Named after the old Hollywood film actress Vivien Leigh, the baby sloth currently weighs about 2.5 pounds (though she’ll one day weigh between 12 and 15 pounds) and subsists on a diet of sweet potatoes and rice. Healthy! Read more…
The origins of these stoic getaway drivers can be traced back to the samurai. Seriously.
Most good stories have lineage, meaning that they come from much older stories. It’s not that there’s nothing new under the sun, it’s that solid storytelling always circles back to a handful of origins. Take Edgar Wright’s Baby Driver, for instance, and Nicholas Winding Refn’s Drive. The films are united by their cool, silent, good-looking, somewhat mysterious protagonists, played with great restraint by Ansel Elgort and Ryan Gosling, respectively, who do little but drive criminals from one place to another and yet somehow manage to be the icy nucleus at the center of each film’s respective atom.
As Patrick (H) Willems astutely shows us in his new video essay, these two films both have their origin in a Walter Hill film from the late ’70s called The Driver, about a strikingly similar character. And yet the lineage doesn’t stop there.
Once again sequel fatigue appears to be having an impact as estimates have Despicable Me 3 coming in about $ 10 million shy of the opening weekend for Despicable Me 2 after a larger than anticipated dip on Saturday. That said, the film easily secured the weekend top spot in the domestic, international and worldwide marketplaces, leading the charge over the first three days of this long, five-day Fourth of July holiday weekend. Behind it, Sony’s Baby Driver out-performed the studio’s expecta… Box Office Mojo – Top Stories
The boy is the first baby to be born in-flight for Jet Airways, a spokesperson confirmed by email.
Pilots diverted flight 9W 569 to Mumbai on Sunday after a passenger went into premature labor during what would’ve been a five-hour flight. The airline’s crew members, along with a trained paramedic who was traveling that day, provided immediate medical assistance. Read more…
Nowadays it’s become easy for blockbusters to use visual effects to pull off insane stunts. It’s part of the reason some action movies have become surprisingly mundane. There’s just something that lacks excitement about a stunt you know wasn’t actually done by anything other than a computer. Even the Fast and Furious movies have taken to having more visual effects heavy action sequences when they used to rely on real stunt driving. But thankfully, this summer brings a cure for the common blockbuster.
Baby Driver is the latest film from writer/director Edgar Wright (Shaun of the Dead, Scott Pilgrim vs the World), and a new featurette reveals that the action flick about a getaway driver trying to get away from his chosen profession is chock full of real stunt driving, with real cars, on real locations, with real people. For real.
Watch the Baby Driver stunt driving featurette after the jump.
One of the most exciting aspects of this movie is all the real stunt driving that was done. Reportedly all of the driving stunts in this movie are practical, and even the actors themselves (at least Ansel Elgort and Jon Hamm) had to go through some stunt driving training of their own, as seen in the video above. Some of the stunts featured in this video alone are extremely impressive, especially that 4×4 getting spun sideways under the semi-truck.
The rest of the Baby Driver cast includes Lily James, Kevin Spacey, Jamie Foxx, Jon Bernthal and Eiza González, but the real star of the movie is going to be the soundtrack that drives the entire movie. If you want to know more about just how important the film’s soundtrack is to the movie, read the rave review from our own Jacob Hall, who caught the film at SXSW earlier this year.
A talented, young getaway driver (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.
It’s close, but Fox and DreamWorks Animation’s The Boss Baby narrowly beat Disney’s Beauty and the Beast and delivered a #1 finish this weekend as it vastly over performed pre-release industry expectations. Meanwhile, Paramount’s Ghost in the Shell debuted with the opposite result, finishing in third position and well below expectations. Elsewhere, Lionsgate’s Power Rangers dropped over 60% in its second weekend while WB’s Kong: Skull Island, Fox’s Logan and Universal’s Get Out delivered t… Box Office Mojo – Top Stories
Fox and DreamWorks Animation’s The Boss Baby topped the weekend box office for a second week in a row, once again leading Disney’s Beauty and the Beast over the course of what felt like a placeholder weekend as far as new releases are concerned. While Sony’s Smurfs: The Lost Village performed mostly as expected and New Line’s Going in Style over performed based on expectations, it seems most moviegoers are merely waiting for the next weekend’s release of The Fate of the Furious as it looks… Box Office Mojo – Top Stories
One of the most magical parts of Moana is the very first scene, in which an infant Moana waddles up to the shore and discovers that the Ocean is actually alive. Wordlessly, she coos and plays with the waves, and the waves playfully toss her about as well, leading her observing grandmother to realize that Moana is the Chosen One.
But that gorgeously rendered and enchanting scene almost didn’t make it into the movie. In fact, it was never meant to be in the final film at all, according to directors Ron Clements and John Musker. The scene was originally created as test footage, to see if they had the technology to render a sentient, alive Ocean. But test audiences loved the footage so much that the filmmakers had to find a way to put it in the movie.
Musker told the Huffington Post they wanted to explore the idea of a sentient Ocean before they even settled on the idea of making Moana. “And this test was the very first footage to be animated for this film,” Musker said.
Clements and Musker tapped story-artist-turned-director Chris Williams (who would go on to co-direct the Oscar-winning movie Big Hero 6) to create the sequence. Williams drew from his own personal experience of taking his two-year-old daughter to the ocean for the first time and watching her play with the waves, and a magical scene was born.
Williams boarded the test scene and — with the assistance of Moana art director/production designer Bill Schwab, who came up with the adorable toddler version of this film’s title character – put together just what Clements and Musker asked for. In fact, he did it a little too well. The original test footage (in the video clip below) was so popular with test audiences that Clements and Musker were constantly asked “Where does it fit in the movie?”
Hank Driskell, a technical supervisor on Moana, remembered the overwhelming success of the footage:
“At this point, that Baby-Moana-meets-the-Ocean test footage had kind of taken on a life of its own. It wound up being shown at the D23 EXPO. And even though it wasn’t even part of this film’s storyline at that time, it was so adorable and so many people had fallen in love with it that the story team eventually decided that they had to find a way to integrate this test footage into the story.”
But the scene didn’t fit with Clements and Musker’s original storyline for the film, which had Moana meeting the Ocean when she was a teenager. Musker recounted:
“For a long time while we were working on this movie, Moana didn’t actually ‘meet’ the Ocean, realize that it was a living thing until she was a 16 year-old. But the only problem with that Moana-meets-the-Ocean scene was that it wasn’t nearly as charming or powerful as that test footage that Chris had put together. We tried multiple versions of this introductory scene with Moana as a 16 year-old. But none of them were as good or as strong as what Chris had done.”
The filmmakers and crew struggled to organically fit the Baby Moana sequence into the movie. When they finally did, “there was this audible sigh of relief in the building,” David Pimental, Moana’s Head of Story said. “People here were saying things like ‘She’s in!,’ “It worked!’ It was such a good day.”
And we were blessed with an wonderful scene — in a year filled with adorable baby versions of beloved characters (Hey Dory!) — that elevated the film to become one of the best Disney animated films of the past decade.
Here’s the scene — in the international trailer for Moana — as it was shown in the final movie: