Dan Dassow
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« Reply #180 on: May 16, 2009, 12:39:12 PM » |
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Globe and Mail linkWhen Vatican says no, Vancouver studio says yes FIONA MORROW From Saturday's Globe and Mail May 15, 2009 at 4:47 PM EDT Vancouver — "I'm sure when His Holiness the Pope gets the movie on Blu-ray, he's going to say: 'Wait a second! That's not the right statue.' He's going to realize."
Visual-effects supervisor Mark Breakspear is talking about how the Vancouver company he works for — CIS — recreated the inside of Rome's churches for Ron Howard's new movie, Angels & Demons. "We were never intending to do an architectural study," he continues. "So we didn't put statues everywhere they exist — we put them where they looked good." ...
That quality is why the company is fast becoming one of the industry leaders. They worked on the Harrison Ford thriller, Firewall, and Clint Eastwood's Changeling. Eastwood has returned to them for his next project, The Human Factor, about Nelson Mandela's post-apartheid presidency. Things are going so well, they're on a hiring drive — currently they employ 130 in Vancouver and about 70 people in their Los Angeles facility. ...
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Dan Dassow
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« Reply #181 on: May 25, 2009, 12:07:56 PM » |
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Backstage linkTop 25 Power Casting Directors in Film and TV May 24, 2009 The following is a list of the top 25 Power Casting Directors in film and television. We began with more than 100 candidates. In some cases, collaborations were so closely tied that we considered multiple people as one entity. Several drafts later, all 25 spots were cast. ...
Ellen Chenoweth
Ellen Chenoweth was first bitten by the casting bug in the mid-1970s when she took an office job at the Actors Studio. "I was a young girl exploring possibilities in New York," she says. "Lee Strasberg, Elia Kazan, and Arthur Penn were all there. I was putting together casts for Studio projects and people started calling me from outside for recommendations."
Having since served as casting consigliere to Clint Eastwood, Barry Levinson, and the Coen brothers, Chenoweth remarks that her New York residence keeps her in touch with many stage actors. For Changeling, she auditioned several on tape and sent the footage to Eastwood.
In addition to casting, Chenoweth occasionally has a hand in selecting music for movies. "I have done it a few times, such as on Wag the Dog, and I love it." ...
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Dan Dassow
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« Reply #183 on: August 31, 2009, 04:52:20 AM » |
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Society of Camera Operators ( link) In their own words: A Conversation with Stephen Campanelli, SOC on Changeling In 1994, I ended up working with Jack Green, Clint’s Director of Photography on a movie we did in China. I figured if I work really hard on that movie that hopefully Jack would mention my name to Clint. Circumstances just happened and we all ended up in a cornfield in Iowa doing “Bridges of Madison County” and that was my first film with him. I went up to him and said, “Mr. Eastwood, it is a pleasure to work for you, thanks for having me.” He said, “Call me Clint.” And that was it. I started out a huge, huge fan of his and now I’ve been working with him for the last 15 years. It’s just insane.
To work on one of his films and then to go and work on somebody else’s film is a real night and day thing. Everybody in this industry, from the top on down, should visit a Clint Eastwood set to see how movies are made and should be made. Just trust everybody. Get the greatest crew you can, the greatest cast, the greatest scripts like he does and tell a story. That’s exactly what his forte is.
Clint has an absolute trust in everybody in his crew. He doesn’t get involved in anybody’s job. He knows that you are a professional; if you give him your opinion, he’ll believe you. He’ll trust you. ...
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Dan Dassow
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« Reply #184 on: January 09, 2011, 01:16:11 AM » |
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« Last Edit: January 09, 2011, 01:33:53 AM by Dan Dassow »
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