#ManifestoMovie Contest: win tickets to an EXCLUSIVE TATE SCREENING on November 15 (UK only)

#ManifestoMovie Contest: win tickets to an EXCLUSIVE TATE SCREENING on November 15 (UK only)

Hello everyone! We have great news to UK Students!

Modern Films is promoting a contest for the special screening of Manifesto on November 15.

Students, as members of a socially and creatively engaged society, we want to hear from YOU – what do you believe in?
Post your 12 word manifesto on Facebook, Instagram or Twitter using #ManifestoMovie to win tickets to an EXCLUSIVE TATE SCREENING and Q&A on November 15.
Manifesto: Live from Tate Modern will include an exclusive pre-recorded ‘In Conversation with Cate Blanchett and Julian Rosefeldt’, plus live on-stage Q&A with the film’s director Julian Rosefeldt.



MANIFESTO pays homage to the moving tradition and literary beauty of artistic manifestos, ultimately questioning the role of the artist in society today. It draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogme 95 and other artist groups.


Facebook: /ManifestoTheFilm
Twitter: @ManifestoMovie
Instagram: @manifestomovie

(Travel not included)

For more information:

Cate Blanchett & Jack Black in a funny video from the set of “The House With A Clock In It’s Walls”

Cate Blanchett & Jack Black in a funny video from the set of “The House With A Clock In It’s Walls”

Hey everybody!

Actor Jack Black has shared a hilarious video from the set of “The House With A Clock In It’s Walls”. In the clip, the cast (Cate included) is seen sharing a funny moment while Led Zeppelin’s song, the immigrant is playing in the background. Watch the video below!

Daddy’s School Of Ragnaroth from the set of “The House With A Clock In It’s Walls”

A post shared by Jack Black (@jackblack) on

New behind the scenes images from Thor: Ragnarok

New behind the scenes images from Thor: Ragnarok

Hello folks!

Rising Sun Pictures (RSP), Australia’s premiere visual effects studio, produced more than 170 final visual effects shots for Thor: Ragnarok¸ the new film from Marvel Studios. Their site released a teaser about the work done for this film featuring some BTS images. The full Thor: Ragnarok VFX breakdown will be released online soon! Enjoy the images and the video!

Rising Sun Pictures Hammers Out Visual Effects for Marvel Studios’ Thor: Ragnarok

Rising Sun Pictures (RSP), Australia’s premiere visual effects studio, produced more than 170 final visual effects shots for Thor: Ragnarok¸ the new film from Marvel Studios. Working under the supervision of Director Taika Waititi, production Visual Effects Supervisor Jake Morrison and production Visual Effects Producer Cyndi Ochs, RSP’s team spent more than 18 months helping to craft some of the film’s most memorable, creative and technically challenging scenes.
Highlights of RSP’s contributions include a sequence dubbed “Val’s Flashback” involving a furious battle between the film’s villain, Hela (Cate Blanchett), and an army of Valkyrie. The team also played a key role in “The Palace Battle”, an epic confrontation between Hela and Thor (Chris Hemsworth), and in reimagining the Bifröst Bridge, a magical rainbow that links realms of the Norse cosmos. The project is especially noteworthy for the standout work of RSP’s expanded character animation department, who were tasked with creating photo-real horses, Valkyrie and skeleton soldiers, as well as other digital characters.

“We were honoured to be selected by Marvel Studios as a vendor on this film, and proud of the work that we delivered,” says Managing Director Tony Clark. “We have been systematically growing our human and technical resources, especially in character animation, to tackle complex, large-scale projects, while maintaining the artistry, craftsmanship and attention to detail that are hallmarks of RSP. The results are evident in Thor: Ragnarok.” Nearly 200 artists took part in the project for RSP.

Val’s Flashback, which plays out in artful slow motion under glittering light, describes a fatal encounter between Valkyrie warriors and Hela, the Asgardian Goddess of Death. The female warriors, riding winged steeds, emerge from portals in the sky only to be mercilessly struck down by Hela using her magical powers.
Led by Senior Visual Effects Supervisor Tom Wood, the RSP team began working on the scene in early 2016 during pre-production. Artists prepared 3D pre-visualisation encompassing every element of the sequence to serve as a guide for subsequent production and post.

