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Post by serin on Feb 23, 2012 5:02:53 GMT -5
Tom Cruise Leads a Sensational International Cast in the Most Spectacular Action Movie of the Year MISSION: IMPOSSIBLE - GHOST PROTOCOL
Worldwide Blockbuster Debuts on Blu-ray??? and DVD April 17, 2012 (February 21, 2012) HOLLYWOOD, Calif., Feb. 21, 2012 /PRNewswire/ -- Called "a powerful thrill ride that is simultaneously gritty and dazzling" (Claudia Puig, USA Today) the global smash hit MISSION: IMPOSSIBLE-GHOST PROTOCOL explodes onto Blu-ray and DVD (both with UltraViolet-), On Demand and Digital Download April 17, 2012 from Paramount Home Media Distribution. Boasting "a bullet train of action and an arsenal of cool gadgets" (David Germain, Associated Press), MISSION: IMPOSSIBLE-GHOST PROTOCOL delivers non-stop thrills and breathtaking stunts, including a dizzying ascent up the world's tallest building that Roger Ebert called "one of the most spellbinding stretches of film I've seen." The extraordinary Tom Cruise returns as IMF agent Ethan Hunt, along with an exceptional cast of actors including Jeremy Renner (The Hurt Locker), Simon Pegg (Star Trek), Paula Patton (Precious) and Michael Nyqvist (The Girl With The Dragon Tattoo). With a worldwide box office take of more than $650 million, MISSION: IMPOSSIBLE-GHOST PROTOCOL is the must-own action-thriller of the year. MISSION: IMPOSSIBLE-GHOST PROTOCOL will be available in a Limited Edition three-disc Blu-ray/DVD combo pack bursting with over two hours of special features that whisk viewers away to exotic locations in pursuit of the global production, disclose how the thrilling action sequences were captured, reveal the secrets of the life masks and other cool props, and much, much more. The film will also be available as a two-disc Blu-ray/DVD combo pack and as a single-disc DVD, each with select special features. All Blu-ray and DVD releases available for purchase will be enabled with UltraViolet, a new way to collect, access and enjoy movies. With UltraViolet, consumers can add movies to their digital collection in the cloud, and then stream or download them - reliably and securely - to a variety of devices.- MISSION: IMPOSSIBLE???GHOST PROTOCOL Limited Edition 3-Disc Blu-ray/DVD Combo Pack The MISSION: IMPOSSIBLE???GHOST PROTOCOL Blu-ray containing the main feature is presented in 1080p high definition with English 7.1 Dolby TrueHD, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital and English Audio Description and English, English SDH, French, Spanish and Portuguese subtitles.??The Blu-ray containing the special features is presented in 1080p high definition with English audio and English, French, Spanish and Portuguese subtitles.??The DVD in the combo pack is presented in widescreen enhanced for 16:9 TVs with English 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital and English Audio Description and English, French, Spanish and Portuguese subtitles. The disc breakdown is as follows: Blu-ray (Disc 1) •Feature film in high definition Blu-ray (Disc 2) •Mission Accepted ◦Suiting Up In Prague ◦Heating Up In Dubai ◦Vancouver Fisticuffs •Impossible Missions ◦The Russian Prison ◦Shooting in IMAX?? ◦Art Department ◦A Roll of Film ◦Life Masks ◦Stepping into the Storm ◦The Sandstorm ◦Dubai Car Crash ◦Lens on the Burj ◦Props ◦Composer •Deleted Scenes with optional commentary by director Brad Bird ◦Including an Alternate Opening •Trailers DVD (Disc 3) •Feature film in standard definition MISSION: IMPOSSIBLE???GHOST PROTOCOL Two-Disc Blu-ray/DVD Combo Pack The MISSION: IMPOSSIBLE???GHOST PROTOCOL Blu-ray in the two-disc combo pack is presented in 1080p high definition with English 7.1 Dolby TrueHD, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital and English Audio Description and English, English SDH, French, Spanish and Portuguese subtitles. The DVD in the two-disc combo pack is presented in widescreen enhanced for 16:9 TVs with English 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital and English Audio Description and English, French, Spanish and Portuguese subtitles. The disc breakdown is as follows: Blu-ray (Disc 1) •Feature film in high definition •Mission Accepted ◦Heating Up In Dubai ◦Vancouver Fisticuffs •Impossible Missions ◦The Sandstorm ◦Props •Deleted Scenes with optional commentary by director Brad Bird ◦Including an Alternate Opening DVD (Disc 2) •Feature film in