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English Chinese Movie Vocabulary

cinema_thumb

For Chinese to English Click here (中文翻英文点击)

A

“A” list – da wan 大腕

acrobatic fighting – wu da 武打 (movements used in Chinese opera and dance to simulate actual combat; practiced in films by actors and actresses who are not martial artists)

action film – dong zuo pian 动作片

action-adventure film – jing xian dong zuo pian 惊险动作片

actor – yan yuan 演员 (general term for performer)

actor (specifically male) – nan yan yuan 男演员

actor (general derogatory term, now obsolete) – xi zi 戏子

actress (specifically female) – nü yan yuan 女演员

adaptation – gai bian 改编

adventure film – jing xian pian 惊险片 (jing xian means thrilling, breathtaking)
(also see next entry)

adventure film – mao xian pian 冒险片 (mao xian means daring or risky)

allegory – yu yan 寓言

all-star cast – quan ming xing zhen rong de 全明星阵容的

animated fim – dong hua pian 动画片

appreciation (of film)– xin shang 欣赏

archive (film) – dian ying zi liao guan 电影资料馆

arrangement (musical) – gai bian qu 改编曲

artificial light – ren gong guang 人工光

assistant – zhu li 助理

assistant manager – ban li 协理

art design, art designer – mei gong 美工

art direction – mei shu 美术

art house documentary – yi shu ji lu pian 艺术纪录

audience  – guan zhong 观众

audio-visual – shi ting (de) 视听 (的)

audition – shi yan 试演

avant-garde – xian feng 先锋

B

background (in a scene) – hou jing 后景

background music – bei jing yin yue 背景音乐

backlight(ing) – bei guang 背光

backstage –  mu hou 幕后

ballet film – wu ju pian 舞剧片 (see also dance film)

bankable star – fu you hao zhao li de ming xing 富有号召力的明星

behind the scenes –  mu hou 幕后

benshi (Japanese silent film narrator) – bian shi i辩士

biographical film – zhuan ji pian 传记片

bit part – ke chuan jue se 客串角色

black-and-white film – hei bai (pian) 黑白片

blue movie (porno) – se qing dian ying 色情电影

box office – piao fang 票房

box office favorite – jiao zuo yan yuan 叫座演员

box office poison – piao fang du yao 票房毒药

box office receipts – piao fang shou ru 票房收入

box office success, smash – jiao zuo 叫座

C

cameo – ke chuan yan chu 客串演出 (also guest appearance)

camera (movie) – she ying ji  摄影机 (also used for cameras in general)

camerman – she ying shi 摄影师

captions – zi mu 字幕

cartoon – dong hua pian 动画片

cast – quan ti yan yuan 全体演员

cast list –  yan zhi yuan biao  演员表

category (or categories) of film award(s) – jiang xiang 奖项

censorship – shen cha 审查 (also:  to censor)

character study – ren wu zao xing she ji 人物造型设计

children’s film – er tong pian 儿童片

choreographer, choreography – bian wu 编舞 (general term)

choreography; choreographer – wu dao bian dao 舞蹈编导 (specific term)

cinema – dian ying 电影

CinemaScope – kuan yin mu dian ying 变形宽银幕电影

cinematography – she ying 摄影

cinepanoramic – quan jing kuan yin mu 全景宽银幕

cinerama – kuan yin mu li ti dian ying 宽银幕立体电影

clapper, clapboard – pai ban 拍板

classic – jing dian  经典

cliffhanger –  xuan yi  悬疑

close-up– jin jing 近景

close-up (shot) – te xie (jing tou) 特写(镜头) (see also:  facial close-up)

collaborators (on a film, excluding the director) – he zuo huo ban 合作伙伴

color – cai se 彩色

color film – cai se pian 彩色片

comedy (film) – xi ju (pian) 喜剧(片)

comedy, comic (short) – hua ji (duan pian) 滑稽 (短片)

commentary – jie shuo ci 解说词

commercial (film) – shang ye dian ying 商业电影

compose(r) – zuo qu (jia) 作曲(家)

