‘Beauty And The Beast’ VFX Supervisor Kyle McCulloch On Vast Array Of On-Set Visual Cues Used To Aid The Actor

Between films including War for the Planet of the ApesGuardians of the Galaxy Vol. 2 and Beauty and the Beast, it’s been a big year for films led by CGI-enhanced characters. Having worked on the first Guardians installment, visual effects supervisor confronted an abundance of VFX characters this year on the latter Disney film, grappling with how to assist actors with their performances in reaction to characters that weren’t there.
The solution, in large part, was to…

Between films including War for the Planet of the ApesGuardians of the Galaxy Vol. 2 and Beauty and the Beast, it’s been a big year for films led by CGI-enhanced characters. Having worked on the first Guardians installment, visual effects supervisor confronted an abundance of VFX characters this year on the latter Disney film, grappling with how to assist actors with their performances in reaction to characters that weren’t there. The solution, in large part, was to…

So How Did Kristen Stewart’s Directorial Debut Hold Up at Sundance?

Actress Kristen Stewart screened her directorial debut Thursday night at the Sundance Film Festival — a visceral short called “Come Swim” that held its water, but one easily upstaged by other entries from opening night.

Stewart served as both writer and director for the project, a look at a day in the life of a struggling young man (Josh Kaye).

With what he’s struggling is entirely unclear — a woman’s voice narrates most of the film, and longing glances at photographs on his wall lead us to believe she’s his long lost love.

Also Read: Al Gore Takes Center Stage on Sundance’s Opening Night – and So Does Donald Trump

There are also hints he might be tangling with addiction, as he lives in squalor, appears sickly and drinks gallons and gallons of bottled water, crunching and tossing the plastic containers like bones when he’s had his fill.

The imagery is strong, Stewart obviously worked well with DP John Guleserian and visual effects house Framestore for the abstract piece — but the movie is literally drenched. There is no subtlety in the constant rushing of oceans waves, rainstorms, baths and sinks and showers and those aforementioned bottles of water littering every shot.

In fairness to the former “Twilight Saga” lead, seven total shorts were screened along with hers — and the three that proceeded “Come Swim” were particularly strong.

Also Read: Sorry, Sundance Goers: No Private Choppers, Cushy Uber Lounge on Main Street

Andrew Fitzgerald’s “I Know You From Somewhere” was a cautionary tale about digital narcissism, showing us how a misconstrued argument can catch social media fire and ruin someone’s life and career.

Writer-directors Jonathan Minard and Scott Rashap brought a riveting emotional sci-fi piece called “Toru” — which, in longer form, could easily be worthy of a “Black Mirror” installment.

It follows two young parents in the year 2067, who are told their newborn son has a rare disease and under a month to live. Physicians introduce an experimental system that would link into baby Toru’s consciousness and allow him to live a fully simulated life from birth to adulthood in the span of a week — all in his own reality.

Also Read: Sundance 2017 Market Preview: Why Amazon, Netflix Should Dominate Again This Year

The simulation, however, is not without its complications and his parents can’t participate — only watch him locked away in a futuristic incubator.

Finally, and most powerfully, “Come Swim” was directly proceeded by the 13-minute powerhouse “Alone,” a documentary short from Arts Matter Foundation grantee Garrett Bradley.

It’s a heartbreaking and seemingly-simple story of a New Orleans woman in love with a man in prison. As she contemplates what a jailhouse wedding would look like, as opposed to the dream nuptials every girl fantasizes about, her family rails against her life choices. She herself does not want to resign to a relationship divided by plate glass.

“Alone,” for all its brevity, represents the story of countless “incarcerated families” in America.

Stewart returns to the front of the camera in a forthcoming Lizzie Borden biopic, “Lizzie.”

Related stories from TheWrap:

Al Gore Takes Center Stage on Sundance’s Opening Night – and So Does Donald Trump

Sundance 2017 Market Preview: Why Amazon, Netflix Should Dominate Again This Year

Sundance Parties: 11 Celebrities Going to Park City Without a Film (Photos)

Actress Kristen Stewart screened her directorial debut Thursday night at the Sundance Film Festival — a visceral short called “Come Swim” that held its water, but one easily upstaged by other entries from opening night.

