Based on George Rr Martin’s Fire & Blood, the HBO and Max series House of the Dragon had a daunting task in being compared to the network’s biggest-ever series Game of Thrones. Set 200 years earlier in House Targaryen, House of the Dragon’s first season was a huge success reflected in the ratings and the nine Primetime Emmys for which the show got nominated.
Three of its Emmy nominees joined a panel for the show at Deadline’s Contenders Television: The Nominees: Cinematographer Catherine Goldschmidt, nominated for “The Lord of the Tides,” Episode 8; production designer Jim Clay, nominated for “The Heirs of the Dragon,” Episode 1; and visual effects supervisor Angus Bickerton, nominated for his work over the show’s full season.
“It was daunting and exciting, in equal measure — we were stepping into some pretty big shoes from Game of Thrones,” said Clay. “The approach we took with [director] Miguel...
Three of its Emmy nominees joined a panel for the show at Deadline’s Contenders Television: The Nominees: Cinematographer Catherine Goldschmidt, nominated for “The Lord of the Tides,” Episode 8; production designer Jim Clay, nominated for “The Heirs of the Dragon,” Episode 1; and visual effects supervisor Angus Bickerton, nominated for his work over the show’s full season.
“It was daunting and exciting, in equal measure — we were stepping into some pretty big shoes from Game of Thrones,” said Clay. “The approach we took with [director] Miguel...
- 8/12/2023
- by Mike Fleming Jr
- Deadline Film + TV
Celebrating television might feel like a wasted effort right now, especially since 11,500 writers and 160,000 actors are walking the picket lines for the ongoing WGA and SAG-AFTRA strikes. But it would be unfair to overlook the extraordinary work of so many Emmy-worthy creatives, even if the ongoing dispute between the Alliance of Motion Picture and Television Producers prevents writers and actors from talking about the very series that got them a ticket to the 75th annual Primetime Emmy Awards in the first place. Sadly, everyone will have to wait until January 2024 to see who will accept their just rewards. But this year’s Contenders Television: The Nominees virtual livestream event that kicks off Saturday at 10 a.m. Pt will certainly make it worth the wait.
Click here to sign up for and launch the livestream.
Talk of the streamers may be dominating the picket lines, but it’s the cable networks like HBO,...
Click here to sign up for and launch the livestream.
Talk of the streamers may be dominating the picket lines, but it’s the cable networks like HBO,...
- 8/12/2023
- by Lynette Rice
- Deadline Film + TV
When the dust settled on the 2023 Emmy nominations, HBO and Max came out on top with a whopping 127 bids. Eight of those are for “House of the Dragon,” the “Game of Thrones” prequel series that set the water cooler on dragonfire with its breathtaking production values, unexpected twists and mind-blowing time jumps. Even though “HotD” was skunked in the acting, writing and directing races, it still scored a Best Drama Series citation and received key notices for its crafts. Read on for a closer look at “House of the Dragon’s” eight nominations.
In the main series race, “HotD” competes against three fellow HBO dramas that each nabbed more than 20 nominations: “Succession” (27), “The Last of Us” (24) and “The White Lotus” (23). Then there’s Disney+’s “Andor” (8), AMC’s “Better Call Saul” (7), Netflix’s “The Crown” (6) and Showtime’s “Yellowjackets” (3). HBO’s domination in this category is impressive when you consider...
In the main series race, “HotD” competes against three fellow HBO dramas that each nabbed more than 20 nominations: “Succession” (27), “The Last of Us” (24) and “The White Lotus” (23). Then there’s Disney+’s “Andor” (8), AMC’s “Better Call Saul” (7), Netflix’s “The Crown” (6) and Showtime’s “Yellowjackets” (3). HBO’s domination in this category is impressive when you consider...
- 7/14/2023
- by Marcus James Dixon
- Gold Derby
Celebrating the talent behind-the-scenes the BAFTA Television Craft Awards 2023 in London honored House of the Dragon and This is Going to Hurt with each winning three trophies.
The Game of Thrones prequel won in three categories: Amanda Knight, Barrie Gower and Rosalia Culora for Make-Up & Hair Design; Alastair Sirkett, Doug Cooper, Martin Seeley, Paula Fairfield, Tim Hands and Adele Fletcher for Sound: Fiction; and Angus Bickerton, Nikeah Forde, Asa Shoul, Mike Dawson, Mpc and Pixomodo for Special, Visual & Graphic Effects.
Medical drama This is Going to Hurt also won in three categories: first-time winner Adam Kay won a BAFTA for Writer: Drama, for the series based upon his memoir as a junior doctor; Selina MacArthur, also a first-time winner, won for Editing Fiction; and Nina Gold and Martin Ware won for Scripted Casting.
The ceremony hosted by Mel Giedroyc featured celebrity guest presenters like Adil Ray, Adrian Lester, Charlene White,...
The Game of Thrones prequel won in three categories: Amanda Knight, Barrie Gower and Rosalia Culora for Make-Up & Hair Design; Alastair Sirkett, Doug Cooper, Martin Seeley, Paula Fairfield, Tim Hands and Adele Fletcher for Sound: Fiction; and Angus Bickerton, Nikeah Forde, Asa Shoul, Mike Dawson, Mpc and Pixomodo for Special, Visual & Graphic Effects.
Medical drama This is Going to Hurt also won in three categories: first-time winner Adam Kay won a BAFTA for Writer: Drama, for the series based upon his memoir as a junior doctor; Selina MacArthur, also a first-time winner, won for Editing Fiction; and Nina Gold and Martin Ware won for Scripted Casting.
The ceremony hosted by Mel Giedroyc featured celebrity guest presenters like Adil Ray, Adrian Lester, Charlene White,...
- 4/23/2023
- by Armando Tinoco
- Deadline Film + TV
“Game of Thrones” prequel “House of the Dragon” and medical comedy-drama “This Is Going to Hurt” walked away with three awards each at the BAFTA Television Craft Awards on Sunday.
This year’s ceremony, which salutes behind-the-scenes talent, was hosted by former “Bake Off” judge Mel Giedroyc.
HBO’s “House of the Dragon” won for make-up and hair design; sound in fiction and special, visual and graphic effects.
Elsewhere, BBC’s “This is Going to Hurt” won in three categories, with prizes going to first-time winner Adam Kay for best writer in drama (Kay adapted his best-selling memoir for the TV show); Selina MacArthur, also a first-time winner, for editing in fiction; and Nina Gold and Martin Ware for scripted casting.