composition (of a film) – jie gou 结构

conductor (musical) – yue dui zhi hui 乐队指挥

continuity (script) – ju wu 剧务

continuity (set or stage) – yi ji 埸记

continuity clerk – chang ji 场记

copy (of a film) – zheng pian 正片

costume – fu zhuang 服装

costume designer – fu zhuang she ji shi 服装设计师

costume research – fu zhuang kao ju 服装考据

credit titles (at start of film) – pian tou zi mu 片头字幕 (see also next entry)

credits (general term) – pei yan zhi yuan biao zi mu 配 演职员字幕

critic – ping lun jia  评论家

crime film – fan zui pian 犯罪片

crowd scene – qun zhong jing tou 群众场面

D

dance(r) – wu dao 舞蹈(家)

dance direction, director – wu dao zhi dao 舞蹈指导

dance film – wu dao pian 舞蹈片

dance film – wu ju pian 舞剧片

date of first showing or premiere – shang ying ri qi 上映日期

delineate (a character) – miao shu 描述

detailed close-up – xi bu te xie 细部特写

detective film – zhen tan pian 侦探片

develop (film) – chong xi 冲洗  (see also next entry)

develop (film) – xi pian 洗片

dialogue – dui hua 对话

direction – dao yan 导演

director – dao yan 导演

director-in-chief – zong dao yan 总导演

distribution – fa xing 发行

documentarian – ji lu pian dao yan 纪录片导演

documentary – ji lu pian 纪录片

drawing power (of stars) – mei li 魅力 (see also:  glamor)

dream scene – meng huan jing tou 梦幻镜头

dubbed film – fan yi pian 故事片 (less common than pei yin pian)

dubbed film – pei yin pian 配音片

dubbing – pei yin 配音

E

edit – jian ji 剪辑 (specifically film editing)

editing – bian ji 编辑 (general term)

editing – jian ji剪辑 (specifically film)

editing – jian jie 剪接 (specifically film )

ethics film – lun li pian 伦理片

executive producer – zhi pian zong jian 制片总监

extra (i.e., a film extra) – lin shi yan yuan 临时演员

F

fable – yu yan 寓言

facial close up – ren lian te xie 人脸特写 (see also:  close-up shot)

fade in – dan ru 淡如

fade out – dan chu 淡出

fairy tale (film) – tong hua (pian) 童话(片)

family movie – jia ting pian 家庭片

fan club (movie) –  ying mi ju le bu 影迷俱乐部

farce – nao ju 闹剧

fast motion – kuai jing tou 快镜头

feature film – gu shi pian 故事片

female lead – nü zhu jue女主角

female supporting role – nü pei jue 女配角

film – ying pian 影片

film analysis – ying pian fen xi 影片分析

film award(s) – dian ying jiang 电影奖

film appreciation – dian ying jian shang 电影鉴赏

film archive – dian ying zi liao guan 电影资料馆

film based on a literary work – lan ben de ying pian 蓝本的影片

film circles, film community – ying tan 影坛

film clip – ying pian jian ji 影片剪辑

film commentary – ying pian jie shuo ci 影片解说词

film connections – guan lian dian ying 关联电影

film criticism – ying pian pi ping 影片批评

film developing machine – xi pian ji 洗片机

film (or movie) explainer – dian ying jie shuo yuan 电影解说员 (in the silent era, this was the Chinese counterpart of the Japanese benshi, q.v.)

(film) extra – lin shi yan yuan 临时演员

film festival – ying zhan 影展

film industry – dian ying ye 电影业

film library – ying pian ku 影片库

film on location – pai wai jing 拍外景

film preservation – ying pian bao cun 影片保存

film printing – yin pian 印片

film-printing machine – yin pian ji印片机

film review – ying ping 影评

film script – dian yin ju ben 电影剧本

film set – dian ying bu jing 电影布景

film studio – dian ying zhi pian chang 电影制片厂 (see also following entries)

film studio – ying cheng 影城

film studio (or company) – ying pian zhi pian chang 影片制片厂

film studio – zhi pian chang 制片 厂

flash – shan jing 闪景

flashback – dao xu 倒叙 (see also next entry)

