Paramount have just released a cluster of teaser shots for their live action remake of Ghost In The Shell (GitS). They are frustratingly brief and play out like a digital glitch, but what they do reveal of the designs, coupled with what the art direction of the original animated versions (if you haven’t seen the original animated version, I thoroughly recommend you to do so), suggest we could be in for some gorgeous production design and cinematography.
Production designer for this version is Jan Roelfs, whose previous work includes Gattaca, whilst cinematography is by Jess Hall who provided the cinematography on Son of Rambow and Hot Fuzz. VFX is to be provided by Weta and MPC, so I am hopeful that we will see some superlative digital sets amongst the set design. The quality and influence of the original animated version of GitS demands that any live action re-telling of the story be accompanied by nothing less than a work of unparalleled visual quality. Please don’t disappoint.
Proving that the Devil really is in the details, the design work of Julian Nix and Sarah Bradley covered items such as passports, business documents and a iPhone retinal scanner app. As the article states, “The cumulative effect is the creation of a world that the audience accepts without question – and only adds to the power of the story.”
The latest trailer for Spectre has just been released this morning. There isn’t much new material in terms of sets or design being revealed, but it does expand on what we have seen in the earlier trailers, and in photos from the set. I definitely want to see more of that Spectre conference space that James Bond has snuck into. It’s not quite Ken Adam, but has great qualities, all of it’s own.
I know that there are some pretty impressive backdrops by Rutters in the film, and with production design by Dennis Gassner, and cinematography by Hoyte Van Hoytema, I am eagerly looking forward to it’s release in October.
There aren’t enough spy movies being made these days, so its good to see the latest trailer for Guy Ritchie’s Man From U.N.C.L.E. appear on the web yesterday.
The story is set in 1963 – Bond’s From Russia With Love came out in 1963 – which suggests an abundance of opportunities to play on the designs and style and costumes of that period. It will be interesting to see what Production Designer Oliver Scholl delivers. There isn’t anything like MFU on his CV, but Edge of Tomorrow was a fine looking film, so lets see.
Opportunities for digital sets and set extensions should be plentiful too, so I look forward to tracking the behind-the-scenes revelations from the various different effects houses that are involved.
Eon have just released a first featurette for Spectre, in which Daniel Craig returns as James Bond. In it, Production Designer Dennis Gassner speaks about the challenge of following Skyfall, and makes reference to the stunning location shoot in Solden, Austria – “We are going to continue the history of the Bond films, making things that are exciting for the audience to look at and what could be more exciting than to be on top of the world.”