide unique details, including an early plan to have Adrian Toomes, or the Vulture, appear with Sandman as the film's villains. The Vulture eventually would be dropped in favor of Venom for plot reasons, but not before artists began to create sketches of the character.
The visual effects work began in early 2005, not long after wrapping Spider-Man 2.1 for DVD. The result was 930 visual effects shots, shared by 14 visual effects houses, with Sony Pictures Imageworks again playing the leading role. To bring the new villains to the screen, Thomas Haden Church (Sandman) and Topher Grace (Venom) were participants in an elaborate pipeline that combined live action with photorealistic character work and effects animation.
This review was written for the theatrical release of "Spider-Man 3".Left dangling for the past three years, arachnophiles everywhere finally have cause to celebrate.
The biggest (with a production budget due north of $250 million) and longest (clocking in at 139 minutes) and quite possibly the capper of a trilogy featuring the current talent lineup, "Spider-Man 3" has done it again.
Certain to please the geek squad by remaining ever true to its comic book roots while retaining that satisfying emotional core that has registered with equal numbers of female fans, "Spider-Man 3" has all its demographic bases covered.
And while the picture as a contained whole might fall an itsy-bitsy short of the personal best set by Sam Raimi's 2004 edition, the wow factor works overtime with state-of-the-art effects sequences that often are as beautiful as they are astonishing.
Having already received its world premiere last week in Tokyo in a nod to piracy concerns, "Spider-Man 3" is slated to arrive in a good portion of the globe ahead of its May 4 North American bow. "Spidey's" already impressive tracking numbers should be off the hook by the time it hits theaters here.
Factor in those additional Imax screens, and the Columbia Pictures blockbuster should spin a worldwide web that should build substantially on the $1.6 billion already brought in by the first two installments.
Fittingly for a Marvel comic book character who seems to be even more tormented by issues of duality than his superpowered colleagues, "Spider-Man 3" introduces not one but two formidable foes determined to take the web-slinger down.
First there's Flint Marko Thomas Haden Church), an escaped con who becomes better known as Sandman after his DNA bonds with sand particles when he inadvertently gets caught in the middle of a molecular fusion experiment.
Then there's Eddie Brock (Topher Grace), Peter Parker's photo-snapping rival at the Daily Bugle who is transformed into the extremely nasty Venom after being enveloped in that black goop from another galaxy that temporarily brings out Parker's own darker impulses.
That's in addition to the love-hate relationship Pete already has with Harry Osborn (James Franco), who is very much in the latter mode at the beginning of the picture, determined to make Parker pay for his father's (aka Green Goblin) death.
But Parker also is preoccupied with his relationship with longtime girlfriend Mary Jane Watson (Kirsten Dunst). Things have hit a bit of a rocky patch as Mary Jane's acting career suffers a serious setback at the same time when Spider-Man's public adoration is at an all-time high.
Further complicating his marriage-proposal plans is the appearance of Gwen Stacy Bryce Dallas Howard), the daughter of a police captain (James Cromwell) and a classmate of Parker's (not to mention the object of Eddie Brock's desires) whose public crush on Spider-Man has been duly noted by Mary Jane.
Tis a very tangled web of relationships, indeed, and things only become more enmeshed when Marko is found to be implicated in the death of Parker's Uncle Ben (Cliff Robertson).
Keeping them all neatly interconnected is the ambitious script by Raimi and his brother Ivan Raimi along with Alvin Sargent, who also helped elevate "Spider-Man 2".
While there are times the film's underlying theme of the power of forgiveness isn't always quite as subtle as it could be, it nevertheless serves as an effective anchor for the performers.
That aforementioned sinister substance that turns Spidey's suit a sleek, inky black also affords Tobey Maguire the opportunity to have a little fun getting in touch with his dark side, even when the bad boy makeover -- with his slicked-forward bangs and finger-popping attitude -- reminds one of a "Reefer Madness" fiend or, say, Robert Downey Jr. in "Less Than Zero".
At times, it also feels as if Raimi -- his Spidey senses tingling that this could well be his last stint as web master -- is determined to make sure he gets everything in. The result, aside from a running time that comes in 12 minutes longer than the previous edition, isn't always as cleanly executed as it might have been, especially toward the ending.
