Roll up! Roll up! The new issue of Cinefex is now officially open for business!
Just like that theme park with all the dinosaurs, issue 142 of the world’s premier visual effects magazine is filled with white knuckle rides – sorry, make that “reads”.
First up is Jurassic World. For the safety of our readers, we’ve caged this article behind a ninety-foot titanium-steel electrified fence, so that none of the in-depth details about the making of the movie can possibly escape. We think.
Also on parade in Cinefex 142 are Avengers: Age of Ultron, the earth-shaking San Andreas and the eye-popping Mad Max: Fury Road. We’re 100% committed to your security so rest assured that, as you read these articles, there’s only a very small chance you’ll be smashed by the Hulk, swallowed by a hole in the ground, or torched by a gang of crazed post-apocalyptic punks.
Here’s Cinefex editor-in-chief Jody Duncan to talk about the high-octane attractions igniting the interior of issue 142 …
Jody Duncan – From the Editor’s Desk
It was 1974 when a date and I drove the 45 minutes to Palm Springs to experience Earthquake in the highly marketed “Sensurround” audio system that had our seats, teeth and nerves rattling. San Andreas, one of the four films covered in Cinefex 142, is probably the biggest earthquake movie to hit the theaters since that time, and as a resident of Southern California who has often driven over sections of the San Andreas fault line, I look forward to the film with particular interest. Joe Fordham wrote our San Andreas story, as well as our coverage of Mad Max: Fury Road, the first George Miller-directed “Mad Max” film in 30 years.
I spent the past three months writing the effects story for Avengers: Age of Ultron, which Marvel Studios allowed us to see twice before the film’s opening. The first screening was so early, there were virtually no completed visual effects shots (which is why I had to screen it again, many weeks later) – but at least I got the gist of the storyline.
I believe Avengers: Age of Ultron set my personal record for the number of visual effects companies interviewed for one article: 20 effects studios, and a total of 26 interview subjects! The large pile of transcripts was daunting, but the resulting story leaves no Sokovian cobblestone unturned, no Ultron nuance unexplored, no Hulk muscle twitch unexplained.
Then there was Jurassic World.
Jurassic World felt a bit like a homecoming to me. I wrote the cover story for the first Jurassic Park in Cinefex 55, as well as the books The Making of Jurassic Park, which I wrote with Don Shay, and The Making of The Lost World, for which I went solo. I’ve been tracking those genetically engineered dinosaurs for a very long time …
So, I felt pleasure – and a small measure of relief – when the visual effects artists at ILM spoke of those films with such respect and reverence. I had wondered if a new generation of effects artists – people accustomed to more digital firepower on their cell phones than the Jurassic Park crew had in their entire arsenal – might dismiss that pioneering work as “less than.” To the contrary, they all spoke as if fully aware that they were standing on the shoulders of giants.
Thanks, Jody! All that remains is for me to open the gates and declare this issue of Cinefex well and truly … wait a second … is that a hole in the fence? Where did those gigantic footprints come from? And why are all those people screaming?
There’s only one thing for it. Grab your copy of Cinefex 142 right now … and run!!!
- Buy Cinefex 142 from our online store
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