flashback – shan hui jing tou 闪回镜头

flash forward – tiao xu 跳叙

foreground – qian jing 前景

freezeframe; frozen frame – ding ge 定格

full length documentary – da xing ji lu pian 大型纪录片

full set – quan jing 全景

G

general business (on a movie set) — shi wu 事务

genre (film) – pian zhong 片种

glamour (of stars) – mei li 魅力

group shot – qun zhong jing tou 群众场面

guest appearance – ke chuan yan chu 客串演出

guest star – te yao ming xing 特邀明星

H

hand-hand camera – shou chi she ying 手持摄

hero – ying xiong 英雄

heroine – nü ying xiong 女英雄

high definition (TV) – gao qing (dian shi ) 高清(电视)

historical film – li shi pian 历史片

horror film – kong bu pian 恐怖片

I

idea – ce hua 吴业刚

illusions – huan jing 幻景

indoor set – nei jing 内景

indoor shooting, filming – nei jing she ying 内景摄影

interview film – fang tan pian 访谈片

J

jump cut – tiao yue jian ji  跳越剪辑

K

key grip – bu jing shi 布景师

L

last (final) scene – jie shu jing tou 结束镜头

layout (of a scene or set) – chen she 陈设

lead (role) – zhu jue 主角 (see also next two entries)

lead (role) – zhu yan 主演

lighting – deng guang 灯光 (more commonly used for stage lighting)

lighting – zhao ming 照明 (also used for the lighting electrician or technician)

line producer – zhi pian ren 制片人

lip-sync(hronization) – dui kou xing lu yin 对口型录音

location – wai jing 外景

location shooting (exterior, outdoor) – wai jing she ying 外景摄影

log; logkeeper – chang ji 场记

long shot – yuan jing 远景

lyrics, lyricist – zuo ci 作词 – (also used for “songwriter” in general)

M

make a movie – pai dian ying 拍电影

makeup – hua zhuang 化装

makeup expert – hua zhuang shi 化装师

male lead – nan zhu jue 南主角

male supporting role– nan pei jue 男配角

married print – sheng hua he cheng kao bei 声画合成拷贝

martial arts – wu shu 武术

martial artist (specifically a heroic or chivalrous character) – wu xia 武侠

martial arts film (usually featuring swordplay) – wu xia pian 武侠片

medical film – yi xue pian 医学片

medium shot – zhong jing 中景

melodrama (when used for genre) – wen yi  文艺

military film – jun shi pian 军事片

miniseries (TV) – lian xu ju 连续剧

mob scene – qun zhong jing tou 群众场面

montage (movie) –  meng tai qi 蒙太奇

motion picture, movie – dian ying 电影 (or: ying pian 影片)

motion picture camera – dian ying she ying ji 电影摄影机

movie – dian ying 电影 (or: ying pian 影片)

movie award(s) – dian ying jiang 电影奖

movie circles – ying tan 影坛

movie critic – dian ying ping lun jia

movie fan – ying mi 影迷

movie king – ying di 影帝

movie queen – ying hou 影后

movie role (or part) – dian ying jue se 电影角色

movie star, film star – dian ying ming xing 电影明星 (also see next entry)

movie star, film star – ying xing 影星 (short form of dian ying ming xing)

movie stills – dian ying tu pian 电影图片

movie theater – (dian) ying yuan (电) 影院

movieola – yin xiang tong bu zhuang zhi 音像同步装置

musical film – ge wu pian 歌舞片 (also see next entry)

musical film – yin yue pian 音乐片

myth (film) – shen hua (pian) 神话(片)

N

narration – jiang shu 讲述 (see also next two entries)

narration – jie shuo 解说

narration – xu shu 叙述

narrative film – ju qing pian 剧情片

narrator – jie shuo zhe 解说者

negative (film) – di pian 底片

New Year’s (Lunar) movie – he sui pian 贺岁片

news film – xin wen pian 新闻片

newsreel – xin wen duan pian 新闻短片

O

off-screen voice – hua wai yin 画外音

overall plan (of a film project) – tong chou 統籌

P

panorama – quan jing 全景

pantomime – ya ju 哑剧

paparazzi (plural) or paparazzo (singular) –  gou zi dui 狗仔队 (literally, “dog pack”)

