Netherlands’ Cash Rebate of Up to 35% Lures Film and TV Production

The Netherlands, well known for its progressive politics – not to mention legalized pot and prostitution – also offers a variety of filming locations, ranging from the historic canals and period architecture of Amsterdam, to sandy windswept beaches along the North Sea, to endless fields of colorful tulips during springtime. It all comes with a […]

The Netherlands, well known for its progressive politics – not to mention legalized pot and prostitution – also offers a variety of filming locations, ranging from the historic canals and period architecture of Amsterdam, to sandy windswept beaches along the North Sea, to endless fields of colorful tulips during springtime. It all comes with a […]

‘Dunkirk,’ ‘Baby Driver’ Score Motion Picture Wins at LMGI Awards

Unofficially, the awards season ended this evening when the Location Managers Guild International announced the winners of its 5th annual LMGI Awards. The motion picture honorees were “Dunkirk,” shot in Malo-les-Bains in France (pictured above), where the real wartime evacuation took place, and “Baby Driver,” shot at locations throughout Atlanta. In television series, awards went […]

Unofficially, the awards season ended this evening when the Location Managers Guild International announced the winners of its 5th annual LMGI Awards. The motion picture honorees were “Dunkirk,” shot in Malo-les-Bains in France (pictured above), where the real wartime evacuation took place, and “Baby Driver,” shot at locations throughout Atlanta. In television series, awards went […]

‘Dunkirk,’ ‘Baby Driver,’ ‘Game of Thrones’ and ‘Ozark’ Win Location Managers Awards

The location managers responsible for the settings of the films “Dunkirk” and “Baby Driver” and the television shows “Game of Thrones” and “Ozark” won the top awards on Saturday night from the Location Managers Guild International, which presented its fifth annual awards at the Alex Theatre in Glendale.

Ben Piltz and Arnaud Kaiser won the Outstanding Locations in a Period Film award for the Christopher Nolan film “Dunkirk,” sections of which were filmed on the actual beach where the World War II evacuation took place. Doug Dresser and Kyle Hinshaw won in the Outstanding Locations in a Contemporary Film category for “Baby Driver,” which was set in and around Atlanta.

In the television categories, the multi-country production “Game of Thrones” and the Missouri-set “Ozark” (which is actually filmed around Atlanta) won the awards for period and contemporary series, respectively.

Also Read: ‘Ozark:’ Ruth Langmore Teaches You How to be the Perfect Criminal (Exclusive Video)

In addition to having a hand in one winning film and one winning television series, the Atlanta Mayor’s Office of Film and Entertainment also won the Outstanding Film Commission award.

Honorary awards went to location managers Rino Pace and Josh Karan.

The show was hosted by comedian Jonah Ray.

Also Read: Jon Bernthal Says Kevin Spacey Was a ‘Bully’ on ‘Baby Driver’ Set (Video)

The Location Managers Guild International Awards winners:

Outstanding Locations in a Period Film: “Dunkirk,” Ben Piltz and Arnaud Kaiser
Outstanding Locations in a Contemporary Film: “Baby Driver,” Doug Dresser and Kyle Hinshaw
Outstanding Locations in a Period Television Series: “Game of Thrones,” Robert Boake, Matt Jones and Tate Araez Guzman
Outstanding Locations in a Contemporary Television Series: “Ozark,” Wes Hagan, Kevin Dowling and Patrick Rofoli
Outstanding Locations in a Commercial: Volkswagon: “Atlas,” Charlie Love, Jof Hanwright and John Hutchinson
Outstanding Film Commission: Atlanta Mayor’s Office of Film and Entertainment, “Baby Driver”
Lifetime Achievement Award: Rino Pace
Trailblazer Award: Josh Karan

Related stories from TheWrap:

‘Game of Thrones’ Is Going to Kill Off Just About Everyone ‘One by One,’ HBO Exec Teases

Jason Bateman’s ‘Ozark’: 9 Most Disturbing Moments of Show You Have to Watch Now

Ava DuVernay Calls Out Anthony Bourdain for Criticizing ‘Baby Driver’: ‘Have Some Respect’

The location managers responsible for the settings of the films “Dunkirk” and “Baby Driver” and the television shows “Game of Thrones” and “Ozark” won the top awards on Saturday night from the Location Managers Guild International, which presented its fifth annual awards at the Alex Theatre in Glendale.

Ben Piltz and Arnaud Kaiser won the Outstanding Locations in a Period Film award for the Christopher Nolan film “Dunkirk,” sections of which were filmed on the actual beach where the World War II evacuation took place. Doug Dresser and Kyle Hinshaw won in the Outstanding Locations in a Contemporary Film category for “Baby Driver,” which was set in and around Atlanta.

In the television categories, the multi-country production “Game of Thrones” and the Missouri-set “Ozark” (which is actually filmed around Atlanta) won the awards for period and contemporary series, respectively.

In addition to having a hand in one winning film and one winning television series, the Atlanta Mayor’s Office of Film and Entertainment also won the Outstanding Film Commission award.

Honorary awards went to location managers Rino Pace and Josh Karan.

The show was hosted by comedian Jonah Ray.