Winning two awards was the BBC’s “The State Funeral of Hm Queen Elizabeth II” which won for sound in factual and director for multi-camera.
BAFTA’s Emerging Talent:...
This year’s ceremony, which salutes behind-the-scenes talent, was hosted by former “Bake Off” judge Mel Giedroyc.
HBO’s “House of the Dragon” won for make-up and hair design; sound in fiction and special, visual and graphic effects.
Elsewhere, BBC’s “This is Going to Hurt” won in three categories, with prizes going to first-time winner Adam Kay for best writer in drama (Kay adapted his best-selling memoir for the TV show); Selina MacArthur, also a first-time winner, for editing in fiction; and Nina Gold and Martin Ware for scripted casting.
Winning two awards was the BBC’s “The State Funeral of Hm Queen Elizabeth II” which won for sound in factual and director for multi-camera.
BAFTA’s Emerging Talent:...
- 4/23/2023
- by Manori Ravindran
- Variety Film + TV
To the surprise of no one, James Cameron’s dazzling Avatar: The Way of Water dominated the 21st annual Visual Effects Society Award nominations, which were announced on Tuesday. The juggernaut earned 14 Ves noms, a record number for a feature film or any single project in the society’s awards history.
That includes a nomination in the top category for outstanding VFX in a photoreal feature. Alongside The Way of Water, the category nominees are Fantastic Beasts: The Secrets of Dumbledore, Jurassic World: Dominion, The Batman and Top Gun: Maverick. Nominees in the category for supporting VFX are Death on the Nile, I Wanna Dance With Somebody, The Fabelmans, The Gray Man, The Pale Blue Eye and Thirteen Lives.
Guillermo del Toro’s Pinocchio leads the animated contenders, with six nominations including one for outstanding VFX in an animated feature. Meanwhile The Lord of the Rings: The Rings of Power...
That includes a nomination in the top category for outstanding VFX in a photoreal feature. Alongside The Way of Water, the category nominees are Fantastic Beasts: The Secrets of Dumbledore, Jurassic World: Dominion, The Batman and Top Gun: Maverick. Nominees in the category for supporting VFX are Death on the Nile, I Wanna Dance With Somebody, The Fabelmans, The Gray Man, The Pale Blue Eye and Thirteen Lives.
Guillermo del Toro’s Pinocchio leads the animated contenders, with six nominations including one for outstanding VFX in an animated feature. Meanwhile The Lord of the Rings: The Rings of Power...
- 1/17/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
“Avatar: The Way of Water” has made history once more.
As James Cameron’s long-gestating sequel continues its climb up the all-time box-office charts, “The Way of Water” set a new record for the most nominations for a single project from the Visual Effects Society Awards, announced this morning. The film’s 14 nods highlight achievements that range from VFX to character animation to emerging technology, where it accounts for three of the category’s five nominees. This tally surpasses the previous records set by the 11 nominations for the original “Avatar” in 2010 and the 13 nominations for “The Mandalorian” in 2021.
Joining “The Way of Water” on the Ves leaderboard are “Guillermo del Toro’s Pinocchio” and “The Lord of the Rings: The Rings of Power,” which respectively top the animation and TV fields with six and seven nominations. The 21st annual Visual Effects Society Awards will take place February 15 at the Beverly Hilton,...
As James Cameron’s long-gestating sequel continues its climb up the all-time box-office charts, “The Way of Water” set a new record for the most nominations for a single project from the Visual Effects Society Awards, announced this morning. The film’s 14 nods highlight achievements that range from VFX to character animation to emerging technology, where it accounts for three of the category’s five nominees. This tally surpasses the previous records set by the 11 nominations for the original “Avatar” in 2010 and the 13 nominations for “The Mandalorian” in 2021.
Joining “The Way of Water” on the Ves leaderboard are “Guillermo del Toro’s Pinocchio” and “The Lord of the Rings: The Rings of Power,” which respectively top the animation and TV fields with six and seven nominations. The 21st annual Visual Effects Society Awards will take place February 15 at the Beverly Hilton,...
- 1/17/2023
- by Erik Adams
- Indiewire
James Cameron’s “Avatar: The Way of Water” leads the feature competition at the 21st Annual Ves Awards.
The film earned a total of 14 Ves Awards nominations, setting a new record for record nominations for a feature film. The original “Avatar” was the previous record holder when it received 11 nominations at the 8th Annual Ves Awards held in 2010.
“Guillermo Del Toro’s Pinocchio” received six nominations in the animation category making it the top animated contender.
Ves members selected nominees in 25 categories at 27 in-person and virtual nomination events conducted worldwide. The winners will be announced on Feb. 15 at the Beverly Hilton Hotel in Los Angeles.
This year marks the presentation of the first Ves Emerging Technology Award, which celebrates the creators of the technology behind the visuals and honors the inventors of a novel and uniquely innovative tool, device, software or methodology of outstanding value to the art and science of visual effects,...
The film earned a total of 14 Ves Awards nominations, setting a new record for record nominations for a feature film. The original “Avatar” was the previous record holder when it received 11 nominations at the 8th Annual Ves Awards held in 2010.
“Guillermo Del Toro’s Pinocchio” received six nominations in the animation category making it the top animated contender.
Ves members selected nominees in 25 categories at 27 in-person and virtual nomination events conducted worldwide. The winners will be announced on Feb. 15 at the Beverly Hilton Hotel in Los Angeles.
This year marks the presentation of the first Ves Emerging Technology Award, which celebrates the creators of the technology behind the visuals and honors the inventors of a novel and uniquely innovative tool, device, software or methodology of outstanding value to the art and science of visual effects,...
- 1/17/2023
- by Jazz Tangcay
- Variety Film + TV
Suffice it to say that Avatar: The Way of Water commanded the Visual Effects Society’s attention. James Cameron box office-smash sequel scored a record 14 nominations for the 2023 Ves Awards, which were announced today.
Helped by three noms in the Emerging Technology category, Disney’s The Way of Water topped the single-year noms haul by Disney+’s The Mandalorian in 2021. It also shattered the old high-water mark for films, set by — no big surprise here — the original Avatar, which amassed 11 noms in 2010.
Related Story 2022-23 Awards Season Calendar – Dates For The Oscars, Grammys, Guilds & More Related Story Moviegoing Happens Over MLK: 'Avatar 2' Soars With 40M 4-day, 'M3GAN' Moves 21M+, 'Puss In Boots 2' Hits 112M, 'Otto' Bright At 15M+ – Update Related Story C'mon Voters: The Oscars Could Use A Little Sequel-itis
The hardware will be doled out at the 21st annual Ves Awards on Wednesday,...
