“I still can’t quite believe that we’ve been Emmy nominated,” says first-time nominee Tara McDonald, the contemporary makeup designer on Netflix’s hit series “Wednesday.” “I would only have ever dreamt of working with Tim Burton. He is one of my favorite directors. I’ve watched so many of his films. I love his films. ‘Edward Scissorhands’ was probably one of the reasons why I wanted to do makeup. It was all pretty surreal.” Watch our exclusive video interview above.
“Wednesday” follows Wednesday Addams’ (Jenna Ortega) years as a student at Nevermore Academy, when she attempts to master her emerging psychic ability, thwart a killing spree, and solve the mystery that embroiled her parents. McDonald has been nominated for Best Contemporary Makeup (Non-Prosthetic) for her work on the show. The series received 12 Emmy nominations overall, including Best Comedy.
See David Lanzenberg (‘Wednesday’ cinematographer) on Jenna Ortega’s ‘Goo...
“Wednesday” follows Wednesday Addams’ (Jenna Ortega) years as a student at Nevermore Academy, when she attempts to master her emerging psychic ability, thwart a killing spree, and solve the mystery that embroiled her parents. McDonald has been nominated for Best Contemporary Makeup (Non-Prosthetic) for her work on the show. The series received 12 Emmy nominations overall, including Best Comedy.
See David Lanzenberg (‘Wednesday’ cinematographer) on Jenna Ortega’s ‘Goo...
- 8/9/2023
- by Denton Davidson
- Gold Derby
Wednesday Addams returns to the screen for the first live-action adaptation since the 1998 straight-to-video feature "Addams Family Reunion." In very capable hands, "Wednesday" arrives with raven's wings on Netflix and sees cinematic visionary Tim Burton returning to the director's chair. With a body of work that includes "Beetlejuice," "Edward Scissorhands," and "Corpse Bride," Burton has the pedigree to tackle the beloved franchise. Cartoonist Charles Addams' creepy clan first appeared in the pages of The New Yorker in 1938. Over the next several decades, 149 more panels appeared that led to a sitcom in the 1960s, a 1970s Saturday morning cartoon series, two outstanding '90s feature films, a 1992 animated series, another live-action series in 1999, and an animated theatrical reboot in 2019. You could say Burton had his work cut out for him.
Somehow the popularity of the Addamses has never waned. Audiences flock to this creepy, kooky, mysterious, and spooky family like maggots...
Somehow the popularity of the Addamses has never waned. Audiences flock to this creepy, kooky, mysterious, and spooky family like maggots...
- 11/23/2022
- by Bee Scott
- Slash Film
When Emmy-winning visual effects artist Ted Rae discussed Netflix’s “Shadow and Bone” with show creator Eric Heisserer and the source material’s author, Leigh Bardugo, Rae said he had no plans to read Bardugo’s series of books just yet.
“I wanted to react a bit more like a regular audience member; to what I knew from the script not what I knew from the books,” Rae says in a recent chat with Gold Derby. “I didn’t want to know things that the audience wouldn’t know. I was hoping that by taking that approach, it would help me present things visually in a way the audience will more quickly understand — because the majority of the audience is not going to have read the books.”
But what Rae discovered was that despite his approach, the “Shadow and Bone” readers were bowled over by the visual effects.
See over...
“I wanted to react a bit more like a regular audience member; to what I knew from the script not what I knew from the books,” Rae says in a recent chat with Gold Derby. “I didn’t want to know things that the audience wouldn’t know. I was hoping that by taking that approach, it would help me present things visually in a way the audience will more quickly understand — because the majority of the audience is not going to have read the books.”
But what Rae discovered was that despite his approach, the “Shadow and Bone” readers were bowled over by the visual effects.
See over...
- 6/13/2021
- by Christopher Rosen
- Gold Derby
The Age of Adaline is based on the improbable premise that a casting director would expect Blake Lively to play a character wise beyond her years. With a limited film resume mostly spent playing arm candy in dude-driven action flicks, pitching The Age of Adaline makes Lively’s starring dramatic presence a tougher sell than the film’s own romantic fable story. But The Age of Adaline is a smarter beast than its gooey exterior lets on, and its precise use of performers, genre tropes, and aesthetics makes it a pleasantly surprising blend of old and new school fairy tale.
Making no bones about its melodramatic intentions, The Age of Adaline operates with restrained but omnipresent emotionality at all times. For a film that’s really more of a character study than a sweeping epic, The Age of Adaline’s biggest, constant risk is assuming the audience will go along with its somberly operatic tone,...