Production was conducted on a soundstage in Queensland. Slow motion effects were achieved by capturing actor performances via a Phantom camera operating at 900 fps. The imagery was given a further surreal cast through the use of a rotating lighting system that bathed the scene in undulating patterns of light and shadow.

RSP On-Set Visual Effects, Concept and Pre-Vis Supervisor Adam Paschke headed an on-set team that gathered practical data and provided technical advice during the shoot. Production was followed by months of character animation, visual effects, 3D, matte painting and compositing at RSP’s Adelaide studio to produce the finished scenes.

RSP was a natural choice for the flashback scene due to its considerable expertise in slow motion visual effects. For the films X-Men: Days of Future Past and X-Men: Apocalypse, the studio provided the visual effects magic for several scenes demonstrating the hyper-speed abilities of the mutant Quicksilver. Thor: Ragnarok, however, takes slow motion into a new, and technically challenging, direction. “Taika and Jake conceived a fantastic scene,” notes Wood. “We pre-visualised their concept, attended the shoot and, as soon as editing was complete, went straight into production. The pre-vis broke the sequence into multiple layers, each of which was shot separately, and reassembled bit by bit in post.”

“The flashback sequence involved high-level creature animation and digital characters, as well as very detailed compositing, due to the unusual lighting effects,” adds Visual Effects Executive Producer Gill Howe. “It was also a challenge because it was a standalone piece, and a significant scene in the movie. It had to be unique, different, and something that had never been done before.”
Considerable attention went into the creation of the Valkyrie and horses. Often revealed in close up, the animated characters had to be photo-real. “We spent a lot of time in look development, making sure that their fur and feathers were right, and that the muscle system moved like a real horse,” explains Head of Creatures Tim Mackintosh. “If they had been monsters, we would have had more leeway, because monsters aren’t real, but everyone is familiar with horses. Although these were mythical, winged horses, audience members will have an idea for how they should look and move.”

RSP also took great care in preparing Hela’s accoutrements, including her cape, the cowl she wears on her head, and her menacing antlers. Artists initially developed concepts for Hela’s costume for a trailer that screened at Comic Con in 2016 but continued to refine the look through later stages of production. “It was quite tricky,” recalls Head of Lighting/Look Development Shane Aherne. “We needed to remain consistent with the assets’ practical counterparts and with their representations in the original Marvel comics. But we also needed to accommodate Cate Blanchett’s performance and the action of the scene.”

RSP utilised digital characters to perform actions impossible for a human or to facilitate integration into the scene. This was especially important for characters that exhibited magical powers or super-human strength. In most instances, the character’s motion was derived from motion capture data from the actor. “Motion capture will get you 90 percent of the way there, but the rest has to be sculpted to the CG character,” notes Mackintosh. “It’s a labour-intensive process and one that requires artists with a lot of different skill sets.”

The Palace Fight depicts a confrontation between Hela and Thor that plays out over some 60 shots. Although live action elements were shot on a practical set, the production ultimately chose to have the entire background replaced with a 3D environment created by RSP. “We produced a palace that was much bigger and with a higher ceiling than was possible on any stage.” explains Wood. “It was more spread out and more opulent.”

In the finished scene, Thor is the only non-digital element. “Replacing the background in its entirety created its own challenges,” observes 2D Lead Jess Burnheim. “It meant that we had to extract Chris Hemsworth from the plate with no blue screen. We literally rotoscoped everything, including his hair. It was painstaking work.”

The Bifröst Bridge appears in another scene involving a pitched battle, this one pitting Hela against Thor and Loki. “The Bifröst has been seen in previous Marvel productions, but in Thor: Ragnarok it has a unique look because we’re inside it,” Burnheim explains. “We had old reference to work from, but we had to develop the effect further and create something that would work with the plate photography.”

“One thing that happens in the scene is that Thor is pushed into the side of the bridge and it shatters,” he adds. “That raised the question, what is it made of? Is it light? Is it physical? It took many iterations to get it to feel right.”
RSP also contributed to a scene featuring Hela’s troop of skeleton soldiers, which again involved the use of digital characters. Additionally, artists created a 3D version of Thor’s famous hammer for a scene where it is crushed by Hela.