But there's plenty to enjoy here, from all the usual suspects, plus nicely conflicted performances by Church and Grace (ironic names for portrayers of bad guys, huh?).
Not to be outdone are those visual effects, which have again grown in leaps and bounds.
Entrusted with the new technologies, visual effects supervisor Scott Stokdyk and Sony Pictures Imageworks deliver big time here. On more than one occasion, those breathtaking sequences -- from Flint Marko's molecular deconstruction/Sandman's subsequent reconstruction to that final face-off among Spider-Man, Sandman, Venom and Osborn -- are deservedly met with bursts of spontaneous audience applause, which is no mean feat when balancing tubs of popcorn and supersize beverages.
Rounding out those money-well-spent production values is Bill Pope's vibrant cinematography, Bob Murawski's propulsive editing and James Acheson's dynamic costume design.
All three worked on "Spider-Man 2", as did production designer Neil Spisak, who this time also is joined by J. Michael Riva ("The Pursuit of Happyness"), and "Spider-Man 2" composer Christopher Young, who seamlessly incorporates Danny Elfman's original themes.
SPIDER-MAN 3
Columbia Pictures
Columbia Pictures presents a Marvel Studios/Laura Ziskin production
Credits:
Director: Sam Raimi
Screenwriters: Sam Raimi & Ivan Raimi and Alvin Sargent
Screen story: Sam Raimi & Ivan Raimi
Based on the Marvel Comic book by: Stan Lee and Steve Ditko
Producers: Laura Ziskin, Avi Arad, Grant Curtis
Executive producers: Stan Lee
Kevin Feige, Joseph M. Caracciolo
Director of photography: Bill Pope
Production designers: Neil Spisak, J. Michael Riva
Editor: Bob Murawski
Visual effects supervisor: Scott Stokdyk
Costume designer: James Acheson
Music: Danny Elfman, Christopher Young
Cast:
Peter Parker/Spider-Man: Tobey Maguire
Mary Jane Watson: Kirsten Dunst
Harry Osborn: James Franco
Flint Marko/Sandman: Thomas Haden Church
Eddie Brock/Venom: Topher Grace
Gwen Stacy: Bryce Dallas Howard
Capt. Stacy: James Cromwell
Aunt May: Rosemary Harris
J. Jonah Jameson: J.K. Simmons
Running time -- 139 minutes
MPAA rating: PG-13...
The biggest (with a production budget due north of $250 million) and longest (clocking in at 139 minutes) and quite possibly the capper of a trilogy featuring the current talent lineup, "Spider-Man 3" has done it again.
Certain to please the geek squad by remaining ever true to its comic book roots while retaining that satisfying emotional core that has registered with equal numbers of female fans, "Spider-Man 3" has all its demographic bases covered.
And while the picture as a contained whole might fall an itsy-bitsy short of the personal best set by Sam Raimi's 2004 edition, the wow factor works overtime with state-of-the-art effects sequences that often are as beautiful as they are astonishing.
Having already received its world premiere last week in Tokyo in a nod to piracy concerns, "Spider-Man 3" is slated to arrive in a good portion of the globe ahead of its May 4 North American bow. "Spidey's" already impressive tracking numbers should be off the hook by the time it hits theaters here.
Factor in those additional Imax screens, and the Columbia Pictures blockbuster should spin a worldwide web that should build substantially on the $1.6 billion already brought in by the first two installments.
Fittingly for a Marvel comic book character who seems to be even more tormented by issues of duality than his superpowered colleagues, "Spider-Man 3" introduces not one but two formidable foes determined to take the web-slinger down.
First there's Flint Marko Thomas Haden Church), an escaped con who becomes better known as Sandman after his DNA bonds with sand particles when he inadvertently gets caught in the middle of a molecular fusion experiment.
Then there's Eddie Brock (Topher Grace), Peter Parker's photo-snapping rival at the Daily Bugle who is transformed into the extremely nasty Venom after being enveloped in that black goop from another galaxy that temporarily brings out Parker's own darker impulses.
That's in addition to the love-hate relationship Pete already has with Harry Osborn (James Franco), who is very much in the latter mode at the beginning of the picture, determined to make Parker pay for his father's (aka Green Goblin) death.
