'X-Men: Days of Future Past' receives Academy Award Nomination for "Best Visual Effects"

Congratulations to the Visual Effects team on X-Men: Days of Future Past on their Academy Award nomination. It was a great project to work on and I was happy with the result.

2015 VFX "Bake-Off" Recap

This weekend I attended the Visual Effects "Bake-Off" at the Samuel Goldwyn Theater in Beverly Hills. It was fascinating and entertaining look at the best visual effects in film for 2014, as presented by the visual effects supervisors and vendors who produced the final results. Previs was mentioned at times as well, which was nice. At this point in filmmaking, previs settles so many storytelling, art direction, and composition decisions early on, which allows the final vendors to concentrate more of their limited time on producing photorealistic effects.

Going in to the bake-off, the finalists to choose from for the Academy Award for Best Visual Effects are (bold = projects I worked on):

Captain America: The Winter Soldier
Dawn of the Planet of the Apes
Godzilla
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Interstellar
Maleficent
Night at the Museum: Secret of the Tomb
Transformers: Age of Extinction
X-Men: Days of Future Past

After watching so many incredible shots throughout the bake-off, it was clear this is a very tough, competitive year. I have a feeling Marvel Studios will emerge with only one nominee. Transformers will probably be left out again. I have not seen Maleficent, but I know it did very well at the box office, which makes it a strong contender against other kid-friendly movies like Guardians and Godzilla. When all the dust clears, I think the finalists will be:

Dawn of the Planet of the Apes
Godzilla
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies
Interstellar

X-MEN: DAYS OF FUTURE PAST is now in theaters

Now in theaters!

It's been a week, and Godzilla has had the biggest worldwide opening of 2014. However, all the media websites are projecting X-Men: Days of Future Past to do even better. Reviews are stellar, so I hope the readers of this blog make some time to see it this weekend. When you do, leave a comment and let me know what you thought.

The particular scenes I worked on have a bit of a spoiler in them, so I'll mention them in the comments section for those who would like to know what they can look for (other than Stan Lee's cameo, of course). Excelsior!

New trailer for X-MEN: DAYS OF FUTURE PAST, and a spoilers S.O.T.U.

There was so much movie news the other week, I nearly forgot to write about the new trailer for X-Men: Days of Future Past. It was the second Bryan Singer movie I worked on, after Jack the Giant Slayer, and since the X-Men comics series were my favorites growing up, working with these characters was the culmination of much geeky childhood enthusiasm (like The Avengers and Teenage Mutant Ninja Turtles projects were). The movie will be overflowing with entertainment for fans of the comic, especially those who read the "Days of Future Past" series.

Speaking of geeky enthusiasm, the guys over at Schmoes Know noticed an unusual trait of the video: it managed to focus on the movie's broad themes, without spoiling any of the actual plot. That's not easy to do, and a relatively rare thing in the field of trailers. Historically, trailers have been heavy on spoilers and intentionally throw the juiciest parts of a movie out to attract viewers. The trailer for 1949's Casablanca is a typical example from its time, using heavy-handed devices like a campy voiceover, sensationalized score, and dominating overlaid text:

Considering the movie is among the best of all-time (and has the best screenplay of all time, according to story gurus like Robert McKee), it's almost odd the marketing for it seemed so desperate--at least compared to the more refined design tastes of today.

Flash-forward fourteen years, and you have Alfred Hitchcock's The Birds trailer (1963), which went completely in the opposite, minimalist direction. Using clips from the movie in a straightforward manner, the intensity it contains comes directly from the movie itself:


When the 1980s hit, computers were offering sleek new digital aesthetics, and the trailers of that decade relied on their eye-grabbing flash to push a new era of action films:


Contemporary advertising companies have taken the art of the movie trailers to another level, in part by creating multiple versions tailored for different outlets. Theatergoers are often treated to a two-to five-minute long trailer, often mimicking a three-act structure of its own. Like this trailer for The Dark Knight Rises shows, today's trailers can be long and story-driven without relying on much smoke and mirrors from the editing of the trailer itself. The quiet opening works well, and Hans Zimmer's score closes it out nicely at the end:



Now, onto the topic of spoilers. Working in previs is entirely about being shown the most dramatic and action-oriented sequences of a movie. You are exposed to a disproportionate amount of movie spoilers, and if you're lucky, they are for movies you are especially excited to see. Squaring this with my passion for helping make big Hollywood movies has not always been easy, and there are times where I try not to have certain moments given away for films I did not work on and am not familiar with the original material (comics, books, etc). It was fantastic to watch something like "Battlestar Galactica" without knowing any of the plot points ahead of time, but I doubt I'll care too much about knowing who the real "Winter Soldier: is when I get my socks knocked off by it.

Marketing for modern movies relies on new material being put out to keep websites abuzz with interest. At some point this is bound to reveal too much. How much is too much in your eyes?



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For further reading on trailers, the New York Times article "Dissecting a Trailer: The Parts of the Film that Make the Cut" is a must-read.

Buzzfeed's 12 Posters that Totally Spoiled the Movie