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A24’s acclaimed stop-motion/live-action hybrid “Marcel the Shell with Shoes On” could be the wild card in the animated feature Oscar race — going up against such early favorites as Pixar’s “Turning Red,” Disney’s “Strange World,” and Netflix’s two stop-motion behemoths: “Guillermo del Toro’s Pinocchio” and Henry Selick’s “Wendell & Wild” (the latter being the lone animated feature premiering at TIFF).
And why not? The feature debut from director Dean Fleischer Camp (adapting a series of shorts he created with “Marcel” star Jenny Slate), has been embraced by critics for its charm, wit, inventive stop-motion, and its adorable breakout star. The one-inch anthropomorphic shell (voiced by Slate) lives with his grandmother Connie (Isabella Rossellini) and develops a friendship with doc filmmaker Dean (Fleischer Camp), who moves in and films Marcel’s daily activities, which go viral. Marcel, who’s in search of his lost family,...
A24’s acclaimed stop-motion/live-action hybrid “Marcel the Shell with Shoes On” could be the wild card in the animated feature Oscar race — going up against such early favorites as Pixar’s “Turning Red,” Disney’s “Strange World,” and Netflix’s two stop-motion behemoths: “Guillermo del Toro’s Pinocchio” and Henry Selick’s “Wendell & Wild” (the latter being the lone animated feature premiering at TIFF).
And why not? The feature debut from director Dean Fleischer Camp (adapting a series of shorts he created with “Marcel” star Jenny Slate), has been embraced by critics for its charm, wit, inventive stop-motion, and its adorable breakout star. The one-inch anthropomorphic shell (voiced by Slate) lives with his grandmother Connie (Isabella Rossellini) and develops a friendship with doc filmmaker Dean (Fleischer Camp), who moves in and films Marcel’s daily activities, which go viral. Marcel, who’s in search of his lost family,...
- 8/3/2022
- by Bill Desowitz
- Indiewire
Here’s a new film that proves that the unlikeliest of movie heroes can emerge from the most unexpected places. And this hero is really unlike the action icons who’ve been dominating the multiplex for the last couple of months. He has no spacecraft like Lightyear, nor a fighter jet like “Maverick” or even a cape like Doc Strange and Thor. He does have…a shell. Yes, while many films have been taken from books, TV shows, and comic books, this one sprung from the worldwide web. Actually, it’s an extension of three online short films that started delighting viewers since 2010. Oh, and short is the word, as this fella’ has to navigate in our everyday world, which just towers over him. But somehow there’s a big, big following for Marcel The Shell With Shoes On. And it just might grow larger, while he remains “teeny-tiny”.
As the movie opens,...
As the movie opens,...
- 7/22/2022
- by Jim Batts
- WeAreMovieGeeks.com
There’s a saying that a movie is made three times: once when it’s written, once when it’s shot and once when it’s edited. To create the new A24 release Marcel the Shell with Shoes On, that maxim had to expand to accommodate an additional creative cycle. Marcel, the story of a chatty one-inch tall seashell searching for his family, was in essence shot twice. First, cinematographer Bianca Cline captured the live-action components, leaving a Marcel-sized space in the compositions. Months later, armed with copious notes to match lighting, lensing, focus, etc., stop motion director of photography Eric Adkins brought Marcel […]
The post When A Wide Shot is 12 Inches from the Lens: DPs Bianca Cline and Eric Adkins on Marcel the Shell with Shoes On first appeared on Filmmaker Magazine.
The post When A Wide Shot is 12 Inches from the Lens: DPs Bianca Cline and Eric Adkins on Marcel the Shell with Shoes On first appeared on Filmmaker Magazine.
- 7/20/2022
- by Matt Mulcahey
- Filmmaker Magazine - Blog
There’s a saying that a movie is made three times: once when it’s written, once when it’s shot and once when it’s edited. To create the new A24 release Marcel the Shell with Shoes On, that maxim had to expand to accommodate an additional creative cycle. Marcel, the story of a chatty one-inch tall seashell searching for his family, was in essence shot twice. First, cinematographer Bianca Cline captured the live-action components, leaving a Marcel-sized space in the compositions. Months later, armed with copious notes to match lighting, lensing, focus, etc., stop motion director of photography Eric Adkins brought Marcel […]
The post When A Wide Shot is 12 Inches from the Lens: DPs Bianca Cline and Eric Adkins on Marcel the Shell with Shoes On first appeared on Filmmaker Magazine.