But Parker also is preoccupied with his relationship with longtime girlfriend Mary Jane Watson (Kirsten Dunst). Things have hit a bit of a rocky patch as Mary Jane's acting career suffers a serious setback at the same time when Spider-Man's public adoration is at an all-time high.
Further complicating his marriage-proposal plans is the appearance of Gwen Stacy Bryce Dallas Howard), the daughter of a police captain (James Cromwell) and a classmate of Parker's (not to mention the object of Eddie Brock's desires) whose public crush on Spider-Man has been duly noted by Mary Jane.
Tis a very tangled web of relationships, indeed, and things only become more enmeshed when Marko is found to be implicated in the death of Parker's Uncle Ben (Cliff Robertson).
Keeping them all neatly interconnected is the ambitious script by Raimi and his brother Ivan Raimi along with Alvin Sargent, who also helped elevate "Spider-Man 2".
While there are times the film's underlying theme of the power of forgiveness isn't always quite as subtle as it could be, it nevertheless serves as an effective anchor for the performers.
That aforementioned sinister substance that turns Spidey's suit a sleek, inky black also affords Tobey Maguire the opportunity to have a little fun getting in touch with his dark side, even when the bad boy makeover -- with his slicked-forward bangs and finger-popping attitude -- reminds one of a "Reefer Madness" fiend or, say, Robert Downey Jr. in "Less Than Zero".
At times, it also feels as if Raimi -- his Spidey senses tingling that this could well be his last stint as web master -- is determined to make sure he gets everything in. The result, aside from a running time that comes in 12 minutes longer than the previous edition, isn't always as cleanly executed as it might have been, especially toward the ending.
But there's plenty to enjoy here, from all the usual suspects, plus nicely conflicted performances by Church and Grace (ironic names for portrayers of bad guys, huh?).
Not to be outdone are those visual effects, which have again grown in leaps and bounds.
Entrusted with the new technologies, visual effects supervisor Scott Stokdyk and Sony Pictures Imageworks deliver big time here. On more than one occasion, those breathtaking sequences -- from Flint Marko's molecular deconstruction/Sandman's subsequent reconstruction to that final face-off among Spider-Man, Sandman, Venom and Osborn -- are deservedly met with bursts of spontaneous audience applause, which is no mean feat when balancing tubs of popcorn and supersize beverages.
Rounding out those money-well-spent production values is Bill Pope's vibrant cinematography, Bob Murawski's propulsive editing and James Acheson's dynamic costume design.
All three worked on "Spider-Man 2", as did production designer Neil Spisak, who this time also is joined by J. Michael Riva ("The Pursuit of Happyness"), and "Spider-Man 2" composer Christopher Young, who seamlessly incorporates Danny Elfman's original themes.
SPIDER-MAN 3
Columbia Pictures
Columbia Pictures presents a Marvel Studios/Laura Ziskin production
Credits:
Director: Sam Raimi
Screenwriters: Sam Raimi & Ivan Raimi and Alvin Sargent
Screen story: Sam Raimi & Ivan Raimi
Based on the Marvel Comic book by: Stan Lee and Steve Ditko
Producers: Laura Ziskin, Avi Arad, Grant Curtis
Executive producers: Stan Lee
Kevin Feige, Joseph M. Caracciolo
Director of photography: Bill Pope
Production designers: Neil Spisak, J. Michael Riva
Editor: Bob Murawski
Visual effects supervisor: Scott Stokdyk
Costume designer: James Acheson
Music: Danny Elfman, Christopher Young
Cast:
Peter Parker/Spider-Man: Tobey Maguire
Mary Jane Watson: Kirsten Dunst
Harry Osborn: James Franco
Flint Marko/Sandman: Thomas Haden Church
Eddie Brock/Venom: Topher Grace
Gwen Stacy: Bryce Dallas Howard
Capt. Stacy: James Cromwell
Aunt May: Rosemary Harris
J. Jonah Jameson: J.K. Simmons
Running time -- 139 minutes
MPAA rating: PG-13...
- 4/23/2007
- The Hollywood Reporter - Movie News
Left dangling for the past three years, arachnophiles everywhere finally have cause to celebrate.
