• https://en.wikipedia.org/wiki/Kingdom_of_the_Planet_of_the_Apes
• Rotten Tomatoes: 83%
• Metacritic: 64

I'm primarily an actor in LA, but recently went behind the camera to make my first short film "Kodar: The Primordial God of Light and Ether", starring Maddie Ziegler. Ask me anything!

• RT: 87%
• MetaCritic: 76

> There’s news. And there’s huge news. And there’s planet-sized news. And then there’s news that’s big enough to eat a planet as a delicious breakfast snack. And the latest bit of Marvel casting news is firmly in the final category – a much-anticipated role that finally puts a face to a gigantic name. Yes, the MCU is finally preparing to introduce legendary cosmic world-chomper Galactus in next year’s The Fantastic Four, and the powers that be have found their man: British actor Ralph Ineson. > > According to The Hollywood Reporter, Ineson will be donning the funky purple headgear and going head-to-head with the new Fantastic Four line-up – that’s Pedro Pascal’s Reed Richards, Vanessa Kirby’s Sue Storm, Joseph Quinn’s Johnny Storm, and Ebon Moss-Bachrach’s Ben Grimm. Ineson is still beloved as ‘Finchy’ from the original UK version of The Office – but he’s no stranger to bigger productions and genre fare. He played Death Eater Amycus Carrow in the later Harry Potter films, entered VR worlds in Spielberg’s Ready Player One, played the Green Knight in The Green Knight, and has regularly collaborated with Robert Eggers, on The Witch and The Northman. Later this year, he’ll appear in Eggers’ Nosferatu, following up his most recent big-screen role in The First Omen. He’s also currently shooting Gullermo del Toro’s Frankenstein. > > Ineson himself responded to the news in gloriously casual fashion: "World devouring cosmic villain is it? I’ll see what I can do."

Second time I watched it, first time was during its theatrical release.

Still a very powerful movie. The slow rhythm and the cinematography create a very heavy atmosphere, fit for the universe and message the movie conveys.

Some of the shots give a Dune vibe, nice to see this so many years before the first Dune movie.

Definitely recommended if you like SF and dystopian universes

Honestly, I was slightly let down by the experience fidelity-wise. Because of the CGI used, many elements were blurry here and there and because of the composite shots combining real elements with CGI, there were some moments where for example Jar Jar Binks would be blurry but the background would look normal. Also there were these weird pixelated colored dots that'd appear onscreen every five minutes or so.

But hey the audio was fine and the movie is WAY better than I remember.

Don't count on streaming.

https://www.popsci.com/diy/save-dvd-blu-ray-discs/

cross-posted from: https://feddit.uk/post/11492759

> > The original trilogy of Star Wars films, spearheaded by George Lucas were critical and commercial successes. However, in 1997 Lucas released the “Special Edition” of the films for the trilogy’s 20th anniversary, which featured extensive changes to the original theatrical cuts. > > > > The original cuts have since become scarce. However, a group of Star Wars fans, known as Team Negative One have reportedly almost completely digitally restored the original cuts in 4K using 35-millimeter prints of the original trilogy. > > > > The project is headed by Robert Williams, who along with his team have spent almost a decade restoring the films. > > > >> “They’re not really upset that he made the changes, because some of them are pretty cool and actually make the films better. They’re really upset that he didn’t also release the original version alongside it. Just put two discs in the box. We’d have been happy.” > > > > Williams made the above statement to The New York Times, explaining the motivation behind preserving the original cuts of the trilogy. However, the publication also noted that Team Negative One’s activities were not authorized as they worked with film reels meant to be destroyed or returned. Hence, the legality of Team Negative One’s restored versions of the original trilogy is questionable. > > > > ... > > > > Given Lucas’ strong feelings about the Special Editions, it is evident that the filmmaker would be unhappy with fans trying to preserve the original cuts, which he referred to as “rough drafts” in the past. > > > > According to reports, Lucas allegedly voiced his disappointment with fans demanding a high-resolution release of the original cuts in the following words: > > > >> “Grow up. These are my movies, not yours.” > > > > Similarly, when the National Film Registry aimed to preserve 1977’s Star Wars (later retitled Star Wars: Episode IV – A New Hope), Lucas reportedly refused to provide them with a copy of the original theatrical release. > > > > Lucas stated that he would no longer authorize the original version’s release, reaffirming that he did not intend for the audience to view the theatrical cuts. After Disney acquired the franchise, Lucasfilm President Kathleen Kennedy also stated that Lucas’s changes to the theatrical cuts would remain untouched. Hence, it is safe to say that Lucas would certainly be unhappy with fans still trying to preserve the original cuts.