Despite the project’s complexity, lengthy schedule, and growing shot list, the work proceeded smoothly. Mackintosh attributes that to the unique structure of RSP’s production pipeline. Its integration of animation, character development and compositing facilitates collaboration between departments and allows the studio to turn out iterations and finished work fast.

“Animation and creatures are separate entities at many studios, but we’ve unified the departments in a single smooth pipeline,” Mackintosh says. “When working to deliver shots, there is always a lot of back and forth between the teams, and we feel it’s vital to keep them working together.”

Howe notes that the cohesiveness of the RSP team (most senior artists have been with the studio for years) also promotes efficiency and delivers cost savings.

“As always, we gave our all to ensure that everything we delivered was spectacular and exceeded expectations,” says Howe. “The results are a testament to the dedication and creativity of our artists, and the strength of our pipeline in managing photoreal creature animation; complex, interactive lighting and look development. It’s a big step forward for RSP.”

via Rising Sun Pictures

New interview with Cate Blanchett for Giorgio Armani Sì Nacre Sparkling Limited Edition fragrance

New interview with Cate Blanchett for Giorgio Armani Sì Nacre Sparkling Limited Edition fragrance

Hey guys!

New interview with Cate. Enjoy!

When Sarah Met Cate

After a late-night dinner, a front row appearance at Giorgio Armani’s SS18 show and a day of interviews, Cate Blanchett might well be talked out. As we wait to meet her, watching a screening of her new Sì perfume campaign – she has been the face of the perfume for the past four years – the PR warns that the Australian actress can be “succinct”. The sound of Milan traffic filters up to the penthouse of the Armani hotel. Blanchett strikes a model figure, over 5’8 and willowy, in a perfectly fitting, sharp-shouldered mannish red houndstooth suit; the quirky sunglasses she wore earlier in the day inspired an instant waiting list, and her hair, newly chopped to the jawline, makes a strong case for going shorter in your late 40s. But there’s no entourage, no fuss. And she’s instantly direct and chatty, confessing to being “a bit sick of the sound of my own voice!” Frosty, no; razor-sharp, certainly, and with mesmerising, bona fide Hollywood star quality. Having a meaningful chat in a strictly monitored time slot is always going to be a challenge, but Blanchett is a master at making it feel almost natural and spontaneous. We can now capture a little of her starry quality with the new limited edition version of Armani’s bestselling Sì fragrance, Sì Nacre Sparkling, the palest nude-pink scent that veils skin with its warm gourmand notes and light-capturing sheen. Shaking the bottle is like watching the most sophisticated snowglobe you’ve ever seen.

Blanchett has had a soft spot for Ireland since filming Veronica Guerin here in 2002. “We’ve been back to visit friends and for short bursts but I haven’t worked in Ireland again and I would really love to. I’d love to work in the theatre there and now we’ve moved back to the UK that might be much more possible; we had a wonderful time there.” I have an instant image of our own Cillian Murphy and Blanchett teaming up for a blue-eye-off onstage … She mentions having wanted to work with director of the moment, Ivo van Hove, “for over a decade” – surely a killer combination.

At this year’s Emmy awards, Blanchett’s contemporary, Nicole Kidman, talked about creating a series because of the lack of interesting roles available for women. Blanchett has certainly found a few, with upcoming parts including a Marvel villainess in Thor, satirical comedy Where’d you go, Bernadette?, and all-female Ocean’s Eight, as well as appearing on Broadway last year. “I think we are entering a time when women no longer want to guard their successes or their stumbling blocks,” she says, “but rather share them and debrief with other women.”