Helped by three noms in the Emerging Technology category, Disney’s The Way of Water topped the single-year noms haul by Disney+’s The Mandalorian in 2021. It also shattered the old high-water mark for films, set by — no big surprise here — the original Avatar, which amassed 11 noms in 2010.
Related Story 2022-23 Awards Season Calendar – Dates For The Oscars, Grammys, Guilds & More Related Story Moviegoing Happens Over MLK: 'Avatar 2' Soars With 40M 4-day, 'M3GAN' Moves 21M+, 'Puss In Boots 2' Hits 112M, 'Otto' Bright At 15M+ – Update Related Story C'mon Voters: The Oscars Could Use A Little Sequel-itis
The hardware will be doled out at the 21st annual Ves Awards on Wednesday,...
- 1/17/2023
- by Erik Pedersen
- Deadline Film + TV
“House of the Dragon” lived up to its name with the season-ending fight at Storm’s End, in which the legendary Vhagar (ridden by Ewan Mitchell’s Aemond) devoured newbie Arrax and his young rider, Lucerys (Elliot Grihault) like a snack. This dance of dragons in the storm is noteworthy not just because it kicks off a civil war — it’s also an impressive use of the V Stage, the new virtual production volume at Warner Bros. Studios Leavesden. Co-showrunner and director Miguel Sapochnik was impressed with what Ilm has been able to achieve with its innovative LED-wall system, StageCraft, and lobbied to bring similar technology to Westeros. V Stage offers a 7,100 square foot wraparound virtual production environment with more than 2,600 LED panels along with an additional set of ceiling units with eight sections that work independently by lifting and tilting.
It was decided that five key sequences would be filmed in the volume,...
It was decided that five key sequences would be filmed in the volume,...
- 11/1/2022
- by Bill Desowitz
- Indiewire
*Warning – Spoilers ahead for House of the Dragonepisode 10*
Daemon Targaryen is on a recruiting drive.
In the House of the Dragon series finale, the warrior prince – played by Matt Smith – suggests that Rhaenyra rounds up other “unclaimed dragons” in order to ensure victory over the Greens.
“Seasmoke still resides on Driftmark, Vermithor and Silverwing dwell on the Dragonmont, still riderless. Then there are the three wild dragons, all of whom nest here,” he tells the would-be Queen.
While the Greens have four dragons, claiming the others would leave the Blacks with an overwhelming majority.
Later in the episode, Daemon is seen entering a cave in Dragonmont, singing in High Valyrian.
As he delves deeper, a monstrous, blind-looking dragon reveals itself to him.
Judging by the dragon’s appearance, the signs point to this being Vermithor, nicknamed “the Bronze Fury”.
According to George Rr Martin’s Fire & Blood (the book on...
Daemon Targaryen is on a recruiting drive.
In the House of the Dragon series finale, the warrior prince – played by Matt Smith – suggests that Rhaenyra rounds up other “unclaimed dragons” in order to ensure victory over the Greens.
“Seasmoke still resides on Driftmark, Vermithor and Silverwing dwell on the Dragonmont, still riderless. Then there are the three wild dragons, all of whom nest here,” he tells the would-be Queen.
While the Greens have four dragons, claiming the others would leave the Blacks with an overwhelming majority.
Later in the episode, Daemon is seen entering a cave in Dragonmont, singing in High Valyrian.
As he delves deeper, a monstrous, blind-looking dragon reveals itself to him.
Judging by the dragon’s appearance, the signs point to this being Vermithor, nicknamed “the Bronze Fury”.
According to George Rr Martin’s Fire & Blood (the book on...
- 10/24/2022
- by Tom Murray
- The Independent - TV
Click here to read the full article.
For the better part of a decade, Breaking Bad and Game of Thrones dominated the drama series Emmy races and delivered big enough ratings for their respective networks that it’s no surprise they wanted more. In a nice piece of kismet, HBO’s Game of Thrones prequel is arriving the same week that AMC’s Breaking Bad prequel concluded. Better Call Saul was a show that was hailed for maintaining fidelity and continuity with the Breaking Bad universe, while immediately carving out a tone and aesthetic all its own.
Game of Thrones was a bigger hit than Breaking Bad, plus the notable decrease in quality of its final season (or final seasons) may make the inherent affection for the brand more precarious. So it probably isn’t surprising that after an elaborate bake-off process to develop a prequel, HBO has ended up...
For the better part of a decade, Breaking Bad and Game of Thrones dominated the drama series Emmy races and delivered big enough ratings for their respective networks that it’s no surprise they wanted more. In a nice piece of kismet, HBO’s Game of Thrones prequel is arriving the same week that AMC’s Breaking Bad prequel concluded. Better Call Saul was a show that was hailed for maintaining fidelity and continuity with the Breaking Bad universe, while immediately carving out a tone and aesthetic all its own.
Game of Thrones was a bigger hit than Breaking Bad, plus the notable decrease in quality of its final season (or final seasons) may make the inherent affection for the brand more precarious. So it probably isn’t surprising that after an elaborate bake-off process to develop a prequel, HBO has ended up...
- 8/19/2022
- by Daniel Fienberg
- The Hollywood Reporter - Movie News
Covid has accelerated the technology-led transition towards virtual production in media.
The Covid-19 pandemic has acclerated the technology-led transition towards virtual production in film and television and can help create more jobs and and better sustainability, said a panel of experts at the BFI London Film Festival (Lff) this weekend.
James Whitlam, managing director — episodic at creative studio Framestore, which helped design, create and operate Europe’s largest LED volume, spoke on his experience working on the latest series of German Netflix crime drama Dark.
“Doing the entire thing through Covid times has allowed us to create an eight-part series...
The Covid-19 pandemic has acclerated the technology-led transition towards virtual production in film and television and can help create more jobs and and better sustainability, said a panel of experts at the BFI London Film Festival (Lff) this weekend.
James Whitlam, managing director — episodic at creative studio Framestore, which helped design, create and operate Europe’s largest LED volume, spoke on his experience working on the latest series of German Netflix crime drama Dark.
“Doing the entire thing through Covid times has allowed us to create an eight-part series...
- 10/11/2021
- by ¬Alexandria Slater
- ScreenDaily
Covid has accelerated the technology-led transition towards virtual production in media.
The pandemic has highlighted the significance of virtual production (VP) in film and television, and according to a panel of VP experts at BFI London Film Festival (Lff) it can be beneficial for creating more jobs and better sustainability.
