#it finished filming in September - it started test screening in late May

[nicojoe]

objectively deranged that netflix used THE OLD GUARD as a selling point for an unrelated film only to completely ignore its own sequel during their Tudum event.

[j2memories]

Variety article (October 9th 2020)

‘Supernatural’s’ Jensen Ackles, Jared Padalecki on Their Final Scene Together, Moving onto ‘The Boys’ and ‘Walker’

Oct 9, 2020 9:00am PT

By Danielle Turchiano

The Winchesters’ work may not yet be done on “Supernatural,” but their portrayers, Jensen Ackles and Jared Padalecki, already have to think about shedding Dean and Sam and stepping into new characters.

The CW demon-hunting drama called series wrap in early September, with the guys sharing their final scene as on-screen brothers on Sept. 10.

“When I showed up, it was our last day of filming at the studios and it was a big day, script-wise. And our third AD, Emma — we call her G.G., which is short for ‘garden gnome,’ because she’s little — she came up to me and was already in tears; she was like, ‘It’s our last day at the studio.’ And I just said, ‘Nope. No, no no, another day at the office, business as usual, don’t start that s—.’ That’s how I do the work,” Ackles tells Variety.

With only days since between wrap and chatting with Variety, Padalecki points out that he doesn’t “know if I’ve unpacked” what that final brother moment fully means emotionally. He shares that he has been “avoiding really delving back into that mindset and what it means and what it meant.”

“Even though Jensen and Jared knew, ‘Hey “Supernatural’s” done on Friday; we finished on Thursday,’ we had to treat it like, ‘OK this may be the last minute of the Super Bowl, but we’ve still got plays to make’; we still have to be on point,” he explains.

“Supernatural” began airing the final seven episodes of its 15-season run on Oct. 8, with the world watching whether or not the Winchesters would be able to defeat God (Rob Benedict), who has been hell-bent (no pun intended) on destroying universes of late. Unlike seasons past, though, the episodes have wrapped ahead of time: The first five were finished in the spring, as the show was originally scheduled to end in May. When the coronavirus pandemic halted production, they had two episodes to go, which were completed amid the still-ongoing pandemic in early September.

“We didn’t let COVID stop any brother moments,” Padalecki promises, noting that protocol on-set had the co-leads getting tested every three days and only interacting with essential personal, such as each other, the director, cinematographer and their key makeup and hair artists.

“In those final moments, without giving away too much, one thing you’ll see in my opinion for me [is] the lines that separate the the character from the actor get heavily blurred,” Ackles says of Dean and Sam’s last scene together.

Because of schedule changes due to COVID, both Ackles and Padalecki were able to look ahead to what their next projects would be before finishing the arguably the longest-running one of which they will ever be a part.

Early this year, Padalecki booked the titular role in the CW’s reboot of “Walker, Texas Ranger,” simply titled “Walker”; for the first time in his career he will also be an executive producer on that project. In August, Ackles announced he would be joining the cast of Amazon Prime Video’s “The Boys” for the third season, playing the first superhero, Soldier Boy. Just yesterday, it was announced the Ackles also signed an overall deal with Warner Bros. Television Group.

“My new character, Walker, is different than Sam and so I’ve been spending time since they called, ‘That’s a wrap,’ getting back into that mindset. I was able to get into that mindset during quarantine, but I know as well as any actor that it takes a while to fully flesh out a character anyways — and it should,” says Padalecki. “If ‘Walker,’ the TV show, goes for three or four or five or six or seven years or whatever, then I hope he’s more fleshed-out and more developed than he was during the pilot. And so, I’ve done a lot of work — I’ve done the character work — and I’m going to start from there and let what happens between ‘action’ and ‘cut’ inform me more.”

Both actors say that no matter what new character comes their way, there have been invaluable lessons learned on the set of “Supernatural” that they will carry with them.

