Here’s some highlights from the London press conference with the cast and direct of “Scott Pilgrim vs the World”. Anna speaks towards the end.
source
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Showing posts with label Scott Pilgrim VS The World. Show all posts
Showing posts with label Scott Pilgrim VS The World. Show all posts
Monday, August 23, 2010
Saturday, August 21, 2010
Cinemablend: Anna Kendrick Talks About Scott Pilgrim And Live With It
I was granted the opportunity to sit down with the actress, who plays Scott Pilgrim’s sister, Stacey, in Edgar Wright’s film to talk about the welcomed frustration that comes with working with Wright, her experience working in ensemble casts, and her upcoming film, Live With It.
How did you come to the project and were you familiar with Bryan Lee O’Malley’s comic series before hand?
I was not familiar but Edgar sent me the books in anticipation of meeting about the role, and I obviously just tore through them, they are just so fun to read. They were great as a reference point.
And how did Edgar contact you about the role?
He just got in touch with my agency after seeing a film I did called Rocket Science. My first meeting with Edgar was actually before I shot even the first Twilight movie. So I’ve been involved in this for a long time. [laughs]
If you look at Edgar Wright’s previous TV work/movie work, he has a very specific and unique vision. On set, is that something noticeable in the way he actually films it?
Oh yeah. It would be hard to miss for sure. He’s so specific to a point where you almost feel like you’re going crazy because it gets to a point where you are being sort of puppeteered by so many things. You’re turning your body on a certain word, and your chin goes down on a certain word, and your eyes go up on the next word, and you’re waiting, out of the corner of your eye for the camera man to finish that crash zoom so you can say the next word. At a certain point you’re sort of doing choreography to your own dialogue. It was really fun.
Was it like anything you’ve ever experienced before?
No, definitely not. At a certain point you kind of want to just knock something off the table because it takes a long time to get all the elements to line up and you just have to hope that the one time that they all line up you said your line correctly and hopefully in a funny way. There’s probably a lot of outtakes of me stomping off angrily because I didn’t flip my hair at the right time or whatever the direction was.
The movie has a lot of influence from comic books and video games. Before signing on did you have any interest in either of those worlds?
I can’t pretend to be a big gamer, but doing this movie and going to Comic Con and stuff and meeting Bryan definitely heightened my affection for comic books and Hope Larson, Bryan’s wife, gave me her book. It’s definitely made the world feel a lot more accessible, because at some point it feels overwhelming when you don’t have an entry point into that comic world. I haven’t read comics since I was little.
Scott Pilgrim is very much an ensemble film, and your other films, like Up In The Air and Twilight have some of those elements as well. Do you find that doing those kinds of projects help your method of acting?
On this it was so great to work with such an experienced cast. Not everybody in the cast is recognizable to your average person on the street, but I knew almost all of these actors before working with them. I’ve seen their independent films dating back to when they were in their teens. It was really exciting and they are so talented. It was great to see, especially the girls, just be so funny because so often in movies like this the girls are just pieces of furniture. And seeing how fun Alison Pill and Aubrey Plaza and Brie Larson, nobody’s a weak link.
You recently wrapped filming on the Seth Rogen-Joseph Gordon Levitt movie Live With It and you play a character named Katie. Can you talk a little bit about your character and the film?
Joseph Gordon-Levitt plays a young man who gets cancer, and it’s actually based on the screenwriter’s real experience surviving cancer. I play his social worker who is very, very sweet and has the best intentions, but is really new and doesn’t know what she’s doing. She is trying to help but it’s pretty vulnerable and, I think, in a way Joe’s character is more helpful to her than she is to him.
For the longest time the movie was known as the Untitled Cancer Comedy, but at the same time cancer isn’t something that is generally associated with laughter. Is there a line drawn between the comedy and drama in the film?
I think it definitely blends it, but Will Reiser, our writer, is just a really funny guy and Seth Rogen was his best friend and essentially plays himself in the movie. If you’re a funny person and you have funny friends, you’re still going to have humor in your life. This sad thing can happen, but you’re going to be able to see the humor in a lot of these situations. There’s a kind of realism in that. It’s not a like a heightened comedy, it’s not like a spoof by any means. There’s almost more of a realism to it than a real melodrama. You kind of get to see what this guy went through and where he found humor and the parts that he didn’t.
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Thursday, August 19, 2010
Anna Kendrick At The Scott Pilgrim vs. The World London Premiere
Anna Kendrick attended the premiere of her new film
Scott Pilgrim vs. The World in London, England on August 18, 2010.
For more pictures go to AnnaKendrickFan!
Wednesday, August 18, 2010
Tuesday, August 17, 2010
MTV:'Scott Pilgrim': Inside The Creation Of The Six Fights
Visual-effects supervisor Frazer Churchill gives us behind-the-scenes scoop on the technology used in the film.
