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Art Directors Guild To Induct Anthony Masters and Ben Carré Into The Hall Of Fame

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British Production Designer Anthony (Tony) Masters, nominated for an Academy Award® for the film “2001: A Space Odyssey,” and pioneer Production Designer Ben Carré, best known for his work on the 1925 version of The Phantom of the Opera and The Wizard of Oz, will be inducted into the Art Directors Guild (ADG, IATSE Local 800) Hall of Fame at the 23rd Annual Art Directors Guild’s Excellence in Production Design Awards. The 2019 Awards, themed “Landscape of the Imagination,” will be held Saturday, February 2, 2019 at the InterContinental Los Angeles Downtown. The announcement was made today by President Nelson Coates ADG and Awards Producer Scott Moses ADG.

In making the announcement, Coates said, “We are honored to celebrate legendary artists Tony Masters and Ben Carré for their arresting visual imagery as they are inducted into the ADG Hall of Fame. Both were gifted artists who have inspired us for decades through their talents, imaginations, and enormous contributions to the art of narrative design in motion pictures.”

Anthony Masters (1919 -1990) was a British Production Designer during his illustrious career spanning 45 years. He received an Oscar® nomination for Best Art Direction in 1968 for his amazing work in 2001: A Space Odyssey. His other best-known films include Dune, Lawrence of Arabia, Papillon, Tai-Pan, The Clan of the Cave Bear and The Deep. He has two dozen credits as Art Director, including such notable films as The Heroes of Telemark, The Cracksman, The Day the Earth Caught Fire, Faces in the Dark, The Story of Esther Costello and the Oscar®-winning short The Bespoke Overcoat. He died in France, the father of three sons with his wife of 33 years, actress Heather Sears. His sons Giles Masters ADG (The Da Vinci Code, Angels & Demons, Women in Gold) and Dominic Masters (Wonder Woman, Murder on the Orient Express) followed in their father’s illustrious steps and son Adam is a television and film editor in the UK.

French-born Production Designer Ben Carré (1883-1978) is best known for the catacomb set designs for The Phantom of the Opera, the Emerald City from The Wizard of Oz, the home of the Smith family in Meet Me in St. Louis and sets for The Jazz Singer. A classically-trained artist, Carré studied at the Atelier Amable in Paris. He began his professional career as a scene painter for the Paris Opera and the Comédie-Francaise, later joining Pathé-Gaumont as a set designer on five feature films. Carré entered the U.S. in 1912 as a Production Designer at Eclair/Peerless, renowned at the time for having one of the most state-of-the-art studio facilities on the East Coast. He was under contract at MGM (1924-26), Warner Brothers (1926-27), Fox (1928-35) and, again, MGM (1939-44). During his time at the studios, he designed sets for Cecil B. DeMille’s The King of Kings and worked on Noah’s Ark, The Iron Mask and Dante’s Inferno. He took a permanent job in MGM’s scenic art department where he stayed for thirty years painting backgrounds for many of MGM’s classic films including Marie Antoinette, An American in Paris, Meet Me in St. Louis, Julius Caesar, North by Northwest, Singing in the Rain, and The Wizard of Oz. After retiring in 1965 at the age of 82, Carré remained in Los Angeles with his wife Anne and was a prodigious painter and exhibitor of watercolors featuring Los Angeles cityscapes. He died in 1978.

Last year’s ADG Hall of Fame inductees, only posthumously, were Production Designers Sir Ken Adam and Tyrus Wong. The complete list of inductees can be found at www.adg.org.

Producer of this year’s ADG Awards (#ADGawards) is Production Designer Scott Moses ADG. Online nomination voting opens December 6, 2018 and ends January 4, 2019 and nominees are announced on January 7, 2019. Final online balloting starts January 8th and ends January 31, 2019 and winners are announced at the dinner ceremony on Saturday, February 2, 2019. ADG Awards are open only to productions when made within the U.S. by producer’s signatory to the IATSE agreement. Foreign entries are acceptable without restrictions.

The ADG Awards is proud to be sponsored by Design Icon Level: Shutterstock, Sweetwater/NEP Live Events; Design Innovator Level: Dazian Fabrics; Platinum Level: Aztek Wallcovering; Media Sponsors: The Hollywood Reporter, Variety and SHOOTonline.

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Dune Part Two: The Lisan Al Gaib comes for you!

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Welcome back to our struggle for control of the known universe already in progress, the continuation of the journey of Paul Atreides from exile to Emperor, Dune Part Two

So when we last left our intrepid if dubious heroes, House Atreides had been betrayed and virtually destroyed, by a combination of House Harkonnens surprise attacks and the added treachery of Emperor Shaddam and his Sardaukar. Paul Atreides (Timothee Chalamet), the last surviving heir (so far) of House Atreides and his mother Jessica, have taken refuge on the desert planet of Arrakis amongst the indigenous Fremen, and as far as most are aware, the other remnants of House Atreides are dead as well. And here is where we catch up with everyone, as the struggle for Atreides emergence and dominance begins in earnest! 

