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Decorate your Home to fit your personality! We are here to help. Go to help center. MovieStarPlanet 2 will be a brand new addition to the MovieStarPlanet universe and the first game built on the…. Our two games were nominated for the category of Best Live Game by Spilprisen! Robert De Niro gaining a lot of weight for " Raging Bull " has become a measuring-stick for what good acting should look like, but there are many ways to have a career, and Reynolds' career was a throwback to an earlier type of fame, fame based on personality or essence.

I may disagree with Rifkin's take on what "went wrong" in Reynolds' career, but Reynolds himself seems to have misgivings about his choices along the way.

Rifkin has given Reynolds opportunity to let us see what it's like to be him, and Reynolds does so without strain, without pleading for sympathy, just an exhausted acknowledgement of his own truths. His quiet monologue where he "says goodbye" to Knoxville is so beautifully clear and true it seems "captured" rather than "performed. Reynolds holds the center of "The Last Movie Star.

If you want to know why Reynolds is great, watch him when he's listening to someone talk. There's one scene in the car where Lil, at the wheel, rattles off her lengthy and byzantine pharmacological history. Rifkin places the camera on the driver's side of the car, with Lil in the foreground and Vic in the passenger seat.

Rifkin never cuts. In his listening, Reynolds doesn't "comment" on what he hears. He doesn't telegraph to us his reaction to the drug-cocktails. He is in the moment. Total focus on her. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews.

Photo Gallery. Film portal. Journal of Cultural Economics. Moul, C ed. Cambridge: Cambridge University Press. The Star Machine. Random House. Sudha Ramachandran June 2, Asia Times. Archived from the original on February 5, Retrieved June 13, Joseph November 20, Press Trust of India.

Archived from the original on July 6, Open win clinches it — golf rules need to be changed. Open was played on the South Course at Oakland …. Never mind …. The tournament will take place at the ….

Danny Lee made an early exit from the U. Since the s, Mike Davis has been one of the most influential people in golf. His increasing responsibilities at the U. Lucas began outlining the story; Anakin Skywalker rather than Obi-Wan Kenobi would be the protagonist, and the series would be a tragedy examining Darth Vader's origins.

A relic of the original outline was that Anakin would, like his son, grow up on Tatooine. This was the final step toward turning the franchise into a saga. Lucas began writing the Star Wars prequel trilogy on November 1, The screenplay of Star Wars was adapted from Lucas' page outline that was written in , which he designed to help him keep track of the characters' backstories and events that occurred before the original trilogy.

Eventually, Anakin's younger age led Lucas to rewrite his participation in the movie's major scenes. The larger budget and possibilities opened up by the use of digital effects made Lucas "think about a much grander, more epic scale—"which is what I wanted Star Wars to be". The central plot is Palpatine's intent to become Chancellor, which leads to the Trade Federation's attack on Naboo, the Jedi being sent there, Anakin being met along the way, and the rise of the Sith Lords.

As with the original trilogy, Lucas intended The Phantom Menace to illustrate several themes throughout the narrative.

Duality is a frequent theme; Amidala is a queen who passes as a handmaiden, Palpatine plays on both sides of the war, among others. All three approached directors told Lucas that he should direct the film, as they each found the project "too daunting.

Before Lucas had started writing, his producing partner Rick McCallum was preparing for the film. McCallum stated that his experience with The Young Indiana Jones Chronicles led to many of his decisions on The Phantom Menace , such as long-term deals with actors and soundstages, the employment of recent graduates with no film experience, and the creation of sets and landscapes with digital technology. In April , McCallum started searching for artists in art, architecture and design schools, and in mid-year he began location scouting with production designer Gavin Bocquet.

Within three to four months of Lucas beginning the writing process, Chiang and his design team started a two-year process of reviewing thousands of designs for the film. With the exception of the Gungan city, which had an art nouveau -inspired visual, these locations would be given distinctive looks with some basis in the real world.

The concept drawings of Ralph McQuarrie for the original trilogy served as the basis for Mos Espa—which was also inspired by old Tunisian hotels and buildings and had touches such as a market place to differentiate it from A New Hope ' s Mos Eisley—and Coruscant, in particular a metropolis design that became the basis for the Senate. Chiang uses that orientation to base the droids on the Imperial soldiers, only in the same style of stylized and elongated features seen in tribal African art.

Terryl Whitlatch , who had a background on zoology and anatomy, was in charge of creature design. Many of the aliens are hybrids, combining features of real animals. At times, entire food chains were developed, even though only a small percentage of them would appear in the film. Whitlatch also designed detailed skeletons for the major characters and facial muscles on Jar Jar Binks as a reference for ILM's animators.

Each creature would reflect its environment; those on Naboo were more beautiful because the planet is "lush and more animal-friendly", Tatooine has rough-looking creatures "with weather-beaten leathery skin to protect them from the harsh desert elements", and Coruscant has bipedal, human-looking aliens. Stunt coordinator Nick Gillard was recruited to create a new Jedi fighting style for the prequel trilogy. Gillard likened the lightsaber battles to a chess game "with every move being a check ".

Because of their short-range weapons, Gillard thought that the Jedi would have had to develop a fighting style that merged every swordfighting style, such as kendo and other kenjutsu styles, with other swinging techniques, such as tennis swings and tree-chopping.