standard definition MISSION: IMPOSSIBLE???GHOST PROTOCOL Single-Disc DVD The single-disc DVD is presented in widescreen enhanced for 16:9 TVs with English 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital and English Audio Description and English, French and Spanish subtitles. The disc includes the feature film in standard definition, plus the following: •Impossible Missions ◦The Sandstorm ◦Props •Deleted Scenes with optional commentary by director Brad Bird MISSION: IMPOSSIBLE???GHOST PROTOCOL Synopsis Blamed for the terrorist bombing of the Kremlin, IMF operative Ethan Hunt is disavowed along with the rest of the agency when the President initiates "Ghost Protocol." Left without any resources or backup, Ethan must find a way to clear his agency's name and prevent another attack. To complicate matters further, Ethan is forced to embark on this mission with a team of fellow IMF fugitives whose personal motives he does not fully know. Tom Cruise returns in the starring role as Ethan Hunt and is joined by an international cast that includes Jeremy Renner, Simon Pegg, Paula Patton, Michael Nyqvist, Vladimir Mashkov, Josh Holloway, Anil Kapoor and Lea Seydoux. Paramount Pictures and Skydance Productions present a Tom Cruise / Bad Robot Production: MISSION: IMPOSSIBLE GHOST PROTOCOL. The film is directed by Brad Bird and the executive producers are Jeffrey Chernov, David Ellison, Paul Schwake and Dana Goldberg.??The film is produced by Tom Cruise, J.J. Abrams and Bryan Burk and is based on the television series created by Bruce Geller.??The screenplay is written by Josh Appelbaum & Andre Nemec. dvdcreation.digitalmedianet.com
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Post by serin on Feb 23, 2012 5:08:33 GMT -5
Tom Wilkinson : Mission Impossible Salary Too Good To Refuse
22 February 2012 06:05:35
Tom Wilkinson: Mission Impossible Salary Too Good To Refuse
Tom Wilkinson has admitted he signed up for 'Mission:Impossible - Ghost Protocol' because the salary was too good to refuse.
Tom Wilkinson signed up for 'Mission:Impossible - Ghost Protocol' for the money.
The British actor stars as the secretary of the fictional independent espionage agency Impossible Missions Force (IMF) in the Brad Bird directed movie and revealed he took on the role for the money and because he likes the film's leading man Tom Cruise.
He said: ''To be honest the pay was too good to turn down and I liked Tom Cruise, I've worked with him a couple of times and I've got to know his wife and him the year before really quite well as I done a television programme with his wife, and I've worked with him and he wanted me to come over and do it. I was quite happy to do that.''
Tom also revealed he has cut back on the movie roles he takes in recent years and now only signs up to a movie he thinks will be fun.
The 'Best Exotic Marigold Hotel' star said: ''This past year I only had three, two really small roles and one just a couple of days work on Mission Impossible movie.
''I just look at it and think can I do this? Would it be fun to do, the answer is generally yes, if it is yes then you think I'll do it.''
Contactmusic
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Post by architect on Feb 26, 2012 22:23:09 GMT -5
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Post by architect on Feb 26, 2012 22:36:33 GMT -5
Elswit captures all the action in Mission: Impossible – Ghost Protocol The Kremlin is rocked by an explosion, and the Impossible Mission Force (IMF) is supposedly to blame. Team leader Ethan Hunt and his crew turn rogue and must trot the globe to clear the IMF name in Mission: Impossible-Ghost Protocol, the fourth installment in the M:I franchise. Tom Cruise reprises his role as Hunt, with a supporting cast featuring Jeremy Renner, Simon Pegg, Paula Patton and Tom Wilkinson. J.J. Abrams again produces through Bad Robot for distribution through Paramount Pictures.
Handling the visual aesthetics is Academy Award-winning cinematographer Robert Elswit, ASC—whose credits read as a very long list of very fine work (including Oscar-winning There Will Be Blood; Oscar-nominated Good Night, and Good Luck; The Town; Syriana; Magnolia). Handling the directing duties is Brad Bird, whose prior, highly successful directorial efforts involved characters of the animated kind (Ratatouille, The Incredibles, The Iron Giant). M:I-Ghost Protocol marks Bird’s live-action debut.