“The last 15 years was not just going to work, it was an educational experience. I learned a lot about everything I do. Jared and I didn’t go to school for this; we learned on the job. And so, the more on-the-job we have been, the more we have learned. I certainly never anticipated being this educated in what we do, and I think that that will only help us in what we do moving forward,” says Ackles.

Adds Padalecki: “I’m going to take Sam Winchester and the lessons I learned from ‘Supernatural,’ proudly, into every job I do — and probably outside of jobs, just as what kind of a human being I want to be.”

“Supernatural” airs Thursdays at 8 p.m. on the CW.

Watch Variety’s video interview with Ackles and Padalecki above.

Link to the article

[lokiondisneyplus]

After more than 40 years as an actor, Sheri Mann Stewart had finally taken the plunge to launch her own production company. A week after she wrapped shooting her first film for Mann Woman Productions, Atlanta went on pandemic lockdown.

Mann Stewart was suddenly left with a film on hold, an audition on hold, and the careers of her husband and two sons — all performers — on hold. Instead of ushering her first film — prophetically inspired by John Paul Sartre’s “No Exit” — through editing and post-production, she spends several hours each day on the phone trying to iron out issues with unemployment benefits that she has yet to receive.

“Nothing like this has ever happened,” said Mann Stewart an Atlanta native who most recently appeared in Tyler Perry’s Netflix feature film “A Fall from Grace.” “I think, one way or another, our industry will be changed.”

COVID-19 left actress Sheri Mann Stewart with the first film from her production company on hold, an audition on hold, and the careers of her husband and two sons – all performers – also in flux. She has spent time working on other projects including a new YouTube series to support LGBTQIA youth who may not be in supportive environments.

Like many other industries, the film and TV business has been shut down since mid-March, with only a few exceptions such as late-night talk shows and virtual versions of “American Idol” and “The Voice.” With plenty of content currently in the pipeline, streaming services and television networks have managed so far, but if production doesn’t restart soon, viewers will face a major drought of new shows to watch this fall.

Pressure is building to get production started as soon as possible, but the natural intimacy of a typical set with makeup artists, camera operators, producers, actors and production assistants constantly crossing paths, makes creating proper protocols a serious challenge.

“People are anxious to get back to work,” said Mark Wofford, general manager at Atlanta-based Production Consultants & Equipment, which provides motion-picture rental equipment. “But this has to be weighed against the need to make sure everyone is safe. It’s going to be a real balancing act.”

Georgia has become a major player in Hollywood production, courtesy of generous tax credits to film and TV production companies passed in 2008. It’s now the third-largest state for such content after California and New York. As the only state with no cap on its credits, Georgia has drawn big-budget films such as “Black Panther” and “The Hunger Games: Catching Fire.”

Despite Hollywood’s liberal leanings — some in the industry called for boycotts after Georgia’s 2016 religious liberty bill and 2019 heartbeat abortion bill — the Republican-led state legislature and three Republican governors have consistently embraced the tax credit system. At the recent Georgia Film Day on March 11, Gov. Brian Kemp spoke before 200 industry supporters in the state Capitol atrium, extolling the $2.9 billion in direct investment and 50,000-plus jobs the business brought into the state last fiscal year. Weeks later, Kemp would issue a statewide shelter-in-place order.

In May, the Georgia Film Office released a set of nonbinding best practices for film and television productions to consider during the pandemic. The guidelines included holding remote auditions and virtual location scouting as well as reducing the number of extras used on set and placing clear barriers between actors to be removed just before the director yells “Action!”

Local studios are preparing to reopen this summer as they await multiple unions to accept unified protocols. Earlier this month, a task force composed of the various unions and the Alliance of Motion Picture and Television Producers, sent approved health and safety guidelines to governors in California and New York with plans for final protocols to follow soon. “This document is an initial set of principles and guidelines that we all agree form a relevant and realistic first step to protecting cast and crew in the reopening of the entertainment and media industry in its two largest markets,” said a joint statement from unions, including the Teamsters, the Directors Guild of America and SAG-AFTRA. Face masks for live audiences, staggered mealtimes with no buffet-style setups, and daily screenings for COVID-19 along with a designated COVID-19 compliance officer, were among the recommended guidelines.