The Emperor’s daughter Princess Irulan (Florence Pugh) is known for her many skills, but her copious note-taking and writings on the large events shaping her world come to the forefront as she takes counsel with her father amidst games of chance on their homeworld. Her life is one of luxury and privilege but alas, Irulan is a trained Bene Gesserit and is well aware that in all likelihood, she will be used as a pawn in the marriage games empires have to go through. Bet she never imagined it could be to a House everyone swore had been utterly destroyed. 

Meanwhile, on Arrakis, Paul is trying to integrate himself into the Fremen way of life, which is admittedly far different from the life he led back on the Atreides homeworld of Caladan. (If nothing else, Caladan has vast oceans.) The Fremen are fiercely independent, gloriously strong fighters, survivors who dare to ride and revere the giant sandworms that inhabit their planet that they call Shai-Hulud, and rightfully distrustful of outsiders. After all, the previous stewardship of Arrakis belonged to House Harkonnen, known for their cruelty and glee at hunting Fremen and torturing their victims, sometimes for weeks at a time. But Paul won his and Jessicas way into the Fremen by fair combat against Jamis, and if nothing else, the Fremen are firm in their beliefs of the old ways. 

Or rather, the elder Fremen are, most particularly the famed Fedaykin fighter and Naib (leader) of Sietch Tabr Stilgar (Javier Bardem) is adamant in his unshakable belief that Paul is the foretold Lisan Al Gaib, the Voice from the Outer World, that will lead the Fremen to peace and paradise. Stilgar’s steadfast belief in Paul’s potential only grows, and he manages with just that to convince a great many of the other Fremen elders. The younger generation of Fremen however, of which Paul’s beloved Chani (Zendaya) is a part, generally scoff at the legends of otherworldly prophets and Arrakis as a fabled green, wet heaven. In the beginning, Paul himself swears he doesn’t want to be the Messiah, only a Fremen fighter amongst the rest of them, hundreds of years of the Missionaria Protectiva, the Bene Gesserit practice of spreading useful religious propaganda as seeds on various planets, is working double-time against him. It doesn’t help that Paul’s mother Jessica (Rebecca Ferguson) is expounding on that myth as much as she possibly can. 

And why would she do that? Survival yes, but also, Jessica is a thoroughly trained Bene Gesserit and knows of plans within plans within plans. Jessica also has many secrets of her own, and one very important one happens to be that she’s pregnant with Paul’s sister. The Bene Gesserit bodily control may be something out of legend, but even Jessica, possibly Reverend Mother Mohiam’s best and most fractious student, will have trouble with the trial the Fremen are insisting she go through to become truly one of them. The Reverend Mother equivalent of Sietch Tabr, known as their Sayyadina, is old and dying, and the Fremen have to have a Reverend Mother. Jessica tells Paul this much and explains that each culture is different in their trial to become a Reverend Mother, so she honestly doesn’t know what to expect. The reality happens to be worse than she could’ve imagined – Jessica must drink the Water of Life, a deadly poison that comes from Shai-Hulud (sort of), and come out the other side of it. And Jessica manages to do it, barely, with almost all of the consequences going to the poor fetus in her womb, the girl that will grow to become Alia Atreides, an insane legend in her own right. But for now, the unnamed fetus is awake and aware and full of the memories of generations of Bene Gesserit women that came before her – before she was even born

Paul participates in razzia raids amongst the Fremen as they work to take out the spice mining operations of the Harkonnens, immerses himself in the vastly different desert culture of his chosen people, and perhaps most importantly, his romance with his beloved Chani only grows stronger. After declaring his desire to join the fierce fighter elites amongst the Fremen known as Fedaykin, Paul is told by Stilgar that he must summon and ride one of the giant sandworms, the embodiment of Shai-Hulud where the Fremen get their terrible tooth Crysknives from. And after much sendup, in a glorious scene of blinding sand and huge monstrous killer worm-riding, Paul is triumphant and riding atop the sacred creature, his Maker hooks set properly to control the great beast, waving at great distance to his fellow Fremen as Chani looks on in bemusement. 

But that’s all external, and inside Paul is beginning to become divided on what he wants to do. As Jessica pushes the Protectiva hard amongst the women and priestesses of the Fremen, she is also pushing her son to become much larger than he ever wanted to be, if nothing else a conqueror can take revenge for the destruction of House Atreides and the death of her beloved Duke Leto. Paul may have earned his place amongst the Fremen and been given new names – Usul, meaning the strength of the base of the pillar, as his private name within the Sietch; and Muad’Dib, from the small mouse survivor of the desert, well versed in desert ways, called ‘Instructor-of-Boys’ in Fremen legend, as his open-use name – but now everyone wants Paul to be something greater, and potentially more destructive, than what he currently is. It only gets worse when Paul begins to suffer prophetic dreams, and visions when he’s awake, prodding him further to his destiny as an epic conqueror of worlds. Nothing can be done for it, Paul convinces himself that he must take the Water of Life himself, to awaken the sleeping prophet inside himself, and allow him to hopefully See a path through the future. 

