It’s been almost two years since we heard that Kevin Bacon was looking to revisit his classic monster flick, Tremors, as a television series. Now, that unlikely revival is closer than ever, according to Bacon himself.
Movie composer Mark Korven wanted to craft the perfect sounds for horror movies, but the instruments he needed didn’t exist, and he was tired of using the same digital samples. To produce the original effects needed for evoking breathtaking moments of suspension, he teamed up with guitar maker Tony Duggan-Smith to craft an original instrument that would better aid in manufacturing fear. The Apprehension Engine is that tool, a mechanism built with several bowed metal rulers, spring reverbs, a few long metal rods, and other attachments that allow for spooky interludes and effects.
Producer and distributor GKIDS has a big idea for the animated world, best expressed in three little words: ANIMATION IS FILM. It’s both a philosophy and the name of a newly announced festival cooked by the company best known for bringing animated offerings from Studio Ghibli and other rising stars (think “My Life as a Zucchini” and “My Entire High School Sinking Into the Sea”) to domestic screens. GKIDS will launch the festival this October in partnership with both France’s own Annecy International Animation Film Festival and IndieWire’s sister publication, Variety.
No new filmmaker has been announced, but in a statement, Lucasfilm says the movie will remain on course for a May 2018 release.“Phil Lord and Christopher Miller are talented filmmakers who have assembled an incredible cast and crew, but it’s become clear that we had different creative visions on this film, and we’ve decided to part ways. A new director will be announced soon,” said Lucasfilm president Kathleen Kennedy.
Posting just in case you haven’t heard about this already. Considering it’s been trending all over social media for 24 hours – I’m sure you have, but just in case you can read about it here:
“Hollywood, let’s be honest, is a system for wealthy white kids,” says Rachel Miller, founder of Film2Future, by phone prior to the start of the summer session. “If there’s no pipeline, there’s no way in.”
It does sound ridiculous now, but at the end of last year, Deadline was reporting that according to the Animation Guild, 23.2% of their union jobs were held by women. Granted, that’s an increase from the 20.6% measured 18 months earlier, but it’s still below a quarter of the employees registered with the Guild. Meanwhile, The Hollywood Reporter is holding animation roundtables on ethnic and female stereotypes with exactly seven white men (where’s Snow White, may I ask?).
How is this even a reality? In this day in age why is there still so much discussion about what women vs men can do? And why does it translate into real world consequences like not being able to get a job or acquire financing for a film? It’s so stupid.
Can we not just simply judge merit based upon skill and qualifications and leave all this dumb issues like age, race, gender, sexuality, etc, etc, etc, out of it?