While training Liam Neeson and Ewan McGregor, Gillard wrote a sequence that lasted around 60 seconds and intended to be around five or six sequences per fight. The preference of hand-to-hand combat was intended to give a spiritual and intellectual role to the Jedi. Lucas decided to make elaborate costumes, because the film's society was more sophisticated than the one depicted in the original trilogy. Designer Trisha Biggar and her team created over 1, costumes that were inspired by various cultures.

The Jedi costumes followed the tradition from the original film; [45] Obi-Wan's costume was inspired by the costume that was worn by Guinness. Lucas said he and Biggar would look at the conceptual art to "translat[e] all of these designs into cloth and fabric and materials that would actually work and not look silly". Biggar also consulted Gillard to ensure that the costumes would accommodate action scenes, and consulted the creature department to find which fabrics "wouldn't wear too heavily" on the alien skins.

A huge wardrobe department was set up at Leavesden Film Studios to create over costumes for the main actors and 5, for the background ones. Nute Gunray 's Thai accent was chosen after Lucas and McCallum listened to various languages to decide how the Neimoidians would speak. After Samuel L. Jackson expressed interest in appearing in a Star Wars film, he was approached by casting director Robin Gurland to play Windu.

Lucas and McCallum were so impressed with the test tape that they gave Park the role of Maul. His voice was considered "too squeaky" and was dubbed over in post-production by Peter Serafinowicz. Silas Carson was cast as Nute Gunray because another actor was uncomfortable with the costumes used by the Trade Federation characters, which were hot, exerted a lot of pressure on the bearer, and took about 15 minutes to apply.

Hugh Quarshie considered the part of Panaka as "a good career move" and a production that would be fun to make. As she prepared the script for her directorial debut The Virgin Suicides , Sofia heard Lucas would make a new Star Wars film and asked him if she could accompany him during filming.

Lucas offered Coppola a role in the royal entourage, which she accepted because it "seemed like a good vantage point to watch without getting in the way". Filming began on June 26, , and ended on September 30 of that year, primarily taking place at Leavesden Film Studios in England. Leavesden was leased for a two and a half year period so the production company could leave the sets intact and return after principal photography had been completed.

The Tunisian desert was again used for the Tatooine scenes; [63] Mos Espa was built outside the city of Tozeur. On the night following the third day of shooting in Tozeur, an unexpected sandstorm destroyed many of the sets and props.

The production was quickly rescheduled to allow for repairs and was able to leave Tunisia on the date originally planned. Scenes with explosions were filmed on replica sets in Leavesden.

A binder with the film's storyboards served as a reference for live-action filming, shots that would be filmed in front of a chroma key blue screen, and shots that would be composed using CGI.

The sets were often built with the parts that would be required on screen; often they were built only up to the heights of the actors. Chroma key was extensively used for digital set extensions, backgrounds, or scenes that required cinematographer David Tattersall to seek powerful lamps to light the sets and visual effects supervisor John Knoll to develop software that would remove the blue reflection from shiny floors.

Knoll, who remained on set through most of the production, worked closely with Tatterstall to ensure that the shots were suitable to add effects later. The cameras were fitted with data capture models to provide technical data for the CGI artists. Some scenes, mostly of elements filmed by the special effects team, were shot on high definition, digital video tapes to test the performance of digital recordings, which Lucas and McCallum considered the next logical step because of the amount of digitizing—an expensive process compared to recording directly on digital media—for the compositing of computer-generated effects.

All future films would be shot using Sony CineAlta high-definition video cameras. The visual effects crew did not like the original results and crafted Fode and Beed as an entirely computer generated alien. Editing took two years; Paul Martin Smith started the process in England and focused on dialogue-heavy scenes. Ben Burtt —who was also the film's sound editor —was responsible for action sequences under Lucas' supervision.

Non-linear editing systems played a large part in translating Lucas' vision; he constantly tweaked, revised, and reworked shots and scenes. The final sound mix was added in March , and the following month, the film was completed after the delivery of the remaining visual effects shots. The film saw breakthrough in computer generated effects.

About 1, of the shots in The Phantom Menace have visual effects. The scene in which toxic gas is released on the Jedi is the only sequence with no digital alteration. Until the film's production, many special effects in the film industry were achieved using miniature models, matte paintings, and on-set visual effects—although other films had made extensive use of CGI. Knoll previewed 3, storyboards for the film; Lucas accompanied him to explain factors of the shots that would be practical and those that would be created through visual effects.

Knoll later said that on hearing the explanations of the storyboards, he did not know how to accomplish what he had seen. The result was a mixture of original techniques and the newest digital techniques to make it difficult for the viewer to guess which technique was being used.

Knoll and his visual effects team wrote new computer software, including cloth simulators to allow a realistic depiction of the digital characters' clothing, to create certain shots. Another goal was to create computer-generated characters that could act seamlessly with live-action actors. While filming scenes with CGI characters, Lucas would block the characters using their corresponding voice actors on-set. The voice actors were then removed and the live-action actors would perform the same scene alone.

A CGI character would later be added into the shot to complete the conversation. Lucas, who had previously confronted problems with the props used to depict R2-D2, allowed ILM and the production's British special effects department to create their own versions of the robot.

Lucas originally planned to create many of the aliens with computer graphics, but those that would be more cost-effectively realized with masks and animatronics were created by Nick Dudman's creature effects team. Dudman's team was told where the creatures would be required six months before principal photography begun, and they rushed the production.

The Neimodian suits, which were originally intended as digital characters, were delivered one day before they would be required on set.

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