Now Showing – Cinefex 148

Cinefex 148

Pop quiz – how many times has the U.S.S. Enterprise graced the cover of Cinefex? As our header image demonstrates, the answer is now “five.”

Starfleet’s iconic starship first appeared on the front of our inaugural issue, way back in 1980, when Cinefex issue 1 delivered exclusive coverage of Star Trek: The Motion Picture (we’ve covered every single Star Trek theatrical feature since, with the exception of Star Trek II: The Wrath of Khan).

The Enterprise‘s next cover gig came in 1989 with Cinefex 37, when we voyaged into the world of television to explore the visual effects of Star Trek – The Next Generation. Fast-forward to 2009 and J.J. Abrams’ Star Trek reboot, and there’s the Enterprise soaring across the cover of Cinefex 118, only to return in 2013 for Cinefex 134 and our in-depth story on Star Trek Into Darkness.

Now the Enterprise is back, up close and personal on the front cover of the brand new Cinefex 148, in a stunning image that was specially beamed to us by Double Negative. Inside you’ll find galaxy-spanning articles on four blockbuster movies – Star Trek Beyond, Warcraft, Independence Day: Resurgence and The Legend of Tarzan.

Here’s Cinefex editor-in-chief Jody Duncan to tell you more about our latest edition …

Jody Duncan – From the Editor’s Desk

In Cinefex 65, published in 1996, we dedicated much of our coverage to Industrial Light & Magic, in honor of the celebrated company’s 20th anniversary. I was given the task of writing a survey of ILM’s work up to that point, covering – in a paragraph or two – the effects in each of ILM’s film projects spanning that period.

No effort has ever made me appreciate Cinefex more. I quickly found that if the film in question was one we had covered, I had a wealth of information from which to draw. On the few occasions I had to write about a film not previously covered in Cinefex, I was doomed, because no such information existed. Many visual effects artists have made the same observation, and have said to me: “Before Cinefex, getting information about how a film’s effects were done was almost impossible.”

I mention this because, when assigning myself the Independence Day: Resurgence article for our current issue 148, my first thought was: “Thank God, we covered the first Independence Day 20 years ago.” I knew that I could re-read that article and learn all I needed to know – for compare and contrast purposes – about how they had done the effects for the original film. I also knew that my new article would benefit from our long association with visual effects supervisor Volker Engel, who in 1996, in 2016, and in all the years between has been the very best kind of ally.

Warcraft director Duncan Jones, too, was an ally as Graham Edwards dove deep into that film’s effects. Graham also covered Star Trek Beyond, the subject of one of our sexiest covers ever. (Yes, the Enterprise is our cover image yet again – but no one complained when Elle Macpherson graced the cover of Sports Illustrated’s swimsuit edition three years in a row!)

Finally, Joe Fordham brings us extensive coverage of the effects in The Legend of Tarzan, which includes some fascinating stories of shooting background imagery in Central Africa’s Gabon – a remote, deeply forested landscape never before seen in a Hollywood film.

That’s Cinefex 148 – enjoy!

Issue 148 of Cinefex is on newsstands now, and available to order at our online store. If you’re a subscriber, clear those Tribbles out your mailbox – your copy will be docking very soon. And don’t forget our enhanced iPad edition, featuring tons more photographs – many of them exclusive to Cinefex – and stunning video content.

Q is for Queen

In the VFX ABC, the letter “Q” stands for “Queen”.

Science fiction and fantasy films delight in carrying us to strange lands and even stranger planets. As we explore these brave new worlds, chances are we’ll encounter a thoroughly alien society. And who will we find sitting on the alien throne?

An alien queen, of course.

In 1924, a Russian silent film called Aelita, Queen of Mars whisked audiences across the far reaches of space to meet the scantily-clad Martian monarch. Directed by Yakov Protazanov, Aelita showcased lavish constructivist sets by Isaak Rabinovich and a fleeting glimpse of a funky balloon-shaped spacecraft – the movie’s miniatures are credited to Viktor Simonov.

A thinly-disguised treatise on socialism, Aelita bombed at the box office, yet its innovative production design appears to have influenced later and more memorable science fiction films including Fritz Lang’s 1927 classic Metropolis and Universal Pictures’ 1930s Flash Gordon serial.

The sovereign ruler of the Red Planet finds herself leading a worker's revolution in the 1924 Russian film "Aelita, Queen of Mars."

The sovereign ruler of the Red Planet finds herself leading a worker’s revolution in the 1924 Russian film “Aelita, Queen of Mars.”

