Production companies can be a great deal of help to Cinefex or a terrible hindrance, depending on a number of factors – their confidence in a film, their confidence in Cinefex, their support of the visual effects team, overall. The worst, for us, is when we get this worn line: “We don’t want to spoil the magic” – as if it will come as news to Cinefex readers that a cyborg assassin didn’t really grow metallic weapons from the end of its arms!
Netflix won the Cooperation Blue Ribbon for its assistance in our coverage of Martin Scorsese’s The Irishman. They arranged for an early private screening of the film, no one in the theater other than Netflix’s Julie Miller, visual effects supervisor Pablo Helman and me, and Julie continued to help us every step of the way. Readers will be intrigued by the story of ILM’s four-year development of a markerless performance capture system that enabled Robert De Niro, Al Pacino and Joe Pesci to do that brilliant thing they do, sans helmet-cams and tracking markers. It’s a fascinating story.
Cinefex was only four years old when we covered James Cameron’s breakout hit, The Terminator. Graham Edwards’ reporting on the making of Terminator: Dark Fate felt like returning to one’s alma mater for a Homecoming game and engaging with the old gang. It became an especially poignant return with the recent passing of Gene Warren, the mastermind behind so many of the original film’s effects. Graham also gives us the story of Roland Emmerich’s masterful re-creation of history in Midway.
Joe Fordham covers the best racing movie since Rush in his in-depth story about the effects – physical and digital – that made Ford v Ferrari such an exciting ride. It had special resonance for me, as many of the real-life events, including the death of racecar driver Ken Miles, played out just a few miles from where I live, at the famed Riverside International Raceway – which is now, alas, a shopping mall.
And speaking of shopping malls – I wish you joyful shopping and the happiest of holidays!
Cinefex 168 is on newsstands now, and available to order at our online store. If you’re a subscriber, your copy will soon terminate its journey to your mailbox. And don’t forget our iPad edition, featuring tons more photographs and exclusive video content.