Making no bones about its melodramatic intentions, The Age of Adaline operates with restrained but omnipresent emotionality at all times. For a film that’s really more of a character study than a sweeping epic, The Age of Adaline’s biggest, constant risk is assuming the audience will go along with its somberly operatic tone,...
- 4/23/2015
- by Sam Woolf
- We Got This Covered
Nothing is more frustrating than watching a film with so much potential make one disastrous mistake after another. That, sadly, is the disappointing reality of Lee Toland Kreiger's "The Age of Adaline." The movie's premise is easy to grasp: 29-year-old Adaline Bowman (Blake Lively) was born at the turn of the century, but after a strange car accident in the 1930's she discovers she will not age a single day more. Decades pass as her daughter ages beyond her, and she begins taking false identities to avoid being discovered by the press or, worse, government agents who might have suspicions about her status. The latter might also want to make her a guinea pig to discover why she's become immortal (a story tangent the film quickly abandons). By 2014, Bowman seems resigned to a life of loneliness until Ellis Jones (Michiel Huisman of "Game of Thrones") spots her across the room...
- 4/17/2015
- by Gregory Ellwood
- Hitfix
April is just around the corner and that means there are a bunch of highly anticipated movies on deck. "Fast 7," "Ex Machina" and, of course, "Avengers: Age of Ultron." One film that you should really pay attention to, however, is "The Age of Adaline." Directed by Lee Toland Krieger ("Celeste and Jesse Forever"), "Adaline" is an original story about a woman (Blake Lively) who magically or accidentally stops aging after a major car accident. As the years pass she sees her friends and family get old and die as she continues to somehow enjoy immorality. Can she truly continue "living" this way? The movie's trailer does a superb job of teasing how the film recreates a 100 years of our heroine's life thanks to some amazing costumes by Oscar winner Angus Straithe ("Moulin Rouge!"), a beautiful score by composer Rob Simonsen ("Foxcatcher," "The Spectacular Now") and some impressive cinematography by relative newcomer David Lanzenberg.
- 3/26/2015
- by Gregory Ellwood
- Hitfix
Exclusive: Agent Marie Perry has joined Gersh to serve as the newly created head of the Commercial Production Division. She will rep below-the-line talent with an emphasis on commercials and music videos. She is bringing to Gersh a client list that includes Crille Forsberg ("Cadillac" for director Joseph Kosinski), David Lanzenberg (Age Of Adaline for director Lee Toland Krieger, a Lionsgate feature with Blake Lively), William Rexer (Public Morals for Ed Burns/TNT), Ross…...
- 3/23/2015
- Deadline TV
Scrambled Transmission: Eubank’s Sophomore Effort Relies on Visual Strengths
William Eubank expands his brand of cerebral sci-fi with sophomore effort, The Signal, following up from the 2011 space set debut, Love (which might be interesting to revisit after the success of Gravity). With incredible ingenuity, this lo-fi concept is showcased within an amazing visual design, and the fantastic look of the film blends perfectly with a creepy and unnerving set-up. However, about mid-way through our main characters’ ordeal, substance begins to feel a bit eschewed for style, the narrative hitting a rather stale plateau as it coasts to a dramatic third act with a compounded twist that would have seemed more effective had there been sharper development of its ideas.
Three college students are on a road trip across the Southwest on a mysterious mission to track down a computer genius that hacked into MIT’s security system, something which...
William Eubank expands his brand of cerebral sci-fi with sophomore effort, The Signal, following up from the 2011 space set debut, Love (which might be interesting to revisit after the success of Gravity). With incredible ingenuity, this lo-fi concept is showcased within an amazing visual design, and the fantastic look of the film blends perfectly with a creepy and unnerving set-up. However, about mid-way through our main characters’ ordeal, substance begins to feel a bit eschewed for style, the narrative hitting a rather stale plateau as it coasts to a dramatic third act with a compounded twist that would have seemed more effective had there been sharper development of its ideas.
Three college students are on a road trip across the Southwest on a mysterious mission to track down a computer genius that hacked into MIT’s security system, something which...