parable – yu yan 寓言

playbill, program – jie mu dan 节目单

plot – ju qing  剧情

production assistant – chang wu 场务

production code – zhi zuo yuan ze 制作原则

production designer– mei shu zhi dao 美术指导

production (studio) –  zhi zuo 制作

props – dao ju 道具

plot outline – gu shi geng gai 故事梗概

popular science film – ke pu pian 科普片

pornographic film, porn flick – se qing dian ying 色情电影

portray (a character) – miao shu 描述

program notes – shuo ming shu 说明书 (could also translate as “playbill”)

projection –  fangying 放映

producer – jian zhi 监制

production manager – zhi pian zhu ren 制片主任

propaganda (film) –  xuan chuan (pian) 宣传 (片)

puppet film – mu ou pian 木偶片

Q

quick motion – kuai jing tou 快镜头

R

ratings system – fen jie zhi du 分级制度

recording (sound) – lu yin 录音

recording engineer – lu yin shi 录音师

reel – juan tong 卷筒

rehearse; rehearsal – pai lian 排练

related information – xiang guan zicun 相关资讯

related web sites –  xiang guan wang zhan 相关网站

retake – chong pai jing tou 重拍镜头

review – ping lun 评论

romance film – ai qing pian 爱情片

rushes – gong zuo yang pian 工作样片

S

satire – feng ci 讽刺

scenario – fen chang ju ben 分场剧本 or fen chang jiao ben 分场本脚

scenic (view) – feng guang 风光

scientific and educational film – ke jiao pian 科教片

screen test – shi jing tou 试镜头

screenwriter – dian ying jiao ben zuo jia 电影脚本作家 (also see next entry)

screenwriter – dian ying ju ben zuo jia 电影剧本作家

screwball comedy – feng kuang xi ju  疯狂喜剧 (see also next entry)

screwball comedy – shen jing xi ju 神经喜剧

script – ju ben 剧本 or jiao ben 脚本 (both terms are also used for “scenario”)

sequel – xu ji 续 集

serial (movie) – lian xu ju 连续剧 (see also “miniseries”)

sets, settings – bu jing 布景

shooting script – fen jing tou ju ben 分镜头剧本

short – duan pian 短片

silent film –  mo pian 默片 (more formal usage)

silent movie – wu sheng dian ying 无声电影 (more colloquial)

slow motion – man jing tou 慢镜头

sound – shou yin 收音

sound effect(s) – yin xiang xiao guo 音响效果

sound stage, sound pavilion – she ying peng 摄影棚

special effects – te ji 特技

spectacle – chang mian 场面

spirit world (meaning films dealing with the afterlife, etc.) – ling jie 灵界

sports film – ti yu pian 体育片

squib  – bao zhu 爆竹  (literally “firecracker”)

stage backdrop – tian mu chen pian 天幕衬片 [“tian pian” or “tian mu” for short]

stand-in – ti shen 替身

star-studded show – ming xing hui cui de yan chu 明星荟萃的演出

star system – ming xing zhi du 明星制度

starlet – xiao ming xing 小明星

start filming, shooting – kai shi pai she 开始拍摄 (“kai pai” for short)

stereoscopic – li ti 立体

(still) photography – zhao xiang she ying 照相摄影

studio – she ying shi 摄影室 (filming site, not the movie company)

stunt – te ji 特技

stunt man, stunt woman – te ji yan yuan 特技演员

subtitles – zi mu 字幕

supernatural (film genre) – shen mi pian 神秘片

superstar – chao ji ming xing 超级明星

supporting role – pei jue 配角

suspense –  xuan yi  悬疑

T

technical direction, technical director – ji shu zhu ren 技术主任

TV documentary – dian shi ji lu pian 电视纪录片

TV movie – dian shi dian ying 电视电影

theater (motion picture) – dian ying yuan 电影院

theme (subject of a film) – zhu ti 主题

theme song – zhu ti ge  主题歌

three-dimensional (3-D)  – li ti 立体

title (of film) – ying ming 影名

title calligraphy – shu mu 书幕

title design – hui ti 绘题 (see also next entry)

title design – ti hua 题花

title role – pian ming jue se 片名角色

track-in – tui jin jing tou 推进镜头

tragedy –  bei jiu 悲剧

trailer – yu gao pian 预告片

trick camera, stunt camera – te ji she ying ji 特技摄影机

trick photography, stunt photography – te ji she ying 特技摄影

trivia – hua xu 花絮

V

viewing angle – pai she jiao du  拍摄角度

vision mix – hun he jing tou 混合镜头

W

war film – zhan zheng pian 战争片

wide-angle lens – guang jiao jing  广角镜

wide screen – kuan yin mu 宽银幕

wide-screen adjustable (or distorting) lens – kuan yin mu bian xing jing tou 宽银幕变形镜头

workshop – che jian 车间

write (a script, scenario, screenplay, etc.) – bian ju 编剧

write and direct (play, film, etc.) – bian dao 编导(also the person who performs these functions:  writer-director; playwright-director; choreographer-director; scenarist-director)