The Location Managers Guild International Awards winners:

Outstanding Locations in a Period Film: “Dunkirk,” Ben Piltz and Arnaud Kaiser
Outstanding Locations in a Contemporary Film: “Baby Driver,” Doug Dresser and Kyle Hinshaw
Outstanding Locations in a Period Television Series: “Game of Thrones,” Robert Boake, Matt Jones and Tate Araez Guzman
Outstanding Locations in a Contemporary Television Series: “Ozark,” Wes Hagan, Kevin Dowling and Patrick Rofoli
Outstanding Locations in a Commercial: Volkswagon: “Atlas,” Charlie Love, Jof Hanwright and John Hutchinson
Outstanding Film Commission: Atlanta Mayor’s Office of Film and Entertainment, “Baby Driver”
Lifetime Achievement Award: Rino Pace
Trailblazer Award: Josh Karan

Related stories from TheWrap:

'Game of Thrones' Is Going to Kill Off Just About Everyone 'One by One,' HBO Exec Teases

Jason Bateman's 'Ozark': 9 Most Disturbing Moments of Show You Have to Watch Now

Ava DuVernay Calls Out Anthony Bourdain for Criticizing 'Baby Driver': 'Have Some Respect'

‘Dunkirk,’ ‘Baby Driver,’ ‘Game Of Thrones,’ ‘Ozark’ Win At Location Managers Guild Awards

Christopher Nolan’s WWII epic Dunkirk and Sony’s fast-paced Baby Driver won honors tonight at the fifth annual Location Managers Guild International Awards. In addition, both HBO’s long-running Game of Thrones and Netflix’s critically acclaimed Ozark took home awards for television.
Dunkirk was filmed at the French location of the real evacuation as well as in Malo-les-Bains, while Baby Driver and television location winner Ozark were shot in Atlanta. Game of Thrones was…

Christopher Nolan’s WWII epic Dunkirk and Sony’s fast-paced Baby Driver won honors tonight at the fifth annual Location Managers Guild International Awards. In addition, both HBO’s long-running Game of Thrones and Netflix’s critically acclaimed Ozark took home awards for television. Dunkirk was filmed at the French location of the real evacuation as well as in Malo-les-Bains, while Baby Driver and television location winner Ozark were shot in Atlanta. Game of Thrones was…

Warner Bros Publicity Exec Juli Goodwin Exits After 18 Years

Juli Goodwin, Warner Bros Pictures’ EVP Domestic Publicity, is exiting the company after almost 18 years. The news came today via a memo to staff, and an announcement from WB’s Worldwide Marketing President Blair Rich.
Goodwin was on the domestic publicity team helped land Oscar Best Picture wins for the studio’s Argo and Million Dollar Baby, and several other noms including this year for Christopher Nolan’s Dunkirk. Over her career she worked on campaigns for films…

Juli Goodwin, Warner Bros Pictures’ EVP Domestic Publicity, is exiting the company after almost 18 years. The news came today via a memo to staff, and an announcement from WB’s Worldwide Marketing President Blair Rich. Goodwin was on the domestic publicity team helped land Oscar Best Picture wins for the studio’s Argo and Million Dollar Baby, and several other noms including this year for Christopher Nolan’s Dunkirk. Over her career she worked on campaigns for films…

Oscars Scorecard: Wins By Film & Studio

Guillermo del Toro’s The Shape of Water led all films with four wins at the 90th annual Academy Awards tonight, and its distributor Fox Searchlight took the studio crown with six, having also grabbed two statuettes for Three Billboards Outside Ebbing, Missouri. Only six movies won multiple Academy Awards at the Dolby Theatre in Hollywood.
Here is the scorecard for wins by film, followed by studio wins:
By film
The Shape of Water: 4
Dunkirk: 3
Blade Runner 2049: 2
Coco

Guillermo del Toro’s The Shape of Water led all films with four wins at the 90th annual Academy Awards tonight, and its distributor Fox Searchlight took the studio crown with six, having also grabbed two statuettes for Three Billboards Outside Ebbing, Missouri. Only six movies won multiple Academy Awards at the Dolby Theatre in Hollywood. Here is the scorecard for wins by film, followed by studio wins: By film The Shape of Water: 4 Dunkirk: 3 Blade Runner 2049: 2 Coco

Oscars: How Roger Deakins Finally Won For Best Cinematography — and Why ‘Planet of the Apes’ Lost Again

Cinematographer Roger Deakins finally won his elusive Oscar for “Blade Runner 2049,” while “Dunkirk” scored three crafts awards.

The biggest craft stories of the 90th Academy Awards: Cinematographer Roger Deakins finally winning the Oscar (after 14 nominations) for “Blade Runner 2049,” and the Denis Villeneuve-directed “Blade Runner” sequel upsetting “War for the Planet of the Apes” for VFX.

Deakins, the greatest cinematographer of his generation, was honored at long last for his naturalistic brilliance, making the “Blade Runner” universe adapt to his aesthetic, and putting his unmistakable imprint on every visual aspect, including VFX. And “Blade Runner 2049” honored the legacy of Ridley Scott’s iconic original by limiting green screen, keeping sets close to camera, and making it look photographic. Yet the sequel also offered a major step in digital human animation with the recreation of Sean Young’s Rachael replicant.