The post When A Wide Shot is 12 Inches from the Lens: DPs Bianca Cline and Eric Adkins on Marcel the Shell with Shoes On first appeared on Filmmaker Magazine.
- 7/20/2022
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
This review of “Marcel the Shell With Shoes On” was first published Sept. 5, 2021, after its premiere at the Telluride Film Festival.
After so much bad news over the past – oh, it’s been awhile – many viewers might be in the mood for entertainment that’s a little sweeter, gentler and kinder. Enter the adorable and effortlessly charming Marcel the Shell (Jenny Slate), a one-eyed, child-like anthropomorphic shell living in an Airbnb with his grandmother, Connie (Isabella Rossellini).
They are the only two shells remaining in the home after a devastating upheaval tore their community away from them when the couple (Rosa Salazar and Thomas Mann) who lived at the house split up, accidentally carrying off Marcel’s family and friends. But these two tiny creatures have since learned to survive, making the best of their microscopic world through creative means.
Many wonders and punchlines stem from their makeshift solutions, and...
After so much bad news over the past – oh, it’s been awhile – many viewers might be in the mood for entertainment that’s a little sweeter, gentler and kinder. Enter the adorable and effortlessly charming Marcel the Shell (Jenny Slate), a one-eyed, child-like anthropomorphic shell living in an Airbnb with his grandmother, Connie (Isabella Rossellini).
They are the only two shells remaining in the home after a devastating upheaval tore their community away from them when the couple (Rosa Salazar and Thomas Mann) who lived at the house split up, accidentally carrying off Marcel’s family and friends. But these two tiny creatures have since learned to survive, making the best of their microscopic world through creative means.
Many wonders and punchlines stem from their makeshift solutions, and...
- 6/24/2022
- by Monica Castillo
- The Wrap
Cinematography and its significance is an aspect of film that is usually overlooked by your average movie goer. Often times when a director is know for consistently maintaining a certain style it is due in part to the cinematographers contribution. Like film editors, cinematographers take a back seat to directors when it comes to the public’s perception of each of their significances. Although it is ultimately the directors medium, the cinematographer guides the tone and feel of the film by controlling the aesthetics. This is of course excluding art direction, wardrobe and set design. A beautifully constructed sequence arrests your attention with such command and power, while still displaying a subtle eloquence. This display of the mastery of film is often referred to as something “cinematic”. In that moment it is film declaring “I am what I am.” The cinematographer plays an instrumental role is deciding what that declaration is going to convey.
- 6/30/2010
- by Jordan Collins
- The Film Stage
American Cinematographer – the official magazine of the American Society of Cinematographers – just published a ranking of the best shot films for the 1998 to 2008 decade, and Amélie tops the list.
I initially thought the selections were chosen specifically by members of the Asc, but I learned that it was actually an open process; in short, the magazine asked its subscribers all over the world to nominate 10 films released between 1998 and 2008, that they believed had the best cinematography; the 50 most popular choices were then posted on the Asc website, with the rest of the public free to vote/rank the 50 finalists. Reportedly, more than 17,000 people around the world participated.
And, as already stated, Amélie was ranked in the top spot most consistently. I haven’t watched Amélie in years, but I’d certainly throw it up there on my list of one of the best shot films from 1998 to 2008. Will it be my #1? I don’t know.
I initially thought the selections were chosen specifically by members of the Asc, but I learned that it was actually an open process; in short, the magazine asked its subscribers all over the world to nominate 10 films released between 1998 and 2008, that they believed had the best cinematography; the 50 most popular choices were then posted on the Asc website, with the rest of the public free to vote/rank the 50 finalists. Reportedly, more than 17,000 people around the world participated.
And, as already stated, Amélie was ranked in the top spot most consistently. I haven’t watched Amélie in years, but I’d certainly throw it up there on my list of one of the best shot films from 1998 to 2008. Will it be my #1? I don’t know.
- 6/29/2010
- by Tambay
- ShadowAndAct
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