Z

zoom lens – ke bian jiao ju tou jing 可变焦距透镜

VisPop in Cannes 维斯泡泡在戛纳电影节

festival_cannes_2012_thumb

Hot off the back of attending the Hong Kong and Beijing film markets and our recent speaking engagement at FMX in Stuttgart we’re back in transit and in the thick of it at Cannes 2012. Deals are being negotiated on our slate of high spectacle independent films – watch this space for more news soon!

VisPop speaking at FMX

FMX-2012-post

 

FMX 2012 will attract industry leaders, digital innovators and creative researchers from the animation, games and visual effects industries for four days in Stuttgart. FMX has quickly become the largest conference of its kind in Europe that reunites the industry annually to discuss the most important issues. FMX invites artists, industry leaders and decision makers to speak in the conference about the latest trends and innovative approaches featured in the year’s most influential movies, games and transmedia.”

I’m so stoked we’re doing two talks at FMX this year!  It’s such an incredible venue, and such a pleasure to be taking part.  The last time I was there was to give a talk on Charlotte’s Web.  If you’re gonna be around FMX2012, find me around the conference or drop me a line and let’s arrange to chat.

The first talk I’m giving is about the work I supervised on Hunger Games at RSP.  A link to the fmx description is HERE in the online program.

The second talk is about what we’re doing here at VisPop and how it pertains to the vfx industry.  A link is HERE.  I’m just gonna get into the state of the union of vfx, and how we’re taking our knowledge in the industry and apply our experience into the entire filmmaking business.  Now that we’re into our second year, I’ll discuss how it’s going and what we’re learning!

Here’s the details:

The state of the union in Visual Effects is well documented. You can read many articles about vfx becoming a commoditized industry on the web. Hard work, unfair conditions, low cost of entry, to unionize or not to unionize , pressure from clients in an industry with very few buyers, vendors undercutting each other and on and on. We at VisPop spent many years on the front lines, in all roles on the vfx vendor side. We fought just like everyone else to make ends meet in a low margin ball game. Sometimes we were successful, sometimes we weren’t, just like everyone else. We learned from our mistakes, we implemented processes, we got better, and we eaked out our living/existence!

So what makes VisPop different? We’re broadening our scope outside of traditional vfx. We’re teaming with independent filmmakers to push the innovation of the entire filmmaking process. We want to change the perception of where vfx and spectacle fits in the filmmaking process and parlay that into leverage in our filmmaking negotiations. We’re using our vfx backgrounds to co-produce low-med budget high spectacle films.

So can VisPop make a difference? Can a couple of long-timers from the vfx industry change the way films are financed, made, even distributed? Hopefully we can help get things rolling. If we can get more talented people from the vfx industry believing they can be involved in the entire filmmaking process then we’ll consider that a success. So just ask yourself: “are you a film-maker or a shot-maker?”

VisPop selected as an official Australian delegation member for Industry Forum in Beijing

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It’s so encouraging for VisPop to be chosen for this forum.  It’s great to be recognized for our hard work building relationships and projects in such a high potential region like China.  Momentum is gaining for our high spectacle independent films!   Thanks to the Aussie Embassy and Screen NSW for organizing the event!  Here’s more info about what the forum is all about:

Building on the success of the inaugural Australia‐China Film Industry Forum in December 2010, the second Australia‐China Film Industry Forum will be held on Monday 23 April 2012 in Beijing. The Forum will be organised by the Australian Embassy Beijing, with the assistance of a wide variety of related Australian government agencies. This Forum, with a feature film focus, is aimed at further reinvigorating the relationships between the film industries in Australia and China. It will include panel sessions, presentations, and both bilateral and multilateral networking opportunities.