MTV:
It was all pretty tricky." That's how "Scott Pilgrim vs. the World" visual-effects supervisor Frazer Churchill describes the film's inimitable look — part manga, part 16-bit video game, exploding on every frame with bright colors and pulsing graphics. That's also a crazy understatement.
Each of the film's fight scenes offers a master class in the very latest in moviemaking technology, from the use of cutting-edge CG software to on-the-ground practical effects work. "Tricky" is putting it lightly. It was damn hard work, and although "Scott Pilgrim" performed disappointingly at the box office this weekend — opening to just $10.5 million in ticket sales — what director Edgar Wright and his team managed to pull off on the screen is deserving of wide acclaim.
Last week, Churchill called up MTV News to chat about the film's six fight scenes — each one a battle as Scott (Michael Cera) attempts to defeat the evil exes of his true love, Ramona Flowers (Mary Elizabeth Winstead) — and reveal the secrets about each one's creation (Beware of spoilers below).
First Fight: Matthew Patel
Of the six fights, this one was the most challenging. It begins when Pilgrim's band is playing a concert only to be interrupted by a very angry and acrobatic Patel. From a technical standpoint, the difficulty came from merging so many elements: kung fu choreography, a CG Bollywood dance routine, women hurling fireballs and more.
"It's the most piecemeal in its construction," Churchill said. "Lots of blue-screen photography, matte painting, stunt work and CG. When Scott jumps off the stage into that manga-esque vortex, that's made up of motion picture photography done on-set, digital still photography, and graphics and speed lines drawn by hand from what Edgar's brother, Oscar Wright, who was the concept designer, gave us. I shot with the second unit DP for an entire day just to get the scrolling backgrounds."
"When you put it together, you have these very high-tech images with a very low-fi feel, which is part of the appeal of 'Scott Pilgrim' and its camp, manga, 16-bit feel," he explained.
Second Fight: Lucas Lee
Throughout the shoot, Wright placed an emphasis on stage craft, always wanting there to be a physical manifestation of an effect that would be added in post-production. Perhaps at no time did that emphasis become more intricate than during Pilgrim's battle with Lee (Chris Evans).
"That was such a complex set of challenges," Churchill said. "We were shooting with actors and a lot of stunt performers. We shot a lot of high-speed stuff in front of a blue screen. Whenever the image flashes in the finished shots — every punch, sword clash or something — those were actually flashes that we had on-set with photo flashbulbs. We got through over 7,000 bulbs — you can only use them once — and then we add our own flash with CG. When someone dies and bursts into coins, we'd empty buckets of silver Mylar so the actors had something to react to. You get that marriage of digital and physical effects."
Third Fight: Todd Ingram
Todd (Brandon Routh) is a rival musician whose superpowers emanate from his vegan diet. In the graphic novels on which the film is based, those powers are represented by just a series of rings. That sort of simplicity wouldn't work for the movie.
"We needed something more sophisticated," Churchill explained. "Our reference for it was that old logo for RKO Pictures with the radio transmitter. We made the rings feel uneven and have these optical aberrations with color bursts."
"There's also this complicated shot where Scott gets thrown through a brick wall," he continued. "One pass is shot with a camera close to Todd and then the action is shot again with a wide shot, so that when Scott is thrown and the shot snaps back from tight to wide, that's actually a morph from two different camera positions. Michael is there on a rig being thrown across the room, and then we take over with a digital version of Michael to go through the pre-made hole in the wall, and then there's a stunt person on a rig flying through the wall, and we add digital debris."
Fourth Fight: Roxy Richter
Roxy (Mae Whitman) is a ninja capable of disappearing into thin air. The trick for Wright and Churchill was to make those disappearances visually compelling.
"When she disappears, we bring in a blue screen so then we can erase her in the shot," Churchill said. "We add in black CG smoke and we also wanted something more, so there's white smoke too, which was a practical effect that we did on-set, as well as those flashbulbs. Plus we did a lot of lens flares and movement graphics. We spent a whole day just flashing different lights at the camera so we'd have a lot of stuff to work with."
For her fight scene, Whitman didn't have to mess around with any dangerous weaponry. "She's actually fighting with a pink ribbon," Churchill said. "She learned to ribbon dance. Then we replaced the ribbon with a CG razor belt."
Fifth Fight: Kyle and Ken Katayanagi
The fifth fight again takes place during a concert, as Scott's band and the Katayanagi twins battle with their music: Sound waves cause physical destruction and giant monsters eventually appear to help in the fight. To get those effects right, filmmakers actually had to create an entirely new computer program.