Studios have already begun to make big investments in COVID-19 friendly infrastructure. Since March, two of the largest studios in the metro area — Pinewood Studios in Fayetteville and Blackhall Studios in Atlanta — have each invested more than $1 million to retrofit their studios. One of the biggest costs: improving the HVAC systems on their sound stages and offices so they are comparable to that of hospitals in order to reduce the chances of airborne transmission of viruses. Major film and television productions can easily have hundreds of staff members working in tight indoor quarters, creating the kind of environment that public health officials have noted can increase the spread of COVID-19.

“I’ve had to become an expert in viral containment,” said Ryan Millsap, owner of Blackhall Studios. “Until March, I hadn’t given it a second thought. This is a big moment in our generation where disease has come to the forefront.”

Atlanta-based makeup artist Tracy Ewell has seen a virus or cold spread like fire on almost every production on which she has worked. She started toting a personal air filter to set up in the trailers and tents where she and her team spend hours getting actors camera ready. ”I am paid to be hygienic,” Ewell said. “I take full responsibility for my actor’s condition, but masks don’t work in my world.”

Ewell, who has worked as a department head on productions for Marvel and the Netflix drama “Ozark,” is not afraid of returning to set, but she knows that is a decision everyone will have to make for themselves. The initial industry guidelines for makeup artists included providing more time to allow for safety measures to be followed, but additional protocols need to be established before that kind of work can continue. “I would be comfortable having fewer people on set in my department if I knew they were going to have the time,” Ewell said. But more time means more money, and studios now have to make big investments at a time when they’ve posted big losses.

Just before the pandemic shut down productions nationwide, HBO finished its upcoming J.J. Abrams drama, “Lovecraft Country,” and Paramount wrapped Chris Pratt military science fiction movie “The Tomorrow War” at Blackhall. Millsap was about to sign with two other major studios for new productions when COVID-19 put the kibosh on that.

Since then, Millsap has generated zero revenue, shedding more than $1 million a month while keeping his 12 full-time employees on payroll. He said he has had enough money in the bank to keep his studio afloat but would be challenged if shows didn’t begin shooting by the fourth quarter. If all goes well, two major studios will begin pre-production at Blackhall in July with potential full-blown production by August or September, he said.

Frank Patterson, the head of Pinewood Atlanta Studios, said they have had to study every aspect of their business, from more limited security access to more sequestered work pods, dividing the studio into zones. They also hired a medical testing company, BioIQ, to handle the anticipated flood of COVID-19 tests they plan to use on a daily basis. “Some days, we’ll have 6,000 people on the lot,” he said.

The past couple of months have been “overwhelmingly stressful because I’m working with people I’ve known for decades,” Patterson added. “These are people I grew up within the industry. We have to make certain nobody gets sick. At the same time, these are friends who haven’t worked for months and have families to feed. We need to get this done now.”

Atlanta-based Tyler Perry Studios was the first in the country to announce detailed plans to shoot two of his BET television series in July. Perry has some advantages most other studios do not. He owns 330 acres of a former Army base and has at least 80 residences on the property which will enable him to more easily isolate crew and actors. He writes and directs his own TV series in a way that will enable him to finish shooting an entire season in less than three weeks. He has developed protocols to test everybody multiple times with contingencies in case anybody gets COVID-19. He has scaled back on-site crew and extras and is using his largest sound stage as a cafeteria with proper social distancing.

“It’s an enormous undertaking and an enormous cost to the budget,” Perry told Variety last month.

Mann Stewart had just been called for an audition for a Perry television production before the studio closed. She is unsure if that opportunity still stands but has continued with other auditions, including a recent commercial audition that came through in late May. Still, it is never far from her mind how so many aspects of the industry must change.

