The doors are open on the latest issue of Cinefex!
Issue 138 features in-depth articles on the visual effects of Captain America: The Winter Soldier, in which Marvel’s all-American superhero (Chris Evans) battles against the threat of a powerful Soviet agent. Next up there’s Maleficent – a live-action fantasy starring Angelina Jolie as the villainess from Walt Disney’s 1959 animated feature, Sleeping Beauty – and The Amazing Spider-Man 2, a second outing for Andrew Garfield as the web-slinging crime-fighter, who this time goes up against Electro (Jamie Foxx), The Rhino (Paul Giamatti), and The Green Goblin (Dane DeHaan). Rounding out this issue is Godzilla, in which the iconic monster wreaks havoc once again in an adaptation directed by Gareth Edwards.
But wait. It doesn’t stop there. Also in Cinefex 138, we’re proud to publish O’Brien vs Dawley, a special article in which Stephen Czerkas presents startling new evidence about the legendary Willis O’Brien and his bitter rivalry with producer Herbert M. Dawley … and which effectively rewrites the history of visual effects. Cinefex editor-in-chief Jody Duncan calls it “The Da Vinci Code of visual effects.” And multi-Oscar-winner Dennis Muren says: “A shocking betrayal fit for Extra or TMZ finally gets told … in Cinefex. And it’s a doozie.”
Before you take your seats for the main feature, here’s Jody with a few thoughts about this new issue:
Jody Duncan – From The Editor’s Desk
As I was writing the Captain America: The Winter Soldier story for Cinefex issue 138, I was struck – yet again – by the extraordinary cooperation offered to us by Marvel Studios. Under the leadership of Victoria Alonso (one of the most dynamic, compelling people I have ever met), Marvel let me come in and see the film very early, when there were still a lot of unfinished effects shots – something most studios will never do. They fear we will think an unfinished shot is a finished shot, and then go out and spread the word that the effects in their film stink.
Marvel “gets it”. They get that we have been doing this for 30-plus years, that we DO know a finished effects shot from an unfinished effects shot, and that we aren’t in the business of going online to critique a film or blab about its plot-line. Our confidentiality record is squeaky-clean, yet most studios treat us as if we are newcomers with an “I Leak Film Plots” blog. (Do you detect some exasperation on my part when it comes to dealing with movie studios? You detect correctly.)
Getting to specifics, issue 138 features the first byline for FXGuide’s Mike Seymour, who has been a big supporter of Cinefex for a long time. Mike’s friendship with Godzilla director Gareth Edwards afforded him a front-seat view of the making of the film. Joe Fordham pulled off a particularly heroic feat this issue, meeting the deadlines for both of his articles – on Maleficent and The Amazing Spider-Man 2 – while also writing a soon-to-be-published book on the Planet of the Apes franchise. (I don’t think Joe got much sleep the past three months.) Finally, issue 138 is a nice “culmination” moment for me, because I first interviewed Maleficent director Rob Stromberg many years ago when he was a shy, 19 year-old matte painter. I love seeing the talent rise!
Thanks, Jody. Now, is everyone sitting comfortably? 3D glasses free of fingermarks? No rustling the candy wrappers when the lights go down. You two in the back row – stop that at once! Everybody ready? On with the show!