"Wherever the band plays, there's visualized music. We wanted that to feel like it was happening in time to the music," Churchill explained. "Our CG supervisor, Andrew Whitehurst, wrote this piece of software that we called the Wave Form Generator. Nigel Godrich, the music supervisor, would break down the tracks into their separate components, give us the rhythm, the bass, the drums, the vocals, and we would use them to drive the animation. The software would convert these sound stems into animation data, so when the band is playing, the graphics and the dragons are moving in time with the music."
"For the dragons, I had these weather balloons on-set so that people would have something to react to," he added." I'd raise them up however high they needed to be. Whenever we did the fights, we'd have music playing back on-set. It was like a music video."
Sixth Fight: Gideon Gordon Graves
This climactic fight, which takes place in a nightclub with a "Super Mario Bros."-style brick pyramid in the middle, was an exhausting affair.
"Oh my god — we were on that pyramid for weeks," Churchill said. "The heat rises. It was intense. Again we had physical manifestations of the digital effects — a lot of photo flashes, and Scott's sword had red LEDs and we added flames and the sword. All the stuff that looked like manga was shot on a blue screen. There was a ton of choreography and stunt work. There are just all these additional layers of craziness."
The fight ends with Scott triumphant and Gideon flickering as if caught in some kind of computer glitch. While Wright storyboarded each scene well in advance, this flickering effect was something he came up with in the editing room.
"That wasn't planned. That came up in post," Churchill said. "When Edgar was cutting the scene, he wanted a suitable end for Gideon. He came up with this idea of him glitching and malfunctioning. He's breaking down."
"The thing about the film is each fight is completely different," he continued. "It's not like you establish one thing and then you redo it over and over. Each fight required us to create a whole new set design, a whole new look, a whole new way of doing things."
source
MTV:
It was all pretty tricky." That's how "Scott Pilgrim vs. the World" visual-effects supervisor Frazer Churchill describes the film's inimitable look — part manga, part 16-bit video game, exploding on every frame with bright colors and pulsing graphics. That's also a crazy understatement.
Each of the film's fight scenes offers a master class in the very latest in moviemaking technology, from the use of cutting-edge CG software to on-the-ground practical effects work. "Tricky" is putting it lightly. It was damn hard work, and although "Scott Pilgrim" performed disappointingly at the box office this weekend — opening to just $10.5 million in ticket sales — what director Edgar Wright and his team managed to pull off on the screen is deserving of wide acclaim.
Last week, Churchill called up MTV News to chat about the film's six fight scenes — each one a battle as Scott (Michael Cera) attempts to defeat the evil exes of his true love, Ramona Flowers (Mary Elizabeth Winstead) — and reveal the secrets about each one's creation (Beware of spoilers below).
First Fight: Matthew Patel
Of the six fights, this one was the most challenging. It begins when Pilgrim's band is playing a concert only to be interrupted by a very angry and acrobatic Patel. From a technical standpoint, the difficulty came from merging so many elements: kung fu choreography, a CG Bollywood dance routine, women hurling fireballs and more.
"It's the most piecemeal in its construction," Churchill said. "Lots of blue-screen photography, matte painting, stunt work and CG. When Scott jumps off the stage into that manga-esque vortex, that's made up of motion picture photography done on-set, digital still photography, and graphics and speed lines drawn by hand from what Edgar's brother, Oscar Wright, who was the concept designer, gave us. I shot with the second unit DP for an entire day just to get the scrolling backgrounds."
"When you put it together, you have these very high-tech images with a very low-fi feel, which is part of the appeal of 'Scott Pilgrim' and its camp, manga, 16-bit feel," he explained.
Second Fight: Lucas Lee
Throughout the shoot, Wright placed an emphasis on stage craft, always wanting there to be a physical manifestation of an effect that would be added in post-production. Perhaps at no time did that emphasis become more intricate than during Pilgrim's battle with Lee (Chris Evans).
"That was such a complex set of challenges," Churchill said. "We were shooting with actors and a lot of stunt performers. We shot a lot of high-speed stuff in front of a blue screen. Whenever the image flashes in the finished shots — every punch, sword clash or something — those were actually flashes that we had on-set with photo flashbulbs. We got through over 7,000 bulbs — you can only use them once — and then we add our own flash with CG. When someone dies and bursts into coins, we'd empty buckets of silver Mylar so the actors had something to react to. You get that marriage of digital and physical effects."
Third Fight: Todd Ingram
Todd (Brandon Routh) is a rival musician whose superpowers emanate from his vegan diet. In the graphic novels on which the film is based, those powers are represented by just a series of rings. That sort of simplicity wouldn't work for the movie.
"We needed something more sophisticated," Churchill explained. "Our reference for it was that old logo for RKO Pictures with the radio transmitter. We made the rings feel uneven and have these optical aberrations with color bursts."