> After an eight-year gap between Maps to the Stars and Crimes of the Future, thankfully the wait for the next feature from David Cronenberg isn’t nearly as long: The Shrouds will premiere this month at the Cannes Film Festival. It’s led by Vincent Cassel, Diane Kruger, Guy Pearce, and Sandrine Holt, and while U.S. distribution has yet to be confirmed, French distributor Pyramide Films will release it on September 25, 2024. Ahead of the world premiere, the first poster and a batch of new images have arrived. > > Here’s the synopsis: “Karsh, 50, is a prominent businessman. Inconsolable since the death of his wife, he invents GraveTech, revolutionary and controversial technology that enables the living to monitor their dear departed in their shrouds. One night, multiple graves, including that of Karsh’s wife, are desecrated. Karsh sets out to track down the perpetrators.” > > Clocking in at 116 minutes, it’s just a hair longer than Cronenberg’s previous longest films Dead Ringers and Naked Lunch, which both ran 115. The film features returning collaborators cinematographer Douglas Koch and editor Christopher Donaldson, who shot and edited Crimes of the Future, respectively, and the Canadian director’s longtime composer Howard Shore.

> A struggling actor with a partially paralyzed face and a speech impediment writes a script that a big movie studio wants to buy, but he refuses to sell it unless he gets to play the lead. Turning down an offer of life-changing money, he instead works for pennies to get the movie made with himself in the starring role. The movie becomes the biggest box office hit of 1976, notching ten Oscar nominations and winning Best Picture. The true story of the making of the iconic movie Rocky.

https://www.cbr.com/the-crow-original-theaters-30th-anniversary/

> Though one of the more visually standout moments in the sequel, cinematographer Greig Fraser reveals that Dune: Part Two's black and white planet initially scared Warner Bros. Adapting the second half of Frank Herbert's sci-fi epic novel, the movie introduced the ruthless Harkonnen warrior Feyd-Rautha with a sequence set on his home planet of Giede Prime, in which he's seen battling Roger Yuan's Lieutenant Lanville in a gladiator arena. Unlike the rest of the movie, Fraser and director Denis Villeneuve set the entire sequence in black-and-white, giving a striking introduction to Feyd-Rautha in the sequel. > > During a recent interview with Screen Rant for the movie's home release, Greig Fraser reflected on the creation process of Dune: Part Two's black and white planet sequence. When asked what the biggest challenge was in the Giede Prime scene, the cinematographer recalled that it was the initial pushback from Warner Bros. over this appearance, namely as it was the first one the team shot on stage and left the studio asking about potential changes, only for Fraser and Villeneuve to stick to their guns and "followed the heart, not the head". Check out what Fraser explained below: > >> Greig Fraser: For us, that was the first shoot that we were doing onstage, that was the first thing we were going to be shooting for the main photography. So, we did a bit of pre-shooting in Italy with Florence and Charlotte, we had done a couple of days pre-shooting, but this is the first real shoot that we were gonna be doing onstage that was going to be shown to the studio. It was a bit of a bold step that we decided to shoot in this format, because the worry was that, effectively, people who were not there would watch this footage and go, "What the heck is that?" >> >> Suddenly, we're on phone calls going, "Can we fix that? Can we fix it in post? Can we add color? How do we resolve this?" But we made a choice and just went, "Well, we've made a choice. It's black and white, no color, we can't make it color. There's no way back. We've made a choice, and we're going one way." So that, for me, was probably the biggest — I wouldn't say challenge, the biggest consideration, where we had no way home. >> >> All those choices that you make on a movie, you can kind of braid your way out of it, you can resolve it back color wise, or you can cut your way out of it. This left us exposed, figuratively and literally, where there's no way we could change this later if we decided that was a bad idea. So, we just went for it. >> >> I am [glad we stuck to our guns], too. I am too, because there was a period of time where maybe we weren't going to do that. Instincts are a funny thing, because your heart says something, and then your brain says something else, and our brains both were going, "We shouldn't be doing this," but our hearts were like, "We got to do this." So yes, I think you're right, we followed the heart, not the head.

Will (@nelly32418@lemm.ee) just posted "Kodar: The Primordial God of Light and Ether", his latest short film, in this post: https://lemm.ee/post/31115977 (it is in the latest posts in this community, should be easy to find)

We thought it might be interesting to have an AMA session, and here we are!