Stylistically, Bird veered away from the previous films’ elaborate setups that pulled off with deliberate, clockwork precision. Instead, plans fall apart from the get-go, and the team has to survive on wits and improvisation, so Bird wanted a matching approach to the visuals. “There was a little more of a chaotic style to this one,” says Elswit, who is in New York preparing to shoot The Bourne Legacy with director Tony Gilroy. “Brad was less interested in a formal approach to the design of the movie.”
That said, Bird did build some “wow” moments into the film—four of them, to be exact—that were shot in large-format 65mm IMAX. The inclusion of these stemmed from the success Christopher Nolan and Wally Pfister, ASC had with the format on The Dark Night. “They proved that you do absolutely anything with an IMAX camera,” Elswit says.
. . . Read the rest.
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Post by roxthefox on Feb 27, 2012 0:37:51 GMT -5
Speaking of Josh Holloway.. I was very disappointed that he appeared for a few minutes in MI 4 and disappeared for good. No chance to see him in MI 5.. I wish Josh were Ethan's side kick in the movie instead of Jeremy Renner.. Holloway looks great and he can act .. He was very good in his scenes..What more do they want ? * I agree, I enjoyed him more than Renner, who I found to be extremely dull. This franchise will die a horrible death if he takes the helm as the lead.
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Post by roxthefox on Feb 27, 2012 0:42:51 GMT -5
Seth Rogen Gave His Oscar Vote To Ghost Protocol; What Else Got Snubbed?
Take that, Hugo! Not this year, The Descendants! If Seth Rogen could have his way, it would be Tom Cruise bounding up those steps to accept a Best Picture award at the Oscars this year. Or, well, we guess the producers are technically the ones who accept the award … the point is, Ghost Protocol was a great film! “I honestly thought that Mission: Impossible – Ghost Protocol was one of the best movies of the year,” the 50/50 actor admitted to The Huffington Post while promoting his hosting gig at the Independent Spirit Awards next Saturday. “It got no love from the awards whatsoever. I loved that f—ing movie. It was great … I’m an Oscar voter. I voted for it.” We couldn’t agree more; remember when Cruise is clinging to the side of the skyscraper? Ah-mazing. Which got us thinking: Which movies and actors were unjustly left out of the running merely because they didn’t feature a war horse or Jonah Hill? thefabtimes.com " Dont those guys know that Tom was also the producer ? LOL, we need more Academy voters like Seth Rogan. Oscars were unpredictable and fun, once upon a time ago, but I think many will agree that they've lost their esteem. I think there's a separate genre of films altogether-- "Oscar bait"... (most nazi-related films fall in this category). Hell, most great films don't even get nominated. Drive anyone? Best film of the year, IMO.
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Post by serin on Feb 27, 2012 4:14:59 GMT -5
Rox wrote :
"I agree, I enjoyed him (Holloway) more than Renner, who I found to be extremely dull. This franchise will die a horrible death if he takes the helm as the lead."
I dont think Renner has any chance to take the lead in MI..From the updates and interviews , I gathered that he was expecting to be the lead in the next MI, but when Tom shook the B.O. , his hopes were done with and over ..He admitted in his recent interviews that "there was no such plans for him to take the lead.." And yes, he looks very dull .. But will Tom continue with the franchise, is the question ?
Wonder how Renner is going to manage the Bourne franchise ..
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Post by roxthefox on Feb 27, 2012 6:22:25 GMT -5
I don't think the franchise should continue. Let it end on a high note...
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Post by serin on Apr 6, 2012 6:08:02 GMT -5
Movie on DVD Review Mission: Impossible — Ghost Protocol
Apr 04, 2012
Genres: Action/Adventure, Mystery and Thriller; With: Tom Cruise; Distributor: Paramount Pictures Thanks to his thrilling sticky-glove ascent of Dubai's Burj Khalifa skyscraper and his daring undercover break-in at the Kremlin, Tom Cruise proved that the Ethan Hunt gig remains his for as long as he wants it.
In fact, Mission: Impossible — Ghost Protocol (2011, PG-13, 2 hrs., 12 mins.) may be the best chapter in the franchise since Brian De Palma's 1996 original. But watching the new Blu-ray's EXTRAS, you find out just how easy it is to screw up these kinds of slam-bang tentpole movies with thickets of unnecessary exposition. In the generous selection of deleted scenes, director Brad Bird explains in a commentary track how less can be more — and illustrates this point by showing us a mercifully scrapped opening scene with Michael Nyqvist's villain that's so chatty and flat, it's amazing it didn't self-destruct five seconds after they shot it. B+
EW
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Post by serin on Apr 10, 2012 15:37:14 GMT -5
Check Out The Action-Packed 'Mission: Impossible - Ghost Protocol' On DVD & Blu-ray April 17
April 8th, 2012 The fourth installment of the massively successful "Mission: Impossible" series debuts on Blu-ray and DVD April 17.