Covid has accelerated the technology-led transition towards virtual production in media. Techniques like motion capture have enabled production teams to use actors in different locations, placing them in responsive virtual worlds where live images can be transplanted into computer-generated environments on one screen.
Merging different industry methods, such as combining...
The pandemic has highlighted the significance of virtual production (VP) in film and television, and according to a panel of VP experts at BFI London Film Festival (Lff) it can be beneficial for creating more jobs and better sustainability.
Covid has accelerated the technology-led transition towards virtual production in media. Techniques like motion capture have enabled production teams to use actors in different locations, placing them in responsive virtual worlds where live images can be transplanted into computer-generated environments on one screen.
Merging different industry methods, such as combining...
- 10/11/2021
- by ¬Alexandria Slater
- ScreenDaily
The festival will also host a connects session with British Vogue editor Edward Enninful.
Edward Enninful, editor-in-chief of British Vogue and European editorial director of Vogue, will open the industry programme of the BFI London Film Festival (Lff) on Thursday October 7 in an in-conversation event as part of the Lff Connects strand, which looks to explore the intersection between film and other creative industries.
There will also be Spotlight conversations with Element Pictures producer and co-founder Ed Guiney and Doc Society chief executive Jess Search.
Guiney’s most recent feature, Joanna Hogg’s The Souvenir Part II, is playing as the festival’s Londoner Gala.
Edward Enninful, editor-in-chief of British Vogue and European editorial director of Vogue, will open the industry programme of the BFI London Film Festival (Lff) on Thursday October 7 in an in-conversation event as part of the Lff Connects strand, which looks to explore the intersection between film and other creative industries.
There will also be Spotlight conversations with Element Pictures producer and co-founder Ed Guiney and Doc Society chief executive Jess Search.
Guiney’s most recent feature, Joanna Hogg’s The Souvenir Part II, is playing as the festival’s Londoner Gala.
- 9/27/2021
- by Ben Dalton
- ScreenDaily
It shouldn't come as surprise to you that Matthew Vaughn would continue the story of the Kingsman in a third film. Kingsman: The Golden Circle was totally left open for a sequel, one that better involve more of Channing Tatum's character! I didn't like the fact that he was in a coma throughout most of the film.
Confirmation that Matthew Vaughn in the process of developing Kingsman 3 came from Cbr, who recently attended a Blu-ray event for The Golden Circle. Visual Effects Supervisor Angus Bickerton told them:
“We’ve had the briefest of conversations with Matthew [Vaughn] about it…he’s got plans."
If he's having conversations with people and sharing his ideas about a third film int he franchise, he's actively working on it. When previously talking about what he envisions for the future of the franchise, he said:
“I think there’s a story in my head...
Confirmation that Matthew Vaughn in the process of developing Kingsman 3 came from Cbr, who recently attended a Blu-ray event for The Golden Circle. Visual Effects Supervisor Angus Bickerton told them:
“We’ve had the briefest of conversations with Matthew [Vaughn] about it…he’s got plans."
If he's having conversations with people and sharing his ideas about a third film int he franchise, he's actively working on it. When previously talking about what he envisions for the future of the franchise, he said:
“I think there’s a story in my head...
- 12/13/2017
- by Joey Paur
- GeekTyrant
After orchestrating a Secret Service and inviting moviegoers into the Golden Circle, it seems writer-director Matthew Vaughn is gearing up to complete his boisterous Kingsman trilogy.
Word comes by way of Cbr, revealing that Vaughn has “got plans” for a potential trilogy-capper, which isn’t all that surprising when you consider that the director has always envisioned Kingsman as a three-film arc.
There is one potential headache, though: since The Golden Circle‘s release, Matthew Vaughn has opened talks to helm Man of Steel 2 for Warner Bros., but with news of an internal shake-up coming out of Justice League, we imagine it’ll be some time yet before Clark Kent’s next solo adventure takes flight.
Couple this with the fact that Vaughn and his team were able to engineer two Kingsman movies in the space of three years, give or take, and the director may find time on his...
Word comes by way of Cbr, revealing that Vaughn has “got plans” for a potential trilogy-capper, which isn’t all that surprising when you consider that the director has always envisioned Kingsman as a three-film arc.
There is one potential headache, though: since The Golden Circle‘s release, Matthew Vaughn has opened talks to helm Man of Steel 2 for Warner Bros., but with news of an internal shake-up coming out of Justice League, we imagine it’ll be some time yet before Clark Kent’s next solo adventure takes flight.
Couple this with the fact that Vaughn and his team were able to engineer two Kingsman movies in the space of three years, give or take, and the director may find time on his...
- 12/13/2017
- by Michael Briers
- We Got This Covered
Ian Failes Sep 27, 2017
We go behind the scenes of a key VFX sequence in Kingsman: The Golden Circle...
If there’s one scene that sums up the insane action in Matthew Vaughn’s Kingsman: The Golden Circle, it’s the cable car sequence set amongst the Italian Alps.
Here, Agents Eggsy (Taron Egerton) and Whiskey (Pedro Pascal) get stuck in a fast-rotating ski lift. The shots required a clever combination of practical stunts - including a motion sickness-inducing spinning set - and photoreal CGI. Here's how it was done.
Planning it out
The cable car Eggsy and Whiskey get trapped in is one that spins for scenic purposes. But it gets nefariously taken over and goes into out-of-control revolutions with them inside.
“Matthew had this idea that the bad guys have got control of the spinning and they just set it to super fast,” recounts Angus Bickerton, the film’s overall visual effects supervisor.
We go behind the scenes of a key VFX sequence in Kingsman: The Golden Circle...
If there’s one scene that sums up the insane action in Matthew Vaughn’s Kingsman: The Golden Circle, it’s the cable car sequence set amongst the Italian Alps.
Here, Agents Eggsy (Taron Egerton) and Whiskey (Pedro Pascal) get stuck in a fast-rotating ski lift. The shots required a clever combination of practical stunts - including a motion sickness-inducing spinning set - and photoreal CGI. Here's how it was done.
Planning it out
The cable car Eggsy and Whiskey get trapped in is one that spins for scenic purposes. But it gets nefariously taken over and goes into out-of-control revolutions with them inside.
“Matthew had this idea that the bad guys have got control of the spinning and they just set it to super fast,” recounts Angus Bickerton, the film’s overall visual effects supervisor.