When it comes to alien queens, however, there’s one monarch who reigns supreme. Yes, I’m talking about the vengeful, egg-laying xenomorph from James Cameron’s 1986 film Aliens. Created for the production in both full-size and quarter-scale versions by artists at Stan Winston Studio, this big bad momma simultaneously pushed special effects technologies to the limit and created a movie icon that towers tall even to this day.

Here’s what James Cameron had to say about his original concept design for the alien queen, in the pages of Cinefex 27:

“For me, the queen is really a blend of what [H.R.] Giger does with what I wanted to do, which was to create something that was big and powerful and terrifying and fast and very female – hideous and beautiful at the same time, like a black widow spider.”

The alien queen battles Ripley’s power loader in “Aliens.” Stan Winston's crew operated the full-scale animatronic queen. For shots showing only the upper half of the loader, its mechanical legs were removed to afford greater maneuverability for operators Sigourney Weaver and John Lees.

The alien queen battles Ripley’s power loader in “Aliens.” Stan Winston’s crew operated the full-scale animatronic queen. For shots showing only the upper half of the loader, its mechanical legs were removed to afford greater maneuverability for operators Sigourney Weaver and John Lees.

In the same interview, Cameron commented that somebody had likened the queen to “an anorexic dinosaur.” In the film, Sigourney Weaver as Warrant Officer Ellen Ripley famously refers to her as “you bitch!” Which got me wondering – how did the Stan Winston team refer to their creation while they were on set?

As it turns out, the answer is prosaic. John Rosengrant and Alec Gillis, part of the original Aliens creature crew, told me they referred to her quite simply as “the Queen.” Gillis elaborated: “We were so dogged tired that one-syllable words worked best!”

For a shot in “Star Trek: First Contact” showing the assembly of the Borg queen’s body parts, actress Alice Krige was positioned with her head in a prosthetic neck-and-shoulders piece fashioned by Todd Masters Company. Bluescreen material masked her legs and torso. ILM digitally combined the result with footage of the biomechanical suit.

For a shot in “Star Trek: First Contact” showing the assembly of the Borg queen’s body parts, actress Alice Krige was positioned with her head in a prosthetic neck-and-shoulders piece fashioned by Todd Masters Company. Bluescreen material masked her legs and torso. ILM digitally combined the result with footage of the biomechanical suit.

Ten years after the release of Aliens, in 1996, concept artist Ricardo Delgado compared his design for the Borg queen of Star Trek: First Contact with the same deadly arachnid that had inspired James Cameron – the black widow spider.

Alice Krige performed as the cybernetic sovereign, wearing prosthetic makeup by Mike Westmore and crew, with Industrial Light & Magic deploying some smart digital effects for a shot in which a descending apparatus introduces the queen’s fleshy head and shoulders to a waiting biomechanical body.

Genre films in subsequent years gave us a healthy succession of notable queens (or at least characters close enough to royalty to count in my book).

Star Wars: Episode I – The Phantom Menace benefited from the graceful presence of Natalie Portman as Queen Amidala, while in 2001 A.I. Artificial Intelligence treated us to a glimpse of the queenly Blue Fairy, voiced by Meryl Streep and digitally keyframed by ILM to emulate the retro qualities of 1950s Disney animation.

In the year 2001, a rather different kind of queen made audiences tremble with fear. In Harry Potter and the Sorceror’s Stone, the heroic young wizard played by Daniel Radcliffe goes up against a giant chess set brought to life by sinister spells. Photographed on a full-scale set, with practical effects and pyrotechnics by special effects supervisor John Richardson and digital animation by Mill Film, the chess sequence features a sword-wielding queen driven by a particularly aggressive kind of magic.

Harry, Ron and Hermione face the perils of a giant chess board in "Harry Potter and the Sorceror's Stone."

Harry, Ron and Hermione face the perils of a giant chess board in “Harry Potter and the Sorceror’s Stone.”

No queen is complete without her castle. In The Chronicles of Narnia, Sony Pictures Imageworks constructed the freezing environs of the castle of Tilda Swinton’s White Witch (who looks a lot like a Snow Queen if you ask me). Meanwhile, for Snow White and Huntsman, Baseblack and BlueBolt built the brooding castle environments within which Charlize Theron as Queen Revenna worked her endlessly wicked ways.

In 2010, director Tim Burton concocted an arresting vision of the Red Queen in Alice in Wonderland, for which artists at Sony Pictures Imageworks used digital warping and clever composition to enlarge the head of actress Helena Bonham Carter, techniques they revisited for James Bobin’s 2016 sequel Alice Through the Looking Glass.

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As I write this in the summer of 2016, alien queens are big again – in this case, very big. Following James Cameron’s lead, Roland Emmerich gave us “something we hadn’t seen yet” in Independence Day: Resurgence. The 200-foot-tall queen of the alien invaders was brought to the screen by visual effects artists at Weta Digital. You can read the full story of how they did it in Cinefex 148.