She’s made careful choices from the beginning: “Straight after I played Elizabeth the First [in 1998], there were a whole load of scripts that came my way that were ostensibly the same character – a woman in a man’s world – but with different costumes. And they were leading roles, but I thought, I don’t want to tell this same story, and so I took small roles, thinking, ‘no one will watch me because I die on page nine, but I haven’t tried that sort of character before,’ or ‘I’d like to work with that director’, and so things that other people rejected I saw an opportunity in. A director friend of mine said to me, you’ve got to stop taking small roles, you’re a leading lady … But I think it was just having the presence of mind to just follow my nose a little bit. And not try and get anywhere – I think there’s a certain way to develop a career and some people get onto a treadmill very quickly and unthinkingly. And that may suit them. But I’m certainly glad that I meandered, and will probably continue to do so. For everything you say yes to, there’s a hundred things that you have to say no to for one reason or another …”

Blanchett’s recent work for an art installation, Manifesto, directed by Julian Rosefeldt, was another unconventional choice, pushing the actress to take on 13 different characters in a very short space of time. “It was all challenging but especially the rapidity with which we shot: we filmed it all in about ten days and we had a day to work out what all the looks were going to be, and then there was so much text to learn. Every night I’d go home and have to adopt a new voice – it was literally like doing stand-up; there was no time to prepare, you just had to do it. And I loved the instinctual responses to it. All of it was daunting, but you know when you’ve got a huge task, there’s no time to be frightened. And I love being so outside my comfort zone. When the challenge is so enormous, you just have to throw yourself at it. It was very intense, but also hilarious.” Originally created to be shown in a museum, it was shown at the London Film Festival last month and will be at Sundance in January.

When you have won two Oscars (for playing Katharine Hepburn in The Aviator, and for the troubled Blanche DuBois-inspired lead in Woody Allen’s Blue Jasmine), as Blanchett has, and juggled a family too, ambitions take on a new focus. Having adopted a daughter two years ago, and with three sons aged under 15, it’s fair to say Blanchett has her hands full before even reading a script. “You know the thing I really want to do? It’s to not act for a while – that’s what I really want to do. I really want to do some other things. I relished producing at the Sydney Theatre Company, and I think I’d really like to do more of that.” All her various recent work has taken its toll. “I have the most woefully large stack of books that have been a quarter finished, or almost attempted … and that’s part of why I really need to take a year. I think my brain and my heartbeat are operating at such a rapid rate at the moment, I just want it to slow down so I can think better, actually, and absorb more.”

Blanchett originally considered a career in the arts. “I was studying fine arts and economics and I thought I wanted to go into the visual arts, into curation. But this is a vocation, so I’m just grateful that I’ve lasted the distance, I suppose, and got a bit better at it, because you only get a bit better at it by doing it. You can be the most extraordinary violinist, but if you don’t get the chance to play, you don’t grow.” Art is still a passion, and Blanchett catches exhibitions when she can. “Recently I was filming in Pittsburg, and went to the Andy Warhol museum. I loved the top floor with all the video work and just sat there for hours watching it,” she enthuses. “Looking at his formative art school work and learning that he painted Russian icons when he was at college makes such sense, in that he went on to paint cinematic and social icons and objects – that was profoundly illuminating. Also they had this really interesting gallery there called the Mattress Factory, which had a lot of installations, including works by Sarah Oppenheimer; I think she’s a fantastic sculptor. And I saw the [Japanese artist] Yayoi Kusama retrospective in Seattle, which was fantastic.”

For all her longing for some time off, Blanchett is already attached to a Lucille Ball biopic, written by Aaron Sorkin – and she has so much more to say. “Time is short, so I like life to be rich as full as possible.” Meanwhile, I’m off to look for a houndstooth trouser suit …

Giorgio Armani Sì Nacre Sparkling Limited Edition fragrance is available nationwide, from €87.

Sarah Halliwell

via The Gloss

Vogue Italy Scans

Vogue Italy Scans

Good morning! We have the scans fom the last issue of Vogue Italy, enjoy!

Manifesto will tour China for the 5th Festival of German Cinema

Manifesto will tour China for the 5th Festival of German Cinema

Good afternoon! The 5th Festival of German Cinema is about to open its tour in several chinese cities, with multiple screenings of various movies, including Manifesto. According to the program, available online here, the movie will stop in Beijing, Chengdu, Shenzen and Nanjing. Detailed infos here.
The complete installation is touring China as well: at the HOW Art Museum of Shangai, until the end of the year. Don’t miss it!

Post Archive:

Page 3 of 230 1 2 3 4 5 6 230