However, with a third consecutive VFX loss for “Apes,” the Academy once again denied Weta Digital the Oscar for its remarkable Caesar (Andy Serkis) and Bad Ape (Steve Zahn). It was a unique experience particularly for Serkis to play the sentient simian from birth to death in the trilogy, and Weta rose to the challenge of capturing and animating his performance with greater nuance in “War.”

Yet despite a campaign to convince voters that an emotional performance is Oscar worthy regardless of whether it’s digital or live-action, there was still enough resistance to put “Blade Runner” over the top. In addition to the respect he commands, Deakins also was aided by the high-profile nature of the “Blade Runner” sequel. From Villeneuve on down, everyone acknowledged the auteur-like status of his lighting. And it ultimately became a stealth campaign to help him win the Oscar.

Director Denis Villeneuve and DP Roger Deakins on the set of "Blade Runner 2049"

Director Denis Villeneuve and DP Roger Deakins on the set of “Blade Runner 2049”

Stephen Vaughan

The project began with Villeneuve’s directive that it look like a harsh February winter in Montreal, and that the color yellow embody innocence and creation. But the execution was left up to Deakins. And what he achieved was a visual balance between brutalism and beauty.

Three images helped seal the deal: The artificial sunlight effect in the office of Jared Leto’s Wallace, with the pool of water projecting caustic patterns on the walls, the romantic warmth between K (Ryan Gosling) and the holographic Joi (Ana de Armas), and the surreal red landscape of Vegas, where K travels on the road to destiny with Deckard (Harrison Ford).

In a race marked by noteworthy CG character animation, “Blade Runner” (John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover) not only delivered Rachael but also Joi. The two-minute Rachael sequence brought an emotionally conflicted reunion with Deckard that required technical virtuosity and subtle performance by Oscar-winning MPC (“The Jungle Book”). After drilling in all of Young’s mannerisms into the youthful CG model, they honed in on the performance, creating a three-beat arc consisting of confidence, longing, and rejection.

“Blade Runner 2049”

Joi, by contrast, was more of an advanced analog creation, alternating between looking realistic and artificial. The key was having her character help humanize replicant K. Production VFX supervisor Nelson and Double Negative’s Lambert came up with a 360-degree transparency effect for her. But the highlight was the three-way sex scene between K, Joi, and replicant prostitute Mariette (Mackenzie Davis). For that, DNeg shot the women separately (with lighting assistance from Deakins), merged them with the CG models, and inventively created a third face that upped the emotional experience.

Best Picture winner “The Shape of Water” earned Oscars for production design (Paul Austerberry) and original score (Alexandre Desplat). Their work instilled the Cold War-era fable from Oscar winner Guillermo del Toro with watery metaphors that enhanced the romance between the mute custodian (Sally Hawkins) and the Amphibian Man (Doug Jones). Paul Thomas Anderson’s “Phantom Thread,” about the world of London haute couture in the 1950s, took home the costume design award for Mark Bridges. These marked the second Oscars for both Desplat (“The Grand Budapest Hotel”) and Bridges (“The Artist”).

Tom Hardy, “Dunkirk

Additionally, Christopher Nolan’s “Dunkirk” captured three Oscars for editing (Lee Smith), sound editing (Richard King), and sound mixing (Gregg Landaker, Gary Rizzo, Mark Weingarten). The immersive World War II survival thriller was an experimental tour de force, playing with time with clockwork precision and putting us in the center of the action on land, sea, and air. For King, his fourth Oscar represents a record for sound editing. The other three were for “Master and Commander: The Far Side of the World,” “The Dark Knight,” and “Inception.” Landaker, too, has earned four Oscars (“Speed,” “Raiders of the Lost Ark,” and “Star Wars: Episode V — The Empire Strikes Back”) and Rizzo previously won for “Inception.”

“Darkest Hour” won for makeup/hairstyling (Kazuhiro Tsuji, David Malinowski, and Lucy Sibbick). Tsuji, a master of special makeup effects, was lured out of retirement by Best Actor winner Gary Oldman to transform him into Winston Churchill, and he became the first Asian from his category to win the Oscar.

Coco

Pixar’s “Coco” claimed Oscars for animated feature (the studio’s ninth) and the original song, “Remember Me” (Kristen Anderson-Lopez and Robert Lopez). Director Lee Unkrich (who previously won for “Toy Story 3”) and co-director Adrian Molina made a stirring and colorful love letter to Mexico and Día de los Muertos. “Remember Me,” which underscored the theme of family, marked the second Oscar for the husband and wife Lopez team (“Frozen’s” “Let It Go”).

“Dear Basketball” took animated short honors, riding the star power of Lakers legend Kobe Bryant, who teamed with Disney legend Glen Keane (“Beauty and the Beast,” “The Little Mermaid”). Despite its slightness, “Dear Basketball” nonetheless displayed Keane’s hand-drawn prowess in depicting Bryant’s aspirational dream and balletic flights of fancy.

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