- 9/24/2017
- Den of Geek
The Academy of Science Fiction, Fantasy & Horror Films has announced the nominations for The 37th Annual Saturn Awards. Among others, Director Christopher Nolan’s sci-fi epic, Inception leads the pack with 9 nominations. Director Joseph Kosinski‘s long-awaited Tron: Legacy pulled in 7 nominations, and Harry Potter and the Deathly Hallows: Part 1 earned 5 nominations.
Check out all the nominees below!
The 37th Annual Saturn Award Nominees
Best Science Fiction Film:
Hereafter (Warner Bros.)
Inception (Warner Bros.)
Iron Man 2 (Paramount/Marvel)
Never Let Me Go (Fox Searchlight)
Splice (Warner Bros.)
Tron: Legacy (Walt Disney Studios)
Best Fantasy Film:
Alice in Wonderland (Walt Disney Studios)
The Chronicles of Narnia: The Voyage of the Dawn Treader (20th Century Fox)
Clash of the Titans (Warner Bros.)
Harry Potter and the Deathly Hallows: Part 1 (Warner Bros.)
Scott Pilgrim vs. The World (Universal)
Twilight: Eclipse (Summit Entertainment)
Best Horror/Thriller Film:
The American (Focus)
Black Swan...
Check out all the nominees below!
The 37th Annual Saturn Award Nominees
Best Science Fiction Film:
Hereafter (Warner Bros.)
Inception (Warner Bros.)
Iron Man 2 (Paramount/Marvel)
Never Let Me Go (Fox Searchlight)
Splice (Warner Bros.)
Tron: Legacy (Walt Disney Studios)
Best Fantasy Film:
Alice in Wonderland (Walt Disney Studios)
The Chronicles of Narnia: The Voyage of the Dawn Treader (20th Century Fox)
Clash of the Titans (Warner Bros.)
Harry Potter and the Deathly Hallows: Part 1 (Warner Bros.)
Scott Pilgrim vs. The World (Universal)
Twilight: Eclipse (Summit Entertainment)
Best Horror/Thriller Film:
The American (Focus)
Black Swan...
- 2/25/2011
- by Jason Moore
- ScifiMafia
It's that time of year again: The Academy of Science Fiction, Fantasy & Horror Films has announced the nominations for its 37th Annual Saturn Awards.
From the Press Release:
Leading the charge is Christopher Nolan’s mind-bending sci-fi thriller “Inception” with 9 nominations. Overture/Relativity Media’s “Let Me In” and Disney’s “Tron: Legacy” downloaded 7 nominations apiece; Clint Eastwood’s thought-provoking “Hereafter” received 6; while “Alice in Wonderland,” “Black Swan,” “Harry Potter and the Deathly Hallows: Part 1,” “Never Let Me Go” and “Shutter Island” earned 5 nominations each.
In the television categories, Frank Darabont’s zombie-drama “The Walking Dead” (AMC) came to life with 6 nominations. “Breaking Bad” (AMC), “Lost” (ABC) and “Fringe” (Fox) tied with 5 nominations. “Leverage” (TNT) and “True Blood” (HBO) earned 4 apiece, followed by “Dexter” (Showtime) and “V” (ABC) with 3 and “The Closer” (TNT), “Smallville” (CW) and “Spartacus: Blood and Sand” (Starz) with 2.
The Academy was founded in 1972 by noted...
From the Press Release:
Leading the charge is Christopher Nolan’s mind-bending sci-fi thriller “Inception” with 9 nominations. Overture/Relativity Media’s “Let Me In” and Disney’s “Tron: Legacy” downloaded 7 nominations apiece; Clint Eastwood’s thought-provoking “Hereafter” received 6; while “Alice in Wonderland,” “Black Swan,” “Harry Potter and the Deathly Hallows: Part 1,” “Never Let Me Go” and “Shutter Island” earned 5 nominations each.
In the television categories, Frank Darabont’s zombie-drama “The Walking Dead” (AMC) came to life with 6 nominations. “Breaking Bad” (AMC), “Lost” (ABC) and “Fringe” (Fox) tied with 5 nominations. “Leverage” (TNT) and “True Blood” (HBO) earned 4 apiece, followed by “Dexter” (Showtime) and “V” (ABC) with 3 and “The Closer” (TNT), “Smallville” (CW) and “Spartacus: Blood and Sand” (Starz) with 2.
The Academy was founded in 1972 by noted...
- 2/24/2011
- by The Woman In Black
- DreadCentral.com
I love Saturn Awards! Of course, if you’re fan of science fiction, fantasy and horror film, you love them too.
So, you’ll be glad to hear that Saturn Awards nominations for the 37th Annual Saturn Awards were announced this Wednesday by the Academy of Science Fiction, Fantasy & Horror and that we already have a leader!
And it’s Christopher Nolan‘s Inception that led with nine nominations, including best sci-fi pic, as well as Let Me In, Tron: Legacy,Hereafter, Alice in Wonderland and Harry Potter and the Deathly Hallows: Part 1 which all garnered multiple nominations also.
On the other hand, AMC’s The Walking Dead led all TV series with 6 nominations, while Breaking Bad, Fringe, and Lost with 5 each.
When it comes to actors, we’re not surprised to see that Jeff Bridges, George Clooney, Robert Downey Jr. and Ryan Reynolds gained their nominations for Best Actor,...
So, you’ll be glad to hear that Saturn Awards nominations for the 37th Annual Saturn Awards were announced this Wednesday by the Academy of Science Fiction, Fantasy & Horror and that we already have a leader!
And it’s Christopher Nolan‘s Inception that led with nine nominations, including best sci-fi pic, as well as Let Me In, Tron: Legacy,Hereafter, Alice in Wonderland and Harry Potter and the Deathly Hallows: Part 1 which all garnered multiple nominations also.
On the other hand, AMC’s The Walking Dead led all TV series with 6 nominations, while Breaking Bad, Fringe, and Lost with 5 each.
When it comes to actors, we’re not surprised to see that Jeff Bridges, George Clooney, Robert Downey Jr. and Ryan Reynolds gained their nominations for Best Actor,...
- 2/24/2011
- by Fiona
- Filmofilia
No surprise there. It goes without saying that James Cameron's sci-fi spectacle Avatar has the potential to clean house at the 8th Annual Ves Awards for its breath taking visuals by the acclaimed Weta Digital. Cameron will also be picking up a well-deserved Lifetime Achievement Award. In the outstanding animated feature category, the nominees include Up, 9, Coraline, Cloudy with a Chance of Meatballs and Ice Age: Dawn of the Dinosaurs.