Stewart served as both writer and director for the project, a look at a day in the life of a struggling young man (Josh Kaye).

With what he’s struggling is entirely unclear — a woman’s voice narrates most of the film, and longing glances at photographs on his wall lead us to believe she’s his long lost love.

There are also hints he might be tangling with addiction, as he lives in squalor, appears sickly and drinks gallons and gallons of bottled water, crunching and tossing the plastic containers like bones when he’s had his fill.

The imagery is strong, Stewart obviously worked well with DP John Guleserian and visual effects house Framestore for the abstract piece — but the movie is literally drenched. There is no subtlety in the constant rushing of oceans waves, rainstorms, baths and sinks and showers and those aforementioned bottles of water littering every shot.

In fairness to the former “Twilight Saga” lead, seven total shorts were screened along with hers — and the three that proceeded “Come Swim” were particularly strong.

Andrew Fitzgerald’s “I Know You From Somewhere” was a cautionary tale about digital narcissism, showing us how a misconstrued argument can catch social media fire and ruin someone’s life and career.

Writer-directors Jonathan Minard and Scott Rashap brought a riveting emotional sci-fi piece called “Toru” — which, in longer form, could easily be worthy of a “Black Mirror” installment.

It follows two young parents in the year 2067, who are told their newborn son has a rare disease and under a month to live. Physicians introduce an experimental system that would link into baby Toru’s consciousness and allow him to live a fully simulated life from birth to adulthood in the span of a week — all in his own reality.

The simulation, however, is not without its complications and his parents can’t participate — only watch him locked away in a futuristic incubator.

Finally, and most powerfully, “Come Swim” was directly proceeded by the 13-minute powerhouse “Alone,” a documentary short from Arts Matter Foundation grantee Garrett Bradley.

It’s a heartbreaking and seemingly-simple story of a New Orleans woman in love with a man in prison. As she contemplates what a jailhouse wedding would look like, as opposed to the dream nuptials every girl fantasizes about, her family rails against her life choices. She herself does not want to resign to a relationship divided by plate glass.

“Alone,” for all its brevity, represents the story of countless “incarcerated families” in America.

Stewart returns to the front of the camera in a forthcoming Lizzie Borden biopic, “Lizzie.”

Related stories from TheWrap:

Al Gore Takes Center Stage on Sundance's Opening Night – and So Does Donald Trump

Sundance 2017 Market Preview: Why Amazon, Netflix Should Dominate Again This Year

Sundance Parties: 11 Celebrities Going to Park City Without a Film (Photos)

‘Doctor Strange’ VFX Firm Framestore Sold to China’s CIH

British visual-effects company Framestore, which has worked on Hollywood movies like “Doctor Strange,” “Fantastic Beasts and Where to Find Them” and “Gravity,” is set to be taken over by China’s Cultural Investment Holdings Co. in a deal that values it at nearly £150 million ($187 million). CIH will acquire 75% of Framestore’s shares, with founder… Read more »

British visual-effects company Framestore, which has worked on Hollywood movies like “Doctor Strange,” “Fantastic Beasts and Where to Find Them” and “Gravity,” is set to be taken over by China’s Cultural Investment Holdings Co. in a deal that values it at nearly £150 million ($187 million). CIH will acquire 75% of Framestore’s shares, with founder... Read more »

‘Harry Potter,’ ‘Gravity’ VFX Giant Framestore Agrees To $187M Chinese Takeover

British VFX company Framestore, which worked on films such as Gravity, the Harry Potter franchise and Doctor Strange, has agreed to a takeover by Chinese conglomerate Cultural Investment Holdings Co., in a deal that values it at nearly £150M ($187M).
This marks another Western company being bought by a Chinese company following Wanda’s acquisition of Dick Clark Productions yesterday for a cool $1B and its acquisition of Legendary Entertainment for $3.5B in January.
In the…

British VFX company Framestore, which worked on films such as Gravity, the Harry Potter franchise and Doctor Strange, has agreed to a takeover by Chinese conglomerate Cultural Investment Holdings Co., in a deal that values it at nearly £150M ($187M). This marks another Western company being bought by a Chinese company following Wanda's acquisition of Dick Clark Productions yesterday for a cool $1B and its acquisition of Legendary Entertainment for $3.5B in January. In the…