The Forum aims to capitalise on an increased awareness of the Australian film industry in China and the Chinese film industry in Australia, by bringing together key industry players from both countries, with the following objectives:

• Stimulate formally-accredited co-production activity following the coming into force in December 2008 of the bilateral Film Co-Production Treaty;

• Boost commercial prospects for the Australian film industry through joint industry collaboration;

• Expand cultural cooperation and understanding through the medium of film;

• Promote two-way capacity-building and training opportunities between Australia and China in the film industry.

The film industry is expanding rapidly in China. Film production is now attracting heavy Government investment, and office-box takings are increasing dramatically year-on-year, creating demand for resources and expertise. The Forum will endeavour to create lasting links between industry professionals from both countries, whilst also providing a platform to promote the Australian film industry as cutting-edge, modern and diverse, highlighting key strengths including feature film production and financing, documentary, digital animation and design, cinematography and post-production.

The Forum will also provide Australians with the chance to learn from Chinese counterparts about local industry resources, development and emerging opportunities, providing a platform for effectively engagement with Chinese film industry representatives in a sustained and meaningful way. The ultimate goal is to provide a platform from which to help build lasting creative, industry and production links between the two countries which will develop long into the future.

Of course we’ll be meeting with our partners in the region! If you’re interested and in VisPop and our high spectacle independent films AND you’ll be or know someone who’ll be in Beijing, drop us an email and let’s try and arrange a meeting!

 

“VisPop” in Hunger Games Credits!

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I’m never one to be that much into credits, but man am I proud of VisPop being up there on the credit-roll of The Hunger Games.  After a year of VisPop being a company, With James, Jim, Ann, and myself working so hard to make things happen, it’s such a great feeling to see VisPop up there on the big screen for the first of MANY times to come!!  With the huge Spectacle surrounding the film, it makes it all the better with our focus as a company.  James, Jim, Ann I’m sorry your names aren’t up there, but VisPop’s is!  WOOOOOOoooooo!  Thanks Rising Sun, Chantal and Lionsgate for doing it, that’s very cool!

VisPop’s work on The Hunger Games 维斯泡泡与《饥饿游戏》

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So VisPop just finished up working with Rising Sun Pictures on the “The Hunger Games”.  We came in to help supervise on 209 of the film’s more difficult shots.  We worked closely with the filmmakers and the artists at RSP to execute some amazing visual effects work on what will become one of the years biggest High Spectacle films.

Our main responsibilities for the Hunger Games were the Mutations, the Capital City and the full Tribute Parade sequence including Katniss & Peeta’s Fire wings.  We also worked on a whole load of other cg environments, misc 2d/3d work and Katniss’ kick ass fire dress.  The Capital City was a huge challenge!  The design process went on for a long time, but it is well worth it in the results.  It was very clear that nothing like The Capital has ever existed so it had to be created in cg.  The closest reference was probably Welthauptstadt Germania which we came back to a lot for ideas.  The next biggest challenge were the mutations!  Anytime you get into creature work it’s great and the concept here made it all the more kick-ass.  The hardest part, not unlike any creature work, was in working out how anthropomorphised the critters were.  In this case how much of the characteristics come from the tributes and how much comes from a dog?  I’m really proud of how they turned out, I think the guys did some fantastic cg on the Muts.  It was great to work with Daniel Jeannette again.  He did an amazing job directing the animation!  The other big challenge was the Tribute Parade.  The Tributes, Snow, and some of the close-up crowds were live action, but the rest of that entire sequence is cg.  We did all the Presidential Palace and Avenue, lots and lots of crowd work, all the fire wings… man, just a lot of work.  But when you sit down and see that sequence pieced together it nails the aesthetic of the Capital.  Anytime the visual effects pound home that tone in a smart way you feel proud to have brought that work to the project.