Not every movie queen requires motion picture magic to put her on the throne. Nevertheless, some of cinema’s most memorable monarchs were helped into power by teams of artists from the fields of visual and special effects. The result of their work is frequently spectacular, which just goes to prove one thing.

Queens rule.


Aliens photography copyright © 1986 by Twentieth Century Fox. Star Trek: First Contact photograph copyright © 1996 by Paramount Pictures. Harry Potter and the Sorceror’s Stone photograph copyright © 2001 by Warner Brothers. Alice in Wonderland photographs copyright © 2010 by Walt Disney Pictures.

All Eyes on Star Trek Beyond

Star Trek BeyondI think I must have a split personality.

Leastways, that’s what I thought last Sunday, while I was enjoying Star Trek Beyond in my local multiplex. “Enjoying” is the right word, by the way. I thought the movie was fresh and fun, with bags of inventive action neatly balanced by solid character moments and a warm inclusive heart. I really hope feisty alien scavenger Jaylah gets to join the crew, don’t you?

So why did the movie make me feel divided? Because I was watching it through lots of different sets of eyes, all at the same time.

The first set of eyes belonged to a middle-aged moviegoer primed and ready for some escapist entertainment. That version of me left the cinema highly satisfied, and confident that the reboot series has plenty of dilithium left in the tank.

The second set of eyes belonged to a Cinefex writer who spent most of May interviewing the people responsible for Star Trek Beyond’s eye-popping effects. My victims included the visual effects teams at Double Negative and Atomic Fiction (who were ably supported by their fellow artists at Kelvin Optical). Special effects supervisor Cameron Waldbauer told me how he blew stuff up and generally threw things around, while head of prosthetics Joel Harlow talked at length about Krall, Kalara and the rest of the 50-plus alien species that he and his team brought to the screen. To my delight, I even managed to grab 15 minutes with director Justin Lin.

Everything I’d learned – and everything I’d written – was going through my head while the movie played. Sometimes that meant I knew what was coming next. Often it left me delighted by the sheer visual finesse of a sequence I’d only ever had described to me in words. Throughout, it made me grateful that I’d had the good fortune to get a solid glimpse behind the scenes … before I’d actually seen those scenes.

Cameraman Hoyt Yeatman checks alignment for the final shot of "Star Trek: The Motion Picture," photographed using a special rig that allowed the camera to swing on a 180-degree arc down and under the Enterprise.

Cameraman Hoyt Yeatman checks alignment for the final shot of “Star Trek: The Motion Picture,” photographed using a special rig that allowed the camera to swing on a 180-degree arc down and under the Enterprise.

The third set of eyes belonged to the teenage version of me – the eager young fellow who sat drinking in the stunning visual effects created by Doug Trumbull and John Dykstra for Star Trek: The Motion Picture back in 1979. Sure, all those Enterprise and V’ger flybys seemed to go on forever, but by golly, weren’t they gorgeous to behold?

The eyes don’t stop there. There was a fourth and even more youthful set with me in the cinema this weekend. These nostalgia-rich peepers belonged to the little kid who for many years ate his evening meals in front of the television, avidly watching reruns of the original Star Trek series. That kid was thrilled to see Kirk, Spock, Bones and all the rest of them given new life and a whole new frontier to play in. Justin Lin told me that he too grew up with the show, and his love for Gene Roddenberry’s original Star Trek is plain to see, shining out from every frame of Star Trek Beyond.

As if four sets of eyes weren’t enough, I was all ears too. Michael Giacchino’s score for Star Trek Beyond – an extension of the music he composed for the previous two reboot movies – is a real treat, somehow managing to sound fresh while still sharing DNA with the classic themes written by Jerry Goldsmith for Star Trek: The Motion Picture, and James Horner’s exhilarating score for Star Trek II: The Wrath of Khan. These days, it isn’t often I leave the cinema humming the theme tune. I’m humming Giacchino’s Star Trek theme as I write this blog.

I guess there’s nothing unusual in my many-eyes experience of moviegoing. It’s something we all share, don’t you think? No film exists in isolation – least of all the latest iteration of a franchise going back an epic 50 years.

How many sets of eyes did you take to Star Trek Beyond? And what did they see?


Cinefex 148 is out this month, with in-depth behind the scenes coverage of Star Trek Beyond, Warcraft, Independence Day: Resurgence and The Legend of Tarzan. Preorder your copy now.

Star Trek: The Motion Picture photograph copyright © 1979 by Paramount Pictures Corporation. All rights reserved. Special effects unit still photography by Virgil Mirano.