The official press release is as followed:
3-D Films Dominate With Most Noms as Avatar grabs 11, Coraline 4, and Visual Effects Company Weta Digital Snags Most Company Noms with 9
Los Angeles, January 19, 2010 - The Visual Effects Society (Ves) today announced the nominees for the 8th Annual Ves Awards ceremony recognizing outstanding visual effects artistry in over twenty categories of film, animation, television, commercials and video games. Nominees were chosen Saturday, January 16, 2010, by numerous blue ribbon panels of Ves members who...
The official press release is as followed:
3-D Films Dominate With Most Noms as Avatar grabs 11, Coraline 4, and Visual Effects Company Weta Digital Snags Most Company Noms with 9
Los Angeles, January 19, 2010 - The Visual Effects Society (Ves) today announced the nominees for the 8th Annual Ves Awards ceremony recognizing outstanding visual effects artistry in over twenty categories of film, animation, television, commercials and video games. Nominees were chosen Saturday, January 16, 2010, by numerous blue ribbon panels of Ves members who...
- 1/22/2010
- Screen Anarchy
James Cameron's "Avatar" led the list of nominations announced Monday by the Visual Effects Society, scooping up 11.
The animated "Coraline," another movie released in 3D, followed with four nominations.
New Zealand-based Weta Digital, which worked on "Avatar," led the company noms with nine.
For visual effects in an effects-driven motion picture feature, the nominees are "2012," "Avatar," "District 9," "Star Trek" and "Transformers: Revenge of the Fallen."
Noms for supporting visual effects in a movie went to "Angels & Demons," "The Box," "Invictus," "The Road" and "Sherlock Holmes."
"9," "Cloudy With a Chance of Meatballs," "Coraline," "Ice Age: Dawn of the Dinosaurs" and "Up" were nominated for outstanding animation in an animated feature.
Ves noms in 20 categories, covering film, animation, TV, commercials and video games were chosen Saturday by blue-ribbon panels of Ves members, meeting in Burbank, San Francisco and London.
The eighth annual Ves Awards will be handed out on Feb.
The animated "Coraline," another movie released in 3D, followed with four nominations.
New Zealand-based Weta Digital, which worked on "Avatar," led the company noms with nine.
For visual effects in an effects-driven motion picture feature, the nominees are "2012," "Avatar," "District 9," "Star Trek" and "Transformers: Revenge of the Fallen."
Noms for supporting visual effects in a movie went to "Angels & Demons," "The Box," "Invictus," "The Road" and "Sherlock Holmes."
"9," "Cloudy With a Chance of Meatballs," "Coraline," "Ice Age: Dawn of the Dinosaurs" and "Up" were nominated for outstanding animation in an animated feature.
Ves noms in 20 categories, covering film, animation, TV, commercials and video games were chosen Saturday by blue-ribbon panels of Ves members, meeting in Burbank, San Francisco and London.
The eighth annual Ves Awards will be handed out on Feb.
- 1/18/2010
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
Charlotte's Web, Pirates of the Caribbean: Dead Man's Chest and The Fountain have been nominated for outstanding visual effects in a visual effects-driven motion picture by the Visual Effects Society.
A panel of more than 80 visual effects professionals met Saturday at FotoKem in Burbank to choose nominees for the fifth annual VES Awards, which will be held Feb. 11 at the Kodak Grand Ballroom at Hollywood & Highland, where Dennis Muren will be honored with the VES Lifetime Achievement Award.
The nominated visual effects work will be shown Jan. 13 at the VES Show and Tell Event 2007 at Los Angeles' Skirball Cultural Center, which is open to the public.
For outstanding supporting visual effects in a motion picture, the nominees are Blood Diamond, Children of Men, Flags of Our Fathers and The Da Vinci Code.
For best single visual effect of the year, VES nominated the birth sequence in Children of Men, Dead Man's Chest, Poseidon and X-Men: The Last Stand.
Nominees for outstanding animated character in a live-action motion picture are Templeton the rat and Wilbur the pig in Charlotte's Web and Davy Jones in Dead Man's Chest.
Nominees for outstanding animated character in an animated motion picture are Mater (Cars), House (Monster House) and Mumble's banishment (Happy Feet).
Casino Royale and Superman Returns were nominated for outstanding special effects in a motion picture.
The nominations are:
Outstanding Visual Effects in a Visual Effects Driven Motion Picture
Charlotte's Web
Karin Joy, John Berton, Blair Clark, John Dietz
Pirates of the Caribbean: Dead Man's Chest
John Knoll, Jill Brooks, Hal Hickel, Charlie Gibson
The Fountain
Jeremy Dawson, Dan Schrecker, Mark Soper, Peter Parks
Outstanding Supporting Visual Effects in a Motion Picture
Blood Diamond
Jeffrey Okun, Thomas Boland, Tim Crosbie, Neil Greenberg
Children of Men
Lucy Killick, Frazer Churchill, Timothy Webber, Paul Corbould
Flags of Our Fathers
Michael Owens, Matthew Butler, Bryan Grill, Julian Levi
The Da Vinci Code
Barrie Hemsley, Angus Bickerton, Gary Brozenich, Paul Riddle
Outstanding Visual Effects in a Broadcast Miniseries, Movie or Special
Fight Science
Mat Beck, Kymber Lim, Manny Wong, Jack Matsumomto
Nightmares and Dreamscapes - Battlegound
Eric Grenaudier, Sam Nicholson, Mark Spatny, Adalberto Lopez
The Hogfather - Episode 1
Oliver Money, Simon Thomas, Kim Stevenson, Stephen Jolley
Outstanding Visual Effects in a Broadcast Series
Battlestar Galactica - Episode 303b Exodus
Gary Hutzel, Michael Gibson, Alec McClymont, Brenda Campbell
Prehistoric Park - Episode 4
George Roper, Matt Fox, Laurent Hugueniot, Kevin Spruce
Smallville - Season 6, Episode 1 "Zod"
Mat Beck, Brian Harding, Trent Smith, John Wash
Outstanding Supporting Visual Effects in a Broadcast Program
Alias - Reprisal/All the Time in the World
Kevin Blank, Jay Worth, Steve Fong, Kevin Kutchaver
Commander In Chief - EP 112 The Wind Beneath Her Wings
Mark Kolpack, Adam Ealovega, Mark Spatny, Mike Enriquez
ER - Scoop and Run
Sam Nicholson, Scott Ramsey, Adam Ealovega, Anthony Ocampo
Outstanding Visual Effects in a Commercial
Rexona - Go Wild
Andy Boyd, Stephane Allender, Dan Seddon, Abby Orchard
Sears Tools - Arboretum
Rich Rama, Cedric Nicolas, Laurent Ledru
Travelers - Snowball
Dan Lemmon, Eileen Moran, R.