We really do feel privileged to have been part of such an amazing high spectacle film that is clearly destined to have a huge impact on society and culture.  We’ve just returned from Hong Kong where the media storm for Hunger Games is as big as it is here in Sydney.  We haven’t been in North America while the marketing frenzy has been ramping up, but we’re hearing the scale that Lionsgate is pushing the film is almost unprecedented, particularly for a mid-major studio.  It’s all well worth it, the film stays really close to the book and the book is fantastic.  My personal opinion is they have really nailed the empowerment angle for kids.  In the Narnia films, for example, the kids become kings and queens and their empowerment comes through the responsibility those roles bring.  In Hunger Games the kids are thrown into a more gritty and real context where self survival (and all of society’s survival by proxy) becomes the empowerment.  I can see that extra edge being attractive to kids and teens.  Combine in high spectacle action and dystopian, anti-government themes for an entertaining experience for the older demographic  AND of course there’s plenty of romance and elegant dresses.  It’s a cool concept for a film (actually 3-4 films) and no-doubt will cane it at the box office!

VisPop is incredibly proud of the people we collaborated with on the show and would like to think the visual fx work will stand out as some of 2012′s best!  It was great to work with RSP again.  We always have a lot of time for the folks over there in Adelaide who continually are working on some of Hollywoods best!  So go drop the $18AU for a movie ticket, another $10 for some popcorn and sit back to be entertained by High Spectacle Film at it’s best.  Ohhh, not to take sides but VisPop is definitely team Gale… (and Peta sucks.)

Vispop will be @ Filmart!

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WE’VE DONE A NEW FOLIO OF OUR 2012 SLATE FOR FILMART HERE  (we’d love feedback!)

Hey folks…  Vispop is traveling to Hong Kong for Filmart from the 19th to the 22nd of March.  We’re looking to build relationships for our English language, High spectacle Independent films to be co-produced in Asia.  Our background comes from Hollywood blockbuster films like the Harry Potters, Terminator Salvation, Wolverine and many more.

Take a look at our newly released  2012 slate  of films and see if you’re interested!  Just drop James or myself an email (james@vispop.com & jdietz@vispop.com) if you’d like to get together and chat about us or yourselves.  We’re looking forward to all the great events at Filmart and the list of attendees looks fantastic.  We can’t wait to be back in Hong Kong!  Hope everyone has a great Show!

cheers!

(We’re gonna try and tweet quite a bit from the show, so follow us on twitter!)

John Carter of Meh

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I have a question for Andrew Stanton.

I just came out of John Carter of Mars…  I’m a huge Andrew Stanton fan and a huge Pixar fan, but I was really bummed out about this film.   This past week Stanton’s Ted Talk on storytelling has been going around the web.  It’s a great watch!  In that talk he goes on about a number of storytelling techniques he’s learned over the years.  Two of his tips kept ringing through my head while sitting in an empty Imax theater watching John Carter.

  1. No matter what, give the audience a reason to care.
  2. Make your Hero likable.

That leads to my question:

How does one of the better storytellers of our generation set out on his first live action film with a budget around $250 million and not follow his own storytelling rules? How does this happen??

Hey, I’m a spectacle guy… (hell, who isn’t into some popcorn munchin space opera?) but Stanton didn’t take his own advice:  Does amazing cg give me a reason to care?  No… Does a huge weepy score give me a reason to care?  No…  Does a giant battle scene where JC is buried in the dead bodies he’s carving up make me care?  Well… Kinda…  BUT, over the top film-making techniques alone don’t make us care!  You know what makes us care?  Stanton’s rule #2:

Make the hero likable.  Repeat: Make the hero likable…  Man, after Stanton’s Ted Talk the last thing I thought would happen was that John Carter would be such a dick!  In the Ted Talk Stanton showed a board-amatic of early days Toy Story.  Tom Hanks is a total dick!  He’s berating and bullying the toys, and he’s being a full on dick.  That’s right, Woody was a dick (no pun intended).  Stanton tells the story of how they had made Woody a dick so that his arc could be more dramatic.  The story wasn’t working but through hard work they (Pixar) figured out they needed to write him likable.  That lesson, Stanton says, was one of the main things they took away from the Toy Story experience.   It’s ironic: With $250mil, armies of technicians and artists, years of planning and execution he couldn’t make John Carter likable.  BUT with half of the budget, less time and nowhere near the crew; Brad Bird was able to make Tom Cruise likable in Mission Impossible 4.  You would of thought it would of taken the $100mil vfx budget to make Tom Cruise endearing (post 1980’s of course).   I guess we know who of the Freshmen Brainstrust has successfully crossed over out of Pixar.