While writing a script for a play, she found herself debating if she really needed the characters to have a physical interaction.

“I try not to let it impact me and say I can fix it later but…,” said Mann Stewart, her thought left trailing.

Some studios are already pondering creative solutions to those kinds of concerns. As soon as the pandemic hit, executives at Atlanta-based Crazy Legs Productions created an advisory council of five medical experts to help them draw up 25 pages of safety guidelines. Last month, they began compiling a database of local actors who are in relationships with other actors. “We can cast a husband and wife as a husband and wife,” said Scott Thigpen, chief operating officer. “It’s a way to mitigate risk.” They are also considering using family members as extras.

The company, which launched in 2006 and now has 34 salaried employees, produces docuseries for TLC such as “Family by the Ton” and crime shows for ID, like “Dead Silent. ” They also began shooting films for the first time this year.

Industry insiders are confident productions in Georgia will bounce back quickly and fill sound stages as a backlog of content gets filled.

After months spent keeping their skills sharp and in some cases, auditioning via Zoom, actors across metro Atlanta are ready to get back to work, said Clayton Landey, president of SAG-AFTRA Atlanta local. He hopes summer marks that return but said the proper precautions are needed. Landey, a 48-year industry veteran, recalled a scene years ago when his character was being hit with a bullet. Everyone else on the set was standing behind safety glass. “I feel a little like that now,” Landey said. “I am interested to see what is going to be the new normal in terms of safety on set.”

The pandemic ended a theater run for Landey and stalled a film, which no longer has a date to begin production, but he has spent the past three months staying connected to other actors through virtual chats and meetups. Landey worries about the actors who may be suffering mentally while isolated from the career that allows them to channel their emotions into their work. Though acting is a field that prepares you for career ups and downs, this is unlike anything they have seen before, he said.

“Nothing in our industry touches what we are going through now. Typically when there are times of stress or hard times in the general population, we are working like crazy because entertainment is what gets you through the day,” Landey said. “This time, it is slapping us all.”

[goldenleaffilms]

The idea and planning behind Ami & Gurumi

Act 1 – Gurumi is born

·        We establish an atmosphere of a rainy day and a young woman named Sally is busy doing some housework. Once she’s done she starts crocheting. Once she’s finished Gurumi is made.

·        After Gurumi is created he springs to life and explores his current room until he bumps into Ami

·        They develop a friendship and visit the entire world around them.

Act 2 – Ami and Gurumi are lost

·        While exploring they end up lost in a dark place, Ami is terrified that she won’t be able to leave

·        Gurumi finds a way out. After escaping he learns he was made as a gift for a friend of Sally’s

·        Ami while disappointed she want’s to make his last day here a good one so they dance around with Sally’s other crochet creations to celebrate his new ownership

Act 3 – Goodbye Gurumi

·        Both are interrupted by Sally coming back and picking up Gurumi

·        Ami is sad but happy for Gurumi that he’s going to a happy home

·        They say their goodbyes and Ami returns to her crocheted friends.

 This is a very ambitious project to make for only 3-4 months. Animation especially stop motion takes twice as long which is why the animation aspect of the film will be 5 minutes long and the live action sequences will take up the other 5 minutes of the film. I was able to find a free program to make the stop motion sequences and during the rest of December until the beginning of February I’ll hopefully have all the animation sequences ready and then start and finish the live action sequences during the last month of filming and then edit the entire thing. Budget wise this film will not use up much money since I already own a professional quality camera and a tripod that can achieve different angles. There’s only going to be one location in the entire film due to the current COVID-19 restrictions, how I’ll make this work is by using one location for the animation sequences and one location for the live action sequences. Majority of the footage will need to be filmed when it is bright outside because of the location being very dark even with lights on. However, I could work this out through editing by adjusting the exposure and maybe use my chosen aesthetic to help give the film that autumn style look.