- 6/19/2014
- by Nicholas Bell
- IONCINEMA.com
When William Eubank made his first film "Love," it was a personal obsession filmed in a set that he built on his family's property and left standing for years. It was funded by the band Angels & Airwaves, and their score was also their third album, a big double-album release. When I saw the film, I thought it was remarkable mainly as an example of just what is possible when someone sets their mind to it. The film didn't really work on a script level, but it suggested that Eubank is capable of great things visually, and that he could stretch a dollar well past the breaking point. His new film "The Signal" made its premiere as a midnight entry at Sundance this year, and I've been chewing on it since seeing it. I have some issues with the film as a narrative, but I am fairly sure at this point...
- 6/14/2014
- by Drew McWeeny
- Hitfix
There is a desire at the heart of William Eubank's slick sci-fi picture "The Signal" to transcend the trappings of genre conventions and embrace the lyricism most often ascribed to mah-ture cinema. Eubank's background as a cinematographer doubtlessly contributes to the assured visual style on display, though David Lanzenberg ("Celeste and Jesse Forever") serves as Dp here. Significantly less confident is the writing, offering up a thinly sketched protagonist and a collection of cast mates working with spare (some would say understated) material — the resulting film is lovingly crafted but insubstantial flash, though the mystery at heart sustains a first viewing. Ambitiously if awkwardly hopping from genre to genre, a relationship road movie fighting for elbow room with a sci-fi thriller and an unsuccessful but mercifully brief foray into found-footage territory, "The Signal" is the work of a resourceful craftsman — you'll see every penny of the reported $2 million budget onscreen and.
- 5/29/2014
- by Mark Zhuravsky
- The Playlist
In a time where science fiction is struggling to hold solid ground, from an awfully forgettable Robocop to Johnny Depp’s abysmal Transcendence, is Focus Features ready to blow audiences away with the next District 9? No, not a sequel to District 9 – sorry to get your hopes up Wikus fans – but another lesser-known genre production that sweeps the sci-fi community off their feet. If you’ve inquisitively clicked on this review, you already know that hopeful film is The Signal, a small festival flick that made a pretty huge impact on some power players. Of course, we here at Wgtc are the power-iest players of all (or so I tell myself), so what’s our take on William Eubank’s techy darling? Since I walked out with an invigorated grin, I’d rank The Signal leaps and bounds beyond the “intellectual” drivel I’ve witnessed so far this year – but will you agree?...
- 5/28/2014
- by Matt Donato
- We Got This Covered
By Terence Johnson
Managing Editor
Independent sci-fi can be a dicey proposition. Lower budgets can mean terrible special effects, the need to create intimacy can lead to poor execution. Luckily, director William Eubank avoids most, if not all of the problems, with his new film The Signal, one of the most compelling indie sci-fi films in the past few years.
The story of The Signal is one of twists and turns and yet everything feels like it happened as it should. Nick (Brenton Thwaites), Jonah and Hailey, Nick’s girlfriend are traveling across the country. Nick and Jonah are MIT freshman who are chasing after the illusive Nomad, a hacker who almost got them expelled. When they get a clue about his location, they drive to the middle of the desert where they have a frightening confrontation that leaves the trio in a government facility. What starts as just a...
Managing Editor
Independent sci-fi can be a dicey proposition. Lower budgets can mean terrible special effects, the need to create intimacy can lead to poor execution. Luckily, director William Eubank avoids most, if not all of the problems, with his new film The Signal, one of the most compelling indie sci-fi films in the past few years.
The story of The Signal is one of twists and turns and yet everything feels like it happened as it should. Nick (Brenton Thwaites), Jonah and Hailey, Nick’s girlfriend are traveling across the country. Nick and Jonah are MIT freshman who are chasing after the illusive Nomad, a hacker who almost got them expelled. When they get a clue about his location, they drive to the middle of the desert where they have a frightening confrontation that leaves the trio in a government facility. What starts as just a...
- 1/24/2014
- by Terence Johnson
- Scott Feinberg
Recognisable leads plucked from successful U.S. Television series? Check. Female lead who spends the majority of the film suffering humiliation all in order to ‘grow’? Check. Female lead acting in an entirely clueless way about things that she would almost certainly easily comprehend? Check. Gay best friend who appears to have no life beyond the female lead? Check. Marriage scene in the final act involving the best friend characters and an awkward speech from the female lead? Check.
I could go on.
The above are all far too familiar tropes of modern romantic comedies, think Aniston or Heigl, and Celeste and Jesse Forever has every single one, and more. The film is very much a stereotypical romantic comedy in the mould of many that we have seen before but in this instance writers Rashida Jones (who also stars as Celeste) and Will McCormack (who takes a supporting role) and...
I could go on.