The biggest (with a production budget due north of $250 million) and longest (clocking in at 139 minutes) and quite possibly the capper of a trilogy featuring the current talent lineup, Spider-Man 3 has done it again.
Certain to please the geek squad by remaining ever true to its comic book roots while retaining that satisfying emotional core that has registered with equal numbers of female fans, Spider-Man 3 has all its demographic bases covered.
And while the picture as a contained whole might fall an itsy-bitsy short of the personal best set by Sam Raimi's 2004 edition, the wow factor works overtime with state-of-the-art effects sequences that often are as beautiful as they are astonishing.
Having already received its world premiere last week in Tokyo in a nod to piracy concerns, Spider-Man 3 is slated to arrive in a good portion of the globe ahead of its May 4 North American bow. "Spidey's" already impressive tracking numbers should be off the hook by the time it hits theaters here.
Factor in those additional Imax screens, and the Columbia Pictures blockbuster should spin a worldwide web that should build substantially on the $1.6 billion already brought in by the first two installments.
Fittingly for a Marvel comic book character who seems to be even more tormented by issues of duality than his superpowered colleagues, Spider-Man 3 introduces not one but two formidable foes determined to take the web-slinger down.
First there's Flint Marko Thomas Haden Church), an escaped con who becomes better known as Sandman after his DNA bonds with sand particles when he inadvertently gets caught in the middle of a molecular fusion experiment.
Then there's Eddie Brock (Topher Grace), Peter Parker's photo-snapping rival at the Daily Bugle who is transformed into the extremely nasty Venom after being enveloped in that black goop from another galaxy that temporarily brings out Parker's own darker impulses.
That's in addition to the love-hate relationship Pete already has with Harry Osborn (James Franco), who is very much in the latter mode at the beginning of the picture, determined to make Parker pay for his father's (aka Green Goblin) death.
But Parker also is preoccupied with his relationship with longtime girlfriend Mary Jane Watson (Kirsten Dunst). Things have hit a bit of a rocky patch as Mary Jane's acting career suffers a serious setback at the same time when Spider-Man's public adoration is at an all-time high.
Further complicating his marriage-proposal plans is the appearance of Gwen Stacy Bryce Dallas Howard), the daughter of a police captain (James Cromwell) and a classmate of Parker's (not to mention the object of Eddie Brock's desires) whose public crush on Spider-Man has been duly noted by Mary Jane.
Tis a very tangled web of relationships, indeed, and things only become more enmeshed when Marko is found to be implicated in the death of Parker's Uncle Ben (Cliff Robertson).
Keeping them all neatly interconnected is the ambitious script by Raimi and his brother Ivan Raimi along with Alvin Sargent, who also helped elevate Spider-Man 2.
While there are times the film's underlying theme of the power of forgiveness isn't always quite as subtle as it could be, it nevertheless serves as an effective anchor for the performers.
That aforementioned sinister substance that turns Spidey's suit a sleek, inky black also affords Tobey Maguire the opportunity to have a little fun getting in touch with his dark side, even when the bad boy makeover -- with his slicked-forward bangs and finger-popping attitude -- reminds one of a Reefer Madness fiend or, say, Robert Downey Jr. in Less Than Zero.
At times, it also feels as if Raimi -- his Spidey senses tingling that this could well be his last stint as web master -- is determined to make sure he gets everything in. The result, aside from a running time that comes in 12 minutes longer than the previous edition, isn't always as cleanly executed as it might have been, especially toward the ending.
But there's plenty to enjoy here, from all the usual suspects, plus nicely conflicted performances by Church and Grace (ironic names for portrayers of bad guys, huh?).
Not to be outdone are those visual effects, which have again grown in leaps and bounds.
Entrusted with the new technologies, visual effects supervisor Scott Stokdyk and Sony Pictures Imageworks deliver big time here. On more than one occasion, those breathtaking sequences -- from Flint Marko's molecular deconstruction/Sandman's subsequent reconstruction to that final face-off among Spider-Man, Sandman, Venom and Osborn -- are deservedly met with bursts of spontaneous audience applause, which is no mean feat when balancing tubs of popcorn and supersize beverages.