I don’t wanna be a hater, I love Stanton’s films!  Wall-E is one of the classic stories in filmmaking.  Pixar and Stanton have balls down to their ankles to make the first half of Wall-E a silent film.  It set the benchmark for this years Oscar winner “The Artist”.  Pixar and the Braintrust have always had balls, going all the way back to Toy Story.  As far as story goes, Pixar and their directors would not be denied.   As far as John Carter goes:  I didn’t care.  There was nothing new.  AND it was flat out on the nose…  John Carter has no balls.

We still love you Andrew!  But next time, please, give us a reason to care.

VisPop@Workshop In Sydney

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Dan over at Nerdi asked us to be a part of his workshop “Interesting” on Monday night in downtown Sydney.  The speakers will each get a little bit of time to chat about themselves and then there will be a Q&A.  After, the audience will breakout with the speakers and do a bit of a workshop.

I’m gonna talk about taking a film idea and turning it into a practical pitch that can be used to go out and get financing!

Since VisPop is a production company , I’m going to slant it into what we at VisPop want to see to get us excited and then involved in people’s projects.  So everything will be slanted from VisPop’s perspective of High Spectacle Low Budget Films.

During the “Interesting” Workshop we’ll make a list of the key questions you need to ask yourself/yourGroup before investing time or resources into pitching a film.  VisPop will then setup a website where the group will continue defining a pitch brief for a project the group wants to develop.  If the group is interested, VisPop will continue helping the group  work on the pitch.  If the group is STILL interested and have finished the pitch, VisPop will assess the pitch and see if we want to get involved with the project officially, or possibly we can pass on the pitch to people we know.  Then who knows, maybe the film will get made?

There are gonna be some great speakers and the guys at Nerdi are awesome, so we’re really looking forward to the night!  Come on along, the info is below.

jdietz

 

Film making for independent film makers has always been an art of love. There is such a huge wealth of creative talent out there but sadly so many of their ideas never make it to a screen.“Interesting” – a film funding and distribution workshop, endeavours to remove the inhibitions that stop these great ideas. We have assembled a group of inspiring and innovative people who will address the process of creating sustainable film making.
It all starts with an idea… Let’s make it possible to make it reality.Adam Chapnick is a principle at IndieGoGo.com and the founder of Distribber.com. Adam is a new-model film distribution specialist known for flipping Hollywood convention on its ear by employing a mix of grassroots, online and digital distribution strategies. He has overseen the theatrical, home video and grassroots distribution of dozens of documentaries since 2002.

Simon Sheikh is national director of the community advocacy group GetUp! GetUp is an independent, grass-roots community advocacy organisation giving everyday Australians opportunities to get involved and hold politicians accountable on important issues. Simon has used the medium of film to great effect for social change through GetUp!’s campaigns.

Jemima Robinson is the Australian director of the Banff Mountain Film Festival. Jemima has been running the festival for 6 years and has a unique insight into film festivals and the selection criteria. Jemima is passionate about film and adventure and regularly travels to some of the most remote locations to pursue these passions.

Gabrielle Rogers & Georgina Drury are obsessed with film, education and students. They are a Director and Producer team who have created some of the most beautiful Shakespeare interpretations to inspire students into a love affair with Shakespeare and film. They have collaborated with NIDA and the FTO to realise their dream. They have recemntly launched Shakespeare Shorts a series of 3 short films based on his enduring plays A midsummer Nights Dream, Hamlet and Sonnets.

John Dietz is the co-founder of the Fox Studios based production company VisPop. As a visual effects supervisor on films like 28 Weeks Later, Where the Wild Things Are, Terminator: Salvation and most recently The Hunger Games, John is known for leading large teams with passion and commitment, and delivering results that blow audiences away. For the past year he and his colleagues at VisPop have been drawing on this blockbuster experience to develop a slate of high concept, visual effects heavy independent films. John is determined to create original, quality content that will resonate with lovers of high spectacle films around the world.

Extended Hunger Games TV Spot

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Box office forecasters now predict that The Hunger Games will break $100 million on its first weekend of release in the US.

See the new spot <here> at <bleedingCool.com>