A panel of more than 80 visual effects professionals met Saturday at FotoKem in Burbank to choose nominees for the fifth annual VES Awards, which will be held Feb. 11 at the Kodak Grand Ballroom at Hollywood & Highland, where Dennis Muren will be honored with the VES Lifetime Achievement Award.
The nominated visual effects work will be shown Jan. 13 at the VES Show and Tell Event 2007 at Los Angeles' Skirball Cultural Center, which is open to the public.
For outstanding supporting visual effects in a motion picture, the nominees are Blood Diamond, Children of Men, Flags of Our Fathers and The Da Vinci Code.
For best single visual effect of the year, VES nominated the birth sequence in Children of Men, Dead Man's Chest, Poseidon and X-Men: The Last Stand.
Nominees for outstanding animated character in a live-action motion picture are Templeton the rat and Wilbur the pig in Charlotte's Web and Davy Jones in Dead Man's Chest.
Nominees for outstanding animated character in an animated motion picture are Mater (Cars), House (Monster House) and Mumble's banishment (Happy Feet).
Casino Royale and Superman Returns were nominated for outstanding special effects in a motion picture.
The nominations are:
Outstanding Visual Effects in a Visual Effects Driven Motion Picture
Charlotte's Web
Karin Joy, John Berton, Blair Clark, John Dietz
Pirates of the Caribbean: Dead Man's Chest
John Knoll, Jill Brooks, Hal Hickel, Charlie Gibson
The Fountain
Jeremy Dawson, Dan Schrecker, Mark Soper, Peter Parks
Outstanding Supporting Visual Effects in a Motion Picture
Blood Diamond
Jeffrey Okun, Thomas Boland, Tim Crosbie, Neil Greenberg
Children of Men
Lucy Killick, Frazer Churchill, Timothy Webber, Paul Corbould
Flags of Our Fathers
Michael Owens, Matthew Butler, Bryan Grill, Julian Levi
The Da Vinci Code
Barrie Hemsley, Angus Bickerton, Gary Brozenich, Paul Riddle
Outstanding Visual Effects in a Broadcast Miniseries, Movie or Special
Fight Science
Mat Beck, Kymber Lim, Manny Wong, Jack Matsumomto
Nightmares and Dreamscapes - Battlegound
Eric Grenaudier, Sam Nicholson, Mark Spatny, Adalberto Lopez
The Hogfather - Episode 1
Oliver Money, Simon Thomas, Kim Stevenson, Stephen Jolley
Outstanding Visual Effects in a Broadcast Series
Battlestar Galactica - Episode 303b Exodus
Gary Hutzel, Michael Gibson, Alec McClymont, Brenda Campbell
Prehistoric Park - Episode 4
George Roper, Matt Fox, Laurent Hugueniot, Kevin Spruce
Smallville - Season 6, Episode 1 "Zod"
Mat Beck, Brian Harding, Trent Smith, John Wash
Outstanding Supporting Visual Effects in a Broadcast Program
Alias - Reprisal/All the Time in the World
Kevin Blank, Jay Worth, Steve Fong, Kevin Kutchaver
Commander In Chief - EP 112 The Wind Beneath Her Wings
Mark Kolpack, Adam Ealovega, Mark Spatny, Mike Enriquez
ER - Scoop and Run
Sam Nicholson, Scott Ramsey, Adam Ealovega, Anthony Ocampo
Outstanding Visual Effects in a Commercial
Rexona - Go Wild
Andy Boyd, Stephane Allender, Dan Seddon, Abby Orchard
Sears Tools - Arboretum
Rich Rama, Cedric Nicolas, Laurent Ledru
Travelers - Snowball
Dan Lemmon, Eileen Moran, R.
Back in the mid-'60s, when "Star Trek" was begetting its very first generation of Trekkies, producer Irwin Allen launched his own brand of interplanetary adventure that gave new meaning to the phrase "space camp."
Hoping to cash in on those fond nostalgic feelings for the space family Robinson and even that nervous Nellie, Dr. Zachary Smith, New Line's souped-up, big-screen take on "Lost in Space" gets somewhat lost in the translation.
Attempting to be all things to all people, the picture supplements the irresistibly cheesy elements of the original with more purposeful stuff, such as an annoyingly cloying father-son relationship subplot and even a little Spielberg ("Gremlins" period) thrown into the mix to grab the kiddies.
While the resulting tone is all over the place, "Lost in Space" is not without its pure popcorn moments of guilty pleasure with enough visual blast to at least partially placate sci-fi buffs.
Expect this Jupiter II mission to stir up solid -- but short of astronomical -- business.
Taking a cue from Tommy Lee Jones in "Men in Black", William Hurt and Mimi Rogers play it straight as parental units John and Maureen Robinson. It's a gambit that works effectively. They're rooted in a reality that remains constant even when Akiva Goldsman's clunky, dunderheaded dialogue goes off in other directions.
As in the original series, Mom and Dad take the family -- Judy (Heather Graham), Penny (Lacey Chabert) and Will (Jack Johnson) -- on a space-colonizing expedition to Alpha Prime, the galaxy's other inhabitable planet.
While they hire testosterone-fueled Major Don West (Matt LeBlanc) to do the driving, trust diabolical Dr. Smith (Gary Oldman) to sabotage the mission, sending the Jupiter II hurtling through unknown galaxies.
They battle millions of space alien spiders, time-traveling constrictions and each other. Since this is a revisionist '90s take on a '60s view of family, the Robinson family is introduced to the word "dysfunctional" and must work out all their unresolved interpersonal conflicts when not blasting into hyperdrive. All the heavy-handed, father-son/father-daughter claptrap gets in the way of the potential fun.
Director Stephen Hopkins ("The Ghost and the Darkness") has an impressive knack for choreographing elements of suspense, and those quieter sequences are among the most effective in the film. Adhering to a cohesive tone is another problem, and it's one that also hampers some of the performances.
While Hurt, Rogers, Graham, Chabert and young Johnson (who nicely fits Billy Mumy's old space shoes) eschew the scenery-chewing for earnestness, the usually effective Oldman is stuck between a rock and a hard place. Rather than staying with the sniveling, cowardly Dr. Smith of old, the filmmakers have sought to make him more of an irredeemably evil villain, forcing Oldman to play the part like a satanic theater teacher. Smith's character could have used a little more motivation for his actions rather than simply admitting he's rotten to the core.