The Kremlin has been bombed, and the blame has fallen on the IMF. As a result, the president initiates Ghost Protocol, and accuses Ethan Hunt (Tom Cruise) and his team of placing the bomb in an attempt to incite a global nuclear war. Now, in order to clear the IMF of terrorism charges, Ethan assembles a new team to uncover the truth by using every high-tech trick in the book.
But this time they're on their own, and should they be caught, the entire world could be plunged into a nightmare from which there is no waking up. Jeremy Renner, Paula Patton, and Simon Pegg co-star.
Both Cruise and Patton did their own stunts. The actress told GQ, ""I was doing physical stunts - feet in the mud, fingernails full of dirt, shooting and fighting for my life."
Cruise took the action to new heights by scaling the Burj Khalifa tower in Dubai for a high-flying sequence in the movie. The stunt was far trickier than the actor made it look, and he was left battered after the first few takes. He told Britain's The Sun, "I remember I came slamming into the building, when I didn't quite make it around because I had to figure out actually how to fly."
The rest of the actors just look out from the window, but even that was too much for co-star Jeremy Renner.
“Once I hung out [the window], 30 seconds of near vomiting almost happened, but then that went away and Tom was laughing, he’s hanging upside down,” Renner said. “He’s all red faced and he’s like, ‘Look at this view!’ I’m like, ‘What are you talking about? I’m gonna vomit on you.’”
starpulse
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Post by serin on Apr 12, 2012 7:18:25 GMT -5
How Brad Bird Pulled Off His 'Impossible' Mission
April 11, 2012 Mission: Impossible – Ghost Protocol pulled in an incredible $650 million-plus at the worldwide box office, making it the most successful film of the action franchise. But it was almost an impossible mission to pull off for The Incredibles director Brad Bird, who chose the Tom Cruise tentpole to make his live-action feature debut and transition from animated films. "We were kind of shootin' from the hip," the Oscar winner tells ETonline, revealing that he was working in a production environment that "in some ways is exhilarating and in other ways is completely frightening." "You were feeding the beast; the money was going to be spent whether you knew what you were doing or not, so you had to rush ahead of the train and lay down tracks," he explains of the mega-budgeted project. For such a crackerjack, tightly paced film, it's amazing how the 54-year-old filmmaker delivered a truly coherent narrative given how "in flux" the script really was. "It was always being thrown up in the air and reassembled, and the set pieces were kind of locked and the overall premise was locked, but how things were presented was always up for grabs, and it was up for grabs while we were making it," explains Bird of working within the framework of producer J.J. Abrams' production style. "It's very scary and I would prefer not to do it that way, but sometimes really wonderful things happen when you're in that position." Despite the edge-of-your-seat production challenges, Bird adds that it was "an absolute pleasure" to work with the talented cast and crew of Mission: Impossible: "It was really fun to dive into the same pool with all these people whose work that you admire." If you look closely at the opening minutes of Mission: Impossible – Ghost Protocol, there are some loving tributes to some of Bird's favorite films, from The Great Escape and The Red Balloon to From Russia with Love. So which is his favorite spy flick? "Probably my favorite one is an old one: It's Goldfinger, which I think is so audacious and silly, but everything I love about a good popcorn movie," says Bird. "It's full of memorable moments, it has a great theme song, it has a great villain, it has a great villain sidekick, it has a great female lead who's every bit as good as the guy, and leading guys don't come better than Sean Connery. "But I also really enjoy new films, like the Bourne films are really well done," he continues. "[Before Mission: Impossible] I had never gotten to do a spy film before, but I think that anybody that saw The Incredibles could see that I had a certain affection for [the genre]." Which begs the question, will we ever see The Incredibles 2? "If I could come up with a good idea that was to Incredibles what Toy Story 2 was to Toy Story, I would love to make it [at Pixar]," replies Bird. "I love working with those guys." Watch Bird's impossible mission accomplished when Mission: Impossible – Ghost Protocol hits Blu-ray and DVD April 17. ET online
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Post by serin on Apr 12, 2012 7:27:30 GMT -5
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Post by architect on Apr 17, 2012 22:55:34 GMT -5
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Post by architect on Apr 19, 2012 22:00:45 GMT -5