 3-month plan:

December 2020 – During December I will be working on the character models for the two main characters and add more animation screen tests to test out the models durability and steadiness when manipulated for animation. When making the models through crochet I will need to purchase the right yarn for each character, cotton yarn which is the most used type of yarn fibre for making these dolls would cost £1.89 per 50g ball and since both of their designs use 4 different colours of yarn it would cost £7.56 to make these models. Regarding equipment there won’t be much of a budget since the camera used and the tripod are owned by me and have not been borrowed. Once both script and models are ready filming will begin after Christmas. I’ll be using different lighting for each sequence and will need to calculate the approximate time it will take to make one minute of stop motion animation. I predict before the end of December I will have finished at least a 30-second sequence of the film.

January 2021 – During production I will have finished the first sequence of the film. Each set used will take place in my own home in case of any further self-isolation due to covid-19 soon. I will also be in contact with my voice actors that will be in this short film from the narration to any background voices. By January they should be done with recording their lines and send them over via email to me to add during pre-production. During this time I’ll also record the first live action sequence of the main character Sally doing her chores, There will be a lot of editing involved in the live action sequences since I will be the only one working the camera, acting as one of the characters, editing and the sound design.

February 2021 – In February I will be working more on the animated sequences. I’m hoping by February at least half of the film will be ready and I can continue working on the second half of the short. During this time I’ll be getting the end credits song ready. The song I’ll be using is Tonight You Belong To Me by Christina Perri but to avoid potential copyright issues the song will only be in instrumental and sang by me. Each day I will work on 30 seconds to 2 minutes of animation depending on any circumstances that might pop up during February half term.

 The idea for Ami & Gurumi came to me after I took up a crochet hobby and I thought it would be a fun idea to make something related to crochet. By September I found out my late Nan passed away and it was a sad time for all of us. While she was mainly did knitting she also dabbled in a bit of crochet and after her passing I decided to take the idea of crocheting along with one of my favourite film techniques and create a cute and heart-warming story in dedication to my Nan. I went with the name Ami & Gurumi, now some may be confused on the Japanese sounding names and that’s because the two characters named are a pun on the word ‘Amigurumi’. Amigurumi is the Japanese art of crochet doll making and has been a popular form of crochet in many parts of the world especially in the US and the UK. The aesthetic I decided to go for in this short is an autumn warmth theme, not only because it’s a personal favourite aesthetic but I want the audience to feel that warm and loved feeling.

 Bibliography:

Celtx Blog. 2020. Write The Script: 5 Basic Steps - Celtx Blog. [online] Available at: https://blog.celtx.com/write-the-script-5-basic-steps/ [Accessed 9 November 2020].

A + C Studios. 2020. How Long Does Stop-Motion Animation Really Take To Make? - A + C Studios. [online] Available at: https://www.aplusc.tv/blog/stop-motion/making-stop-motion/ [Accessed 8 November 2020].

Blog - Explainer Video & Whiteboard Animation | By Video Explainers. 2020. Time To Create A 5 Minute Animation Video. [online] Available at: https://videoexplainers.com/blog/5-minute-animation-video/ [Accessed 8 November 2020].

Perri, C., 2019. Tonight You Belong To Me (Sing-A-Long). [online] YouTube. Available at: https://www.youtube.com/watch?v=XwKgvmuo2sg [Accessed 9 November 2020].

Williams, M., 2007. Amigurumi Knitting Tutorial (Plus Free Patterns!). [online] DIY Life. Available at: https://web.archive.org/web/20140511182953/http://www.diylife.com/2007/08/07/diy-definitions-amigurumi-with-tutorial/ [Accessed 9 November 2020].

Beckerman, H., 2003. Animation: The whole story. Allworth. pp 10

Marx, C., 2010. Write your way into animation and games: create a writing career in animation and games. Taylor & Francis. pp 192

Mou, T.Y., Jeng, T.S. and Chen, C.H., 2013. From storyboard to story: animation content development. Educational Research and Reviews, 8(13), pp.1034

Mou, T.Y., 2015. Creative story design method in animation production pipeline. In DS79: Proceedings of The Third International Conference on Design Creativity, Indian Institute of Science, Bangalore.