The problem with that plan, is that Bene Gesserit are almost exclusively all women, and only they are supposed to know how to transmute poisons internally, along with all sorts of other “witchcraft”. But Jessica has been training Paul in forbidden Bene Gesserit ways all his life, and as much as Paul might rail and even quail against it, there is no denying his incoming destiny, crushing any resistance he may have with all the force of a giant sandworm hunting a spice blow. And even when Paul has finally given in and taken the cursed substance almost mockingly called the Water of Life, it falls to another strong and prophetic in her right female in his life, his beloved Chani, to save him from himself. But even Chani can’t stop Paul’s destructive destiny as the conqueror of the known worlds, guilty of slaying millions upon millions of people in his quest for vengeance, thinly disguised as peace. 

Over on the Harkonnen homeworld of Geidi Prime, “Beast” Rabban (Dave Bautista) is disgusted and enraged at the continuing Fremen raids against the Harkonnens on Arrakis, and terrified of what his uncle the notoriously cruel Baron Harkonnen (Stellan Skarsgard), will do to him in response. The Baron’s nephew Feyd-Rautha (Austin Butler), heir apparent or na-Baron to House Harkonnen, demonstrates his blood-inborn savagery in a slaughter of the remnants of House Atreides gladiator-style, as his birthday celebration. Pleased with the spectacle, the Baron commands Feyd-Rautha to take control of the fight against this Fremen rebel known as Muad’dib, as Rabban is proving himself more and more useless. And any tool or toy that the Baron finds broken or unusable, is destroyed before being discarded. 

As the legend of Muad’dib grows off Arrakis and circulates among the Imperial worlds, the Emperor grinds his teeth in frustration and the Bene Gesserit, led by Reverend Mother Mohiam (Charlotte Rampling) as the Emperor’s Truthsayer, begin pushing forward their plots and machinations. Lady Margot Fenring (Lea Seydoux), a criminally underused character in this respect, demonstrates her willingness to be a pawn in Bene Gesserit machinations, but never forget, strong Bene Gesserit women have been breaking their own rules for generations. Just look at what Jessica did. 

As the raids and rebellion on Arrakis continue, both the Emperor and the Baron become more and more desperate, sending in mercenaries and smugglers in the hopes they might have more luck. And aboard one of those smuggler’s vessels happens to be an old hand at being a smuggler himself, the warrior troubadour with the scarred face given him by “Beast” Rabban himself, Gurney Halleck (Josh Brolin). Reunited with his beloved Duke’s only son, Gurney finds himself swept up in the legend of Muad’dib in the making along with everyone else, though at least from Gurney’s point of view, Paul is using the messianic angle to take revenge for House Atreides. 

Finally, in an act of what could be considered the ultimate in arrogance, Emperor Shaddam Corrino himself comes to Arrakis, along with Princess Irulan and many others of his Court, the Baron, and Feyd-Rautha in tow as well, to crush this upstart Muad’dib and his Fremen warriors. Sadly for all that the powerhouse actor Christopher Walken plays him, Emperor Shaddam Corrino is shown as a doddering old man, cowed in the face of Muad’dib’s overwhelming vitality and growing-ever-stronger legend. And there is where we will end the review, for the final confrontation between all key players in the Known Universe is full of spoilers and derivations from the original opus of Frank Herbert’s novel Dune

For those of you who stuck around long enough to get to the end, after all, Dune Part Two is almost three hours long itself, if you are fans of the original novel and the zany Lynchian masterpiece that was the first Dune film, you may be disappointed or even angered at the changes made to the story for the climactic end scenes. Director Villenuve has an eye for making grand epic scenes like Paul’s sandworm ride but can be a bit scattered when it comes to piecing the story together with all the key players needing to be involved in a way that can be understood by any layman. Dune in any form is a rich, vast universe of storytelling, and even an almost three-hour-long sequel simply can’t cover every last bit that’s in the novels. But if nothing else, the film is an overwhelming feast for the eyes and should bring a whole new legion of fans to the many worlds contained within Dune

If you want to dive further into the Dune-iverse, do yourself a favor and read the Dune prequel books written by Herbert Jr. and Kevin J. Anderson. Until then, dive into the sands of Arrakis along with Shai-Hulud and scream vengeance to the skies with Paul Muad’dib Atreides in Dune Part Two, in theaters now! 

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The 8 Episode Series Tries To Encompass A Lot Leaving Fans In A Cliffhanger.

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The 2010 “Avatar: The Last Airbender” movie by M. Night Shyamalan faced criticism for its deviations from the beloved animated series. The film struggled with pacing, casting, and a lackluster script, disappointing fans who cherished the source material. In contrast, the 2024 Netflix series has generated positive buzz for its commitment to diverse casting, adherence to the original storyline, and improved character development. The series seems poised to capture the essence of the animated show, offering a fresh and faithful adaptation that resonates with both new and existing fans.

Even though the Netflix series comes closer to the core ideals of the animated series, I feel it lacks heart. Many scenes barely scratch the surface of the relationships between the characters and the push-and-pull relationship between Aang and Zuko. I will admit the CG versions of Momo and Appa are just so gosh darn cute.

The 8 episode series tries to encompass a lot leaving fans in a cliffhanger. It’s worth a watch and I am hanging on for the next season to be announced.

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