As the strutting Major West, meanwhile, LeBlanc also seems to have tone trouble, stiffly torn between playing him as a comic book character and a true hero. It's nice to hear Dick Tufeld's deeply mellifluous tones again as the voice of the Robot, while series cast members June Lockhart (Maureen), Mark Goddard (West), Marta Kristen (Judy) and Angela Cartwright (Penny) pop up in cameos.
Visually, "Lost in Space" achieves the requisite balance with effects that neatly fall somewhere between state-of-the-art and cheese. Peter Levy's cinematography, Norman Garwood's production design and visual effects supervisor Angus Bickerton's work remain faithful to the original while effectively expanding the scope for theatrical consumption. Bruce Broughton nimbly recaptures the series' noisy, brass-blasting score, and the original John Williams-penned theme has been treated to a kicking end-title electronic remix performed by Apollo Four Forty.
LOST IN SPACE
New Line Cinema
A Prelude Pictures production
in association with Irwin Allen Prods.
A Stephen Hopkins film
Director: Stephen Hopkins
Screenwriter: Akiva Goldsman
Producers: Mark W. Koch, Stephen Hopkins,
Akiva Goldsman, Carla Fry
Executive producers: Mace Neufeld,
Bob Rehme, Richard Saperstein,
Michael De Luca
Director of photography: Peter Levy
Production designer: Norman Garwood
Editor: Ray Lovejoy
Music: Bruce Broughton
Visual effects supervisor: Angus Bickerton
Color/stereo
Cast:
Dr. Zachary Smith: Gary Oldman
John Robinson: William Hurt
Major Don West: Matt LeBlanc
Maureen Robinson: Mimi Rogers
Judy Robinson: Heather Graham
Penny Robinson: Lacey Chabert
Will Robinson: Jack Johnson
Older Will Robinson: Jared Harris
Running time - 130 minutes
MPAA rating: PG-13...
Hoping to cash in on those fond nostalgic feelings for the space family Robinson and even that nervous Nellie, Dr. Zachary Smith, New Line's souped-up, big-screen take on "Lost in Space" gets somewhat lost in the translation.
Attempting to be all things to all people, the picture supplements the irresistibly cheesy elements of the original with more purposeful stuff, such as an annoyingly cloying father-son relationship subplot and even a little Spielberg ("Gremlins" period) thrown into the mix to grab the kiddies.
While the resulting tone is all over the place, "Lost in Space" is not without its pure popcorn moments of guilty pleasure with enough visual blast to at least partially placate sci-fi buffs.
Expect this Jupiter II mission to stir up solid -- but short of astronomical -- business.
Taking a cue from Tommy Lee Jones in "Men in Black", William Hurt and Mimi Rogers play it straight as parental units John and Maureen Robinson. It's a gambit that works effectively. They're rooted in a reality that remains constant even when Akiva Goldsman's clunky, dunderheaded dialogue goes off in other directions.
As in the original series, Mom and Dad take the family -- Judy (Heather Graham), Penny (Lacey Chabert) and Will (Jack Johnson) -- on a space-colonizing expedition to Alpha Prime, the galaxy's other inhabitable planet.
While they hire testosterone-fueled Major Don West (Matt LeBlanc) to do the driving, trust diabolical Dr. Smith (Gary Oldman) to sabotage the mission, sending the Jupiter II hurtling through unknown galaxies.
They battle millions of space alien spiders, time-traveling constrictions and each other. Since this is a revisionist '90s take on a '60s view of family, the Robinson family is introduced to the word "dysfunctional" and must work out all their unresolved interpersonal conflicts when not blasting into hyperdrive. All the heavy-handed, father-son/father-daughter claptrap gets in the way of the potential fun.
Director Stephen Hopkins ("The Ghost and the Darkness") has an impressive knack for choreographing elements of suspense, and those quieter sequences are among the most effective in the film. Adhering to a cohesive tone is another problem, and it's one that also hampers some of the performances.
While Hurt, Rogers, Graham, Chabert and young Johnson (who nicely fits Billy Mumy's old space shoes) eschew the scenery-chewing for earnestness, the usually effective Oldman is stuck between a rock and a hard place. Rather than staying with the sniveling, cowardly Dr. Smith of old, the filmmakers have sought to make him more of an irredeemably evil villain, forcing Oldman to play the part like a satanic theater teacher. Smith's character could have used a little more motivation for his actions rather than simply admitting he's rotten to the core.
As the strutting Major West, meanwhile, LeBlanc also seems to have tone trouble, stiffly torn between playing him as a comic book character and a true hero. It's nice to hear Dick Tufeld's deeply mellifluous tones again as the voice of the Robot, while series cast members June Lockhart (Maureen), Mark Goddard (West), Marta Kristen (Judy) and Angela Cartwright (Penny) pop up in cameos.
Visually, "Lost in Space" achieves the requisite balance with effects that neatly fall somewhere between state-of-the-art and cheese. Peter Levy's cinematography, Norman Garwood's production design and visual effects supervisor Angus Bickerton's work remain faithful to the original while effectively expanding the scope for theatrical consumption. Bruce Broughton nimbly recaptures the series' noisy, brass-blasting score, and the original John Williams-penned theme has been treated to a kicking end-title electronic remix performed by Apollo Four Forty.
LOST IN SPACE
New Line Cinema
A Prelude Pictures production
in association with Irwin Allen Prods.
A Stephen Hopkins film
Director: Stephen Hopkins
Screenwriter: Akiva Goldsman
Producers: Mark W. Koch, Stephen Hopkins,
Akiva Goldsman, Carla Fry
Executive producers: Mace Neufeld,
Bob Rehme, Richard Saperstein,
Michael De Luca
Director of photography: Peter Levy
Production designer: Norman Garwood
Editor: Ray Lovejoy
Music: Bruce Broughton
Visual effects supervisor: Angus Bickerton
Color/stereo
Cast:
Dr. Zachary Smith: Gary Oldman
John Robinson: William Hurt
Major Don West: Matt LeBlanc
Maureen Robinson: Mimi Rogers
Judy Robinson: Heather Graham
Penny Robinson: Lacey Chabert
Will Robinson: Jack Johnson
Older Will Robinson: Jared Harris
Running time - 130 minutes
MPAA rating: PG-13...
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