Image Conscious: A conversation with visual effects supervisor John Knoll “I contacted him about wanting to get involved with 1906,” states John Knoll when discussing the origins of his collaboration with filmmaker Brad Bird on Mission: Impossible – Ghost Protocol (2011). “We got talking about it and then the project itself was delayed and put into turnaround. Brad moved on to Mission: Impossible and I was still very excited about working with Brad; I’m a huge fan of his films. When he got Mission: Impossible, I said, ‘Wow! I’d love to work on this with you.’” The movie franchise starring Tom Cruise is not unfamiliar territory for Knoll. “I supervised Mission I [1996]. It has been 16 years. The technology is nothing super revolutionary but has evolved gradually. We could be a lot bolder about the things we were doing. We have a scene that takes place in and around Red Square and none of our actors actually went to Red Square.” An adjustment was required for Bird who was making the transition from animation to live-action moviemaking for the first time. “On an animated feature you have more opportunities to do revisions to sequences where you can order up shots and, ‘Yeah. This stuff isn’t working. Let’s fix this and this.’ In live-action you’re a little more constrained by what you shot. We were sometimes going into shots to try to modify them to better reflect Brad’s current thinking about, ‘I wish this shot had a little more energy to it.’ Or it wasn’t apparent until he was cutting the sequence and the real shape of the sequence was emerging.”
“We have a group here that advises us on that,” remarks John Knoll who subcontracted other visual effects facilities to assist ILM on the action thriller. “It’s looking at the reels from the different companies, and talking with them. Sometimes it’s from past experience with them on previous shows and trying to cast appropriately for the success.” He gives examples such as with the Magnetic Suit Sequence where Jeremy Renner jumps down a shaft. “The majority of that work was done at Pixomondo. It’s a CG set extensions, wire removals. The fan at the bottom of that shaft is CG.” Australian company Fuel VFX helped on the signature stunt where Tom Cruise climbs the world’s tallest building. “There are definitely a number of visual effects in that sequence. A lot of it is Tom on the Burj Khalifa at 1600 feet doing the thing that is depicted in the movie. He has a whole bunch of safety cables on him so a lot of the visual effects are wire removal. When you look at the structure of the building it’s a bunch of curved mirrors so it’s the cable, the reflection of the cable, and the reflection of the reflection of the cable, and the reflection of the camera. This an IMAX sequence so it’s doing all of that at high resolution as well. The wire removals were challenging but then there are a number of shots we filmed on a smaller set fragment down at ground level. When Tom is swinging on the cable, releases it, and makes a desperate jump for this open window, those things were shot on this set fragment with building extensions done in CG.”
Not many practical effects were utilized. “We did a two day shoot at New Deal Studios where we shot some pyro elements. They’re all really effects elements such as explosions and debris chunks,” states John Knoll. “We have a very rich stock library that we’ve built up here over being in business for over 30 years. We have lots of explosions, dust, splashes and all those sort of things. When you need a practical element of one kind or another the first place you look is, ‘Do we already have that in the stock library?’ If we don’t have something we can use for that then you schedule a shoot to get a piece that we need.” As for what it takes for successful CGI augmentation, Knoll remarks “Good match moves and matte [paintings], and attention to detail.” He adds, “In a handful of fully computer generated shots you have to make sure that your style of cinematography matches the surrounding material, and the overall style of the show. A lot of set extension shots you just match move the production camera and that’s what you’re working from. We try never to put constraints on how you shoot plates, ‘Oh, boy this would be better if this wasn’t a Steadicam move because it would be easier to match move.’ You try to allow filmmakers the complete freedom to shoot it the way they would want to shoot it if it wasn’t visual effects.”
“It’s not like there is a visual effects style book for the Mission: Impossible films,” states John Knoll. “While they’re popcorn action flicks, they are meant to be reality base; the overriding thing is to make it look like photography. If you’re supposed to be in Red Square make it look like you’re really in Red Square.” In comparing the difficulty of incorporating visual effects in an everyday environment as suppose to a stylized reality, Knoll observes, “I’ve definitely done my share of way out there fantasy type of films. It’s a different base. Usually, that kind of very high end of creating whole worlds comes along with a little stylization. The stylization makes it a little bit easier to sell, and then there are very complex things which are part of that generated world. The more reality base high polish stuff is sometimes harder to execute.” He explains, “The principles all still apply. Its more pixels so bigger files. You have to put more detail into developing assets and everything is a bit slower.”