Rounding out those money-well-spent production values is Bill Pope's vibrant cinematography, Bob Murawski's propulsive editing and James Acheson's dynamic costume design.
All three worked on Spider-Man 2, as did production designer Neil Spisak, who this time also is joined by J. Michael Riva (The Pursuit of Happyness), and Spider-Man 2 composer Christopher Young, who seamlessly incorporates Danny Elfman's original themes.
SPIDER-MAN 3
Columbia Pictures
Columbia Pictures presents a Marvel Studios/Laura Ziskin production
Credits:
Director: Sam Raimi
Screenwriters: Sam Raimi & Ivan Raimi and Alvin Sargent
Screen story: Sam Raimi & Ivan Raimi
Based on the Marvel Comic book by: Stan Lee and Steve Ditko
Producers: Laura Ziskin, Avi Arad, Grant Curtis
Executive producers: Stan Lee
Kevin Feige, Joseph M. Caracciolo
Director of photography: Bill Pope
Production designers: Neil Spisak, J. Michael Riva
Editor: Bob Murawski
Visual effects supervisor: Scott Stokdyk
Costume designer: James Acheson
Music: Danny Elfman, Christopher Young
Cast:
Peter Parker/Spider-Man: Tobey Maguire
Mary Jane Watson: Kirsten Dunst
Harry Osborn: James Franco
Flint Marko/Sandman: Thomas Haden Church
Eddie Brock/Venom: Topher Grace
Gwen Stacy: Bryce Dallas Howard
Capt. Stacy: James Cromwell
Aunt May: Rosemary Harris
J. Jonah Jameson: J.K. Simmons
Running time -- 139 minutes
MPAA rating: PG-13...
The biggest (with a production budget due north of $250 million) and longest (clocking in at 139 minutes) and quite possibly the capper of a trilogy featuring the current talent lineup, Spider-Man 3 has done it again.
Certain to please the geek squad by remaining ever true to its comic book roots while retaining that satisfying emotional core that has registered with equal numbers of female fans, Spider-Man 3 has all its demographic bases covered.
And while the picture as a contained whole might fall an itsy-bitsy short of the personal best set by Sam Raimi's 2004 edition, the wow factor works overtime with state-of-the-art effects sequences that often are as beautiful as they are astonishing.
Having already received its world premiere last week in Tokyo in a nod to piracy concerns, Spider-Man 3 is slated to arrive in a good portion of the globe ahead of its May 4 North American bow. "Spidey's" already impressive tracking numbers should be off the hook by the time it hits theaters here.
Factor in those additional Imax screens, and the Columbia Pictures blockbuster should spin a worldwide web that should build substantially on the $1.6 billion already brought in by the first two installments.
Fittingly for a Marvel comic book character who seems to be even more tormented by issues of duality than his superpowered colleagues, Spider-Man 3 introduces not one but two formidable foes determined to take the web-slinger down.
First there's Flint Marko Thomas Haden Church), an escaped con who becomes better known as Sandman after his DNA bonds with sand particles when he inadvertently gets caught in the middle of a molecular fusion experiment.
Then there's Eddie Brock (Topher Grace), Peter Parker's photo-snapping rival at the Daily Bugle who is transformed into the extremely nasty Venom after being enveloped in that black goop from another galaxy that temporarily brings out Parker's own darker impulses.
That's in addition to the love-hate relationship Pete already has with Harry Osborn (James Franco), who is very much in the latter mode at the beginning of the picture, determined to make Parker pay for his father's (aka Green Goblin) death.
But Parker also is preoccupied with his relationship with longtime girlfriend Mary Jane Watson (Kirsten Dunst). Things have hit a bit of a rocky patch as Mary Jane's acting career suffers a serious setback at the same time when Spider-Man's public adoration is at an all-time high.
Further complicating his marriage-proposal plans is the appearance of Gwen Stacy Bryce Dallas Howard), the daughter of a police captain (James Cromwell) and a classmate of Parker's (not to mention the object of Eddie Brock's desires) whose public crush on Spider-Man has been duly noted by Mary Jane.
Tis a very tangled web of relationships, indeed, and things only become more enmeshed when Marko is found to be implicated in the death of Parker's Uncle Ben (Cliff Robertson).