Glebas, F., 2012. Directing the story: professional storytelling and storyboarding techniques for live action and animation. CRC Press. pp 330

[goodbyechristopherrobinhindi]

Goodbye Christopher Robin 2017 Hindi Dubbed Movie Download

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Goodbye Christopher Robin (2017) IMBD Score: 7.2/10 Language: Hindi PG | 1h 47min | Biography, Family, History | 29 September 2017 (UK) Director: Simon Curtis Writers: Frank Cottrell Boyce, Simon Vaughan Stars: Domhnall Gleeson, Margot Robbie, Kelly Macdonald

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Review Goodbye Christopher Robin, the literary biopic, may sound like the perfect choice for a family evening at the cinema. The film's title probably evokes memories of beloved urine superstar Winnie the Pooh jumping off the back of a horse to inspire the author's own son to his first foray into the world of fairy tales.

A few places further on we consumed our drinks from the concessions and drank from the concessions, which led to a brief insight into the world of Christopher Robin and his adventures. We learned that Milne's story of stuffed animals and their adventures captured the imagination of young and old around the world, even though he had written the children's book more than 90 years ago. The sunspots in the trees and the sunspots on the grassy slopes were recreated with the help of a special effects team and actors from all over the world.

Perhaps the intricately woven thematic threads of the script, which carry the themes of love, loss and the need to serve on the battlefield and make Christopher Robin a symbol of hope and hope for the future of humanity, have done the trick. One might think that a generation that has internalized the story of Robin and his adventures as an animated idiot would be too young to process the depiction of personal loss in fictional form, as the Lion King would, but perhaps not.

Director Simon Curtis has created a crowd-puller based on facts, but somehow you get the feeling that the events on screen have caused distress to the real Christopher Robin, who prefers to call himself Billy Moon (Milnes is a great nickname) in order to distance himself from the constant nagging shadow of his alter ego. Winnie - the fan who ultimately feels like he is oscillating between joy and madness - is in flux, and this is because there is somehow a pain caused by events off-screen, not by the loss of a friend or family member in real life, or even by the death of the character itself. The historical piece traverses the house from start to finish, beginning with an ominous telegram from Milne, who was looking after the grave of his father, Christopher Robin's late mother. World War II I go to France in 1916, where, amid the carnage and chaos, Milnes struggles with a shell shock.

Robbie and Daphne decide that having a baby could lift their husband's spirits and make him forget the big, bad war, but the arrival of their son just shows how poorly prepared the couple are to take on parental duties. Despite his lucky wife's attempts to cheer him up, he still suffers from crippling flashbacks triggered by buzzing bees, flickering lights and popping balloons. The writer, whose first name is Alan and who is usually referred to as Blue, is trying to adapt to his new role as a parent. At some point, Milne decides that retreat to the countryside will end his awakening nightmares, but in the end he decides to end it all.

When Mum extends a stay in London to continue the party, father and son are left to their own devices and form a close bond, with Olive being asked to look after her ailing mother. Soon a nanny is hired to look after Olive, a warm-hearted lucky charm named after Milne's mother, and the soon-to-be famous characters are brought to life together. Outdoor walks often involve stuffed animals such as dogs and cats, as well as other animals and plants.

The film unfolds as Milne's book becomes a worldwide sensation, especially when his son becomes an unsuspecting celebrity who is forced to give interviews, pose for photo shoots, meet and greet cheesy Winnie the Pooh admirers. Basically, he reluctantly agrees to be part of a film about his son's life as a child, and suddenly he writes up a storm about Poah and his friends.

When puberty sets in, Ture takes on the role of Christopher Robin, whose fame makes him an irresistible target for bullies when he is sent to boarding school. When World War II breaks out, he begs his father to pull the strings and takes a medical test to become a soldier, and that's when the telegram comes in.

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