The above are all far too familiar tropes of modern romantic comedies, think Aniston or Heigl, and Celeste and Jesse Forever has every single one, and more. The film is very much a stereotypical romantic comedy in the mould of many that we have seen before but in this instance writers Rashida Jones (who also stars as Celeste) and Will McCormack (who takes a supporting role) and...
- 10/16/2012
- by Craig Skinner
- HeyUGuys.co.uk
Summer blockbusters are behind us, and it's time to start preparing for Austin's fall film festivals. Fantastic Fest has released two waves of its programming for the September 20 - 27 festival, the Austin Gay and Lesbian International Film Festival (aGLIFF) has announced four of the 96 films to screen October 3-7, and Lights. Camera. Help. has announced the schedule for the annual nonprofit film festival to be held September 12-14. The 2012 Austin Film Festival (October 18-25) should be announcing their first round of films soon.
Austin Film Society presents Avant Cinema 5.5: Two by H.P. Lovecraft on Wednesday August 29, 7 pm, at the Afs Screening Room at Austin Studios. Two films created by the H.P. Lovecraft Historical Society using the self-described "Mythoscope" process of mixing vintage and modern filmmaking techniques will be featured, including Sean Branney's The Whisperer in Darkness and The Call of Cthulhu. The Whisperer in Darkness is based on...
Austin Film Society presents Avant Cinema 5.5: Two by H.P. Lovecraft on Wednesday August 29, 7 pm, at the Afs Screening Room at Austin Studios. Two films created by the H.P. Lovecraft Historical Society using the self-described "Mythoscope" process of mixing vintage and modern filmmaking techniques will be featured, including Sean Branney's The Whisperer in Darkness and The Call of Cthulhu. The Whisperer in Darkness is based on...
- 8/24/2012
- by Debbie Cerda
- Slackerwood
Honesty is one of the most powerful traits any film can possess. It is also one of the most elusive and difficult to describe, which is, perhaps, its power. Artistic honesty in intangible, impossible to explain and even harder to consciously create. A filmmaker cannot aim to imbue their work with honesty, or the results shall ring false. Honest material stems naturally from the heart and is filtered through the mind to weave an experience that is authentic to its core. Viewers, in turn, can never knowingly search for authenticity, cannot pinpoint the telltale signs of genuine, heartfelt filmmaking. We simply know it when we see it, and when the emotions and development of the narrative and characters feels deeply, undeniably organic, our hearts are affected, and our minds tell us we have seen something great.
Celeste and Jesse Forever is, above all else, an honest piece of filmmaking. It is a messy film,...
Celeste and Jesse Forever is, above all else, an honest piece of filmmaking. It is a messy film,...
- 8/24/2012
- by Jonathan R. Lack
- We Got This Covered
Blogging from last year’s Sundance I wrote that “if I could give an award to the camera delivering the most impact on screen at Sundance 2011, it would go to Red One.”
That was then. In the 12 months since, Arri’s Alexa has all but conquered TV series production in the U.S., and now you can add a dozen low-budget indie films at Sundance too, like the bittersweet romcom Celeste and Jesse Forever, starring Rashida Jones and Andy Samberg and photographed by David Lanzenberg.
Sony’s new budget-friendly F3 made a splash at Sundance as well, responsible for Spike Lee’s Red Hook Summer, shot by Kerwin Devonish, and Colin Trevorrow’s puckish Safety Not Guaranteed, shot by Benjamin Kasulke, which won the Waldo Salt Screenwriting Award. Trevorrow said his 2.40 aspect ratio was the result of vintage Panavision lenses used to achieve what the director called “a 1970′s Hal Ashby look.
That was then. In the 12 months since, Arri’s Alexa has all but conquered TV series production in the U.S., and now you can add a dozen low-budget indie films at Sundance too, like the bittersweet romcom Celeste and Jesse Forever, starring Rashida Jones and Andy Samberg and photographed by David Lanzenberg.
Sony’s new budget-friendly F3 made a splash at Sundance as well, responsible for Spike Lee’s Red Hook Summer, shot by Kerwin Devonish, and Colin Trevorrow’s puckish Safety Not Guaranteed, shot by Benjamin Kasulke, which won the Waldo Salt Screenwriting Award. Trevorrow said his 2.40 aspect ratio was the result of vintage Panavision lenses used to achieve what the director called “a 1970′s Hal Ashby look.
- 2/29/2012
- by David Leitner
- Filmmaker Magazine - Blog
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