Keeping them all neatly interconnected is the ambitious script by Raimi and his brother Ivan Raimi along with Alvin Sargent, who also helped elevate Spider-Man 2.
While there are times the film's underlying theme of the power of forgiveness isn't always quite as subtle as it could be, it nevertheless serves as an effective anchor for the performers.
That aforementioned sinister substance that turns Spidey's suit a sleek, inky black also affords Tobey Maguire the opportunity to have a little fun getting in touch with his dark side, even when the bad boy makeover -- with his slicked-forward bangs and finger-popping attitude -- reminds one of a Reefer Madness fiend or, say, Robert Downey Jr. in Less Than Zero.
At times, it also feels as if Raimi -- his Spidey senses tingling that this could well be his last stint as web master -- is determined to make sure he gets everything in. The result, aside from a running time that comes in 12 minutes longer than the previous edition, isn't always as cleanly executed as it might have been, especially toward the ending.
But there's plenty to enjoy here, from all the usual suspects, plus nicely conflicted performances by Church and Grace (ironic names for portrayers of bad guys, huh?).
Not to be outdone are those visual effects, which have again grown in leaps and bounds.
Entrusted with the new technologies, visual effects supervisor Scott Stokdyk and Sony Pictures Imageworks deliver big time here. On more than one occasion, those breathtaking sequences -- from Flint Marko's molecular deconstruction/Sandman's subsequent reconstruction to that final face-off among Spider-Man, Sandman, Venom and Osborn -- are deservedly met with bursts of spontaneous audience applause, which is no mean feat when balancing tubs of popcorn and supersize beverages.
Rounding out those money-well-spent production values is Bill Pope's vibrant cinematography, Bob Murawski's propulsive editing and James Acheson's dynamic costume design.
All three worked on Spider-Man 2, as did production designer Neil Spisak, who this time also is joined by J. Michael Riva (The Pursuit of Happyness), and Spider-Man 2 composer Christopher Young, who seamlessly incorporates Danny Elfman's original themes.
SPIDER-MAN 3
Columbia Pictures
Columbia Pictures presents a Marvel Studios/Laura Ziskin production
Credits:
Director: Sam Raimi
Screenwriters: Sam Raimi & Ivan Raimi and Alvin Sargent
Screen story: Sam Raimi & Ivan Raimi
Based on the Marvel Comic book by: Stan Lee and Steve Ditko
Producers: Laura Ziskin, Avi Arad, Grant Curtis
Executive producers: Stan Lee
Kevin Feige, Joseph M. Caracciolo
Director of photography: Bill Pope
Production designers: Neil Spisak, J. Michael Riva
Editor: Bob Murawski
Visual effects supervisor: Scott Stokdyk
Costume designer: James Acheson
Music: Danny Elfman, Christopher Young
Cast:
Peter Parker/Spider-Man: Tobey Maguire
Mary Jane Watson: Kirsten Dunst
Harry Osborn: James Franco
Flint Marko/Sandman: Thomas Haden Church
Eddie Brock/Venom: Topher Grace
Gwen Stacy: Bryce Dallas Howard
Capt. Stacy: James Cromwell
Aunt May: Rosemary Harris
J. Jonah Jameson: J.K. Simmons
Running time -- 139 minutes
MPAA rating: PG-13...
- 4/23/2007
- The Hollywood Reporter - Movie News
Hot off his Oscar win for the visual effects in Spider-Man 2, John Dykstra is suiting up for a ride on Columbia Pictures' Hot Wheels as visual effects designer for director McG rather than sign on for Spider-Man 3. "I will miss all the terrific people I worked with on Spider-Man," Dykstra said. "But this is a great opportunity. I'm an adrenaline junkie; it's an avocation. And what's cool about Hot Wheels is it allows us to explore the language of cars -- from NASA Formula One, to tuners, hot rods, classics, dinosaur cars, monster trucks and so on." Sony Imageworks' Scott Stokdyk, who also won an Oscar for his work on Spider-Man 2, has stepped in to fill Dykstra's shoes on Spider-Man 3. Dykstra was visual effects designer on the first two Spider-Man films, on which Stokdyk was visual effects supervisor.
- 3/14/2005
- The Hollywood Reporter - Movie News
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