The Submarine Missile Launch Sequence in Mission: Impossible – Ghost Protocol is completely computer generated. “There are a lot of one offs where the assets needed to be developed,” reveals John Knoll. “It only plays in that one shot so you don’t get an economy of scale out of it.” Asked about the challenge of dealing with short as suppose to long shots, he answers, “Its different challenges. There are setup costs for everything. When you’re developing a CG asset the hope is you can hammer down the cost of that development over many shots so the proportion of its cost to a given shot is less. When something has to be developed, and it’s just work in a single shot then all of the cost of developing the geometry, textures and the look that is all burdened on that one shot.” Knoll is pleased with the end result. “It’s got good action but there are moments of situational humour which I think are good because it was something that was needed.” SOURCE
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Post by architect on Apr 19, 2012 22:03:23 GMT -5
Brad Bird chats with The Onion about MIGP Brad Bird has a long, healthy résumé in animation, but he’d never directed a live-action feature before helming Tom Cruise’s fourth Mission: Impossible outing, Mission: Impossible—Ghost Protocol. Leading up to the film’s 2011 release, the media was packed with stories questioning whether the talent he showed for characterization and action sequences in animation would translate to such a different production method.
Ghost Protocol’s overall positive (and sometimes swooningly hyperbolic) reviews and nearly $700 million worldwide box office suggest that Bird made that leap comfortably. So does the film itself, with its surprisingly smart plot touches and crackerjack action sequences, particularly Cruise’s now-famous full-bore run across the side of the Burj Khalifa, the tallest building in the world. The A.V. Club recently talked to Bird about stepping away from animation, taking input from actors, trying to force people to see the movie in IMAX theaters, and his one talent that impresses people more than directing a $700 million movie.
The A.V. Club: When you were first tapped for this project, the entire media narrative seemed to be about your move to live action, and whether you could handle it. Did you share any of that trepidation? Did you go in feeling equipped for this project?
Brad Bird: I did, in the sense that I’ve been wanting to do live action for a long time, absolutely. But it was daunting, because it was a really physically large production. It was larger than the last Mission Impossible, but it had a smaller budget and a tighter schedule, so it was both bigger and sort of lean at the same time. That was a challenge.
There was a night where Robert Elswit and my first AD took me out to a restaurant and said, “You know, you’ve got to start asserting yourself.” This was before we started filming, because I was unusually silent. I was just kind of taking in everything everybody was saying to me, trying to take in as much information as I could. I think they were starting to mistake my silence for, “I’m not going to have a point of view when the camera starts to roll.” When the camera did roll, they were relieved that I very much had a point of view, but I didn’t want to speak up. I was in a listening mode when everything was being prepared. I had certain ways I wanted things done, but when they were telling me about their experience, I wanted to hear that. I was working with the best people in the business, so I had a period where I was kind of all-ears. I think they were starting to get worried that I wasn’t going to call “Charge!” when it came time to do battle.
AVC: What was it like working with actors in a live setting for the first time? Was that kind of assertiveness necessary?
BB: Yes and no, and I’d already dealt with that to some degree doing voice work on the animated films. Actors sometimes test you. They get tossed around a lot by people who don’t have anything specific in mind, and actors, a lot of them don’t like that, so they test the waters with you. I dealt with that a certain amount, and I’ve been involved in theater to some degree, and then taking acting classes to help me be a more effective director. So talking about things on that level, and talking about what the character’s intent was, was not unfamiliar territory for me, because it’s a lot of the same stuff. Even when you’re doing an animated film, if you’re writing a story, you have to think about that stuff. When you’re writing characters, you have to stand in their shoes, so I was pretty comfortable with that.
The cast was filled with people whose work I admired, so I was already on their side, and sometimes you have to remind an actor if you want them to do something and they don’t see the way you see it initially. Sometimes you have to remind them that you have their back and that they’re not going to look foolish. You have to talk them through it. Sometimes they would raise issues that needed to be raised, because they thought about their character a little more than we had, because we’re trying to think of five characters in the scene, and they’re concerned with their character at that moment. So when an actor is resistant to something, I try to listen to that, because sometimes they’re canaries in the coal mine. They’re pointing you toward something that may be undercooked and needs to be rethought.
AVC: Do you have a specific example of that? . . . read the rest.
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