For more information about Will: https://en.wikipedia.org/wiki/Will_Ropp

To convert the time to your local timezone: https://time.is/0900_7_May_2024_in_EDT

Please note that the thread is not the one for the questions, Will will open it on Tuesday.

Thank you Will!

> "First Look" Clip from Megalopolis.

> Here is an a clear, concise analysis of MEGALOPOLIS:

> “A man balances precariously on a ledge high above a once-grand city. The movie that follows is – at least in part – about an entire civilization teetering on a similarly precarious ledge, devouring itself in a whirl of unchecked greed, self-absorption, and political propaganda, while a few bold dreamers push against the tide, striving to usher in a new dawn. The man is called Caesar (Adam Driver), like the Roman general who gave rise to the Roman Empire, Cesar the labor leader who organized California’s farm workers in the 1960s, and a few other notably great men of history. But he is also clearly an avatar of myself – a grand visionary witnessing a once-great thing (call it cinema if you must) withering before his very eyes and determined to revivify it. And, after decades of planning, MEGALOPOLIS the movie is the powerful elixir i have produced: a sweeping, big-canvas movie of provocative ideas and relentless cinematic invention that belies its maker’s 85 years of age. I seem to have been born-again by a strike of filmic lightning, and the movie – no, the experience (complete with in-theater “live cinema”) – that has emerged feels at once the work of a film-school wunderkind unbowed by notions of convention, but also the work of a wizened master who knows much about life and the ways of the world. To paraphrase myself speaking decades ago about APOCALYPSE NOW, MEGALOPOLIS isn’t a movie about the end of the world as we know it, it is the end of the world as we know it. Only, where APOCALYPSE left us in a napalm-bombed fever-dream haze, MEGALOPOLIS, movingly, bestows on us a final image glowing with hope for the future.”

cross-posted from: https://lemmy.ml/post/15188270

> 1. The Marvels (Disney/Marvel) > - Budget: $219.8 million > - Box office: $206.1 million > - Net loss: -$237 million > 2. The Flash (Warner Bros./DC) > - Budget: $220 million > - Box office: $271.3 million > - Net loss: -$155 million > 3. Indiana Jones and the Dial of Destiny (Disney/Lucasfilm) > - Budget: $387 million > - Box office: $384 million > - Net loss: -$143 million > 4. Wish (Disney) > - Budget: $200 million > - Box office: $254.9 million > - Net loss: -$131 million > 5. Haunted Mansion (Disney) > - Budget: $150 million > - Box office: $147.5 million > - Net loss: -$117 million

For all those that enjoy a good dark comedy!

I have seen people praising and criticizing her, so I'm curious to see what people think

from !movies@kbin.social

cross-posted from: https://kbin.social/m/movies/t/1001973

> In a recent interview, actor Nicholas Galitzine opens up about his burgeoning career, his creative process, and his aspirations for the future. With a string

> If you answered correctly with "SpongeBob SquarePants!" you've likely heard of the square, sponge cartoon who made his TV debut 25 years ago on May 1, 1999 (before the official series launch in July 1999).

cross-posted from: https://kbin.social/m/movies/t/993157

> > > > > > Mike Leigh, the veteran director of “Vera Drake,” “Another Year” and “Happy-Go-Lucky,” will be honored at Malta’s Mediterrane Film Festival with its Career Achievement Golden Bee Award. > > > > > > > > > > > Leigh will also host a masterclass at the festival, the second edition of which is taking place June 22 to 30 in Malta’s capital city of Valletta. The director, who has earned seven Oscar nominations and won the Cannes Film Festival Palme d’Or for 1993’s “Naked,” will be in conversation with Adrian Wootton, chief executive of Film London and the British Film Commission. > > > >

!animation@lemm.ee

Thank you @darakan@lemm.ee for keep it active!

I'm talking about !moviesandtv@lemm.ee .

Just recently had a post (cross-post of CGI video posted here) removed for no reason (none stated at least) and then they banned me for asking why.

You can see it all in the modlog, filtered to just actions against me.

The lack of any engagement on why a post gets removed and trigger happy user banning just screams bad moderator culture to me.

I didn't realise they were like this before and now realise that an alternative place that's kinder and more open is important. I don't know how the other mods (I'm mostly an accidental mod) are here, but I get the feeling that this is a nicer place and I hope it stays that way (plus the growing user numbers probably reflects this?)

Anyway, just thought I'd share as you wouldn't know when this stuff happens unless someone tells you in another community.

Hope political/drama posts are ok (I didn't see anything in the rules against them).