"There's also this complicated shot where Scott gets thrown through a brick wall," he continued. "One pass is shot with a camera close to Todd and then the action is shot again with a wide shot, so that when Scott is thrown and the shot snaps back from tight to wide, that's actually a morph from two different camera positions. Michael is there on a rig being thrown across the room, and then we take over with a digital version of Michael to go through the pre-made hole in the wall, and then there's a stunt person on a rig flying through the wall, and we add digital debris."
Fourth Fight: Roxy Richter
Roxy (Mae Whitman) is a ninja capable of disappearing into thin air. The trick for Wright and Churchill was to make those disappearances visually compelling.
"When she disappears, we bring in a blue screen so then we can erase her in the shot," Churchill said. "We add in black CG smoke and we also wanted something more, so there's white smoke too, which was a practical effect that we did on-set, as well as those flashbulbs. Plus we did a lot of lens flares and movement graphics. We spent a whole day just flashing different lights at the camera so we'd have a lot of stuff to work with."
For her fight scene, Whitman didn't have to mess around with any dangerous weaponry. "She's actually fighting with a pink ribbon," Churchill said. "She learned to ribbon dance. Then we replaced the ribbon with a CG razor belt."
Fifth Fight: Kyle and Ken Katayanagi
The fifth fight again takes place during a concert, as Scott's band and the Katayanagi twins battle with their music: Sound waves cause physical destruction and giant monsters eventually appear to help in the fight. To get those effects right, filmmakers actually had to create an entirely new computer program.
"Wherever the band plays, there's visualized music. We wanted that to feel like it was happening in time to the music," Churchill explained. "Our CG supervisor, Andrew Whitehurst, wrote this piece of software that we called the Wave Form Generator. Nigel Godrich, the music supervisor, would break down the tracks into their separate components, give us the rhythm, the bass, the drums, the vocals, and we would use them to drive the animation. The software would convert these sound stems into animation data, so when the band is playing, the graphics and the dragons are moving in time with the music."
"For the dragons, I had these weather balloons on-set so that people would have something to react to," he added." I'd raise them up however high they needed to be. Whenever we did the fights, we'd have music playing back on-set. It was like a music video."
Sixth Fight: Gideon Gordon Graves
This climactic fight, which takes place in a nightclub with a "Super Mario Bros."-style brick pyramid in the middle, was an exhausting affair.
"Oh my god — we were on that pyramid for weeks," Churchill said. "The heat rises. It was intense. Again we had physical manifestations of the digital effects — a lot of photo flashes, and Scott's sword had red LEDs and we added flames and the sword. All the stuff that looked like manga was shot on a blue screen. There was a ton of choreography and stunt work. There are just all these additional layers of craziness."
The fight ends with Scott triumphant and Gideon flickering as if caught in some kind of computer glitch. While Wright storyboarded each scene well in advance, this flickering effect was something he came up with in the editing room.
"That wasn't planned. That came up in post," Churchill said. "When Edgar was cutting the scene, he wanted a suitable end for Gideon. He came up with this idea of him glitching and malfunctioning. He's breaking down."
"The thing about the film is each fight is completely different," he continued. "It's not like you establish one thing and then you redo it over and over. Each fight required us to create a whole new set design, a whole new look, a whole new way of doing things."
source
Monday, August 16, 2010
Flix66 Review: Scott Pilgrim vs. The World
Director: Edgar Wright
Stars: Michael Cera, Mary Elizabeth Winstead, Kieran Culkin
Movie: 8/10
Overall: 8/10
Sunday, August 15, 2010
Anna Kendrick on "The Nightlife" And Two Pics From Texas
Anna and the Scott Pilgrim cast attended a screening of Scott Pilgrim Vs. the World on Friday (Aug 13) at Fantastic Fest in Austin, Texas.
Anna Kendrick on "The Nightlife"
source
Anna Kendrick on "The Nightlife"
source
Saturday, August 14, 2010
Collider: Interview With Anna Kendrick & Cast Of "Scott Pilgrim Vs The World"
Anna Kendrick, Kieran Culkin and Aubrey Plaza Interview SCOTT PILGRIM VS. THE WORLD from ColliderVideos on Vimeo.
Source
Friday, August 13, 2010
Movieline Talks to Anna Kendrick about Breaking Dawn and Scott Pilgrim
The fans of Twilight and Scott Pilgrim are both very specific about what they want to see adapted onscreen.
Honestly, I think that in both cases, we’re lucky to have fans who are happy to get a full twenty minutes in the film to just be kind of referenced. There are certain lines in Scott Pilgrim that don’t come from the same scene or even the same character [as in the comic books], but they make sense in the story and I think the fans are the kind of people who will be glad that line or moment got into the movie. They won’t be nitpicking, like, “Well actually, that line was in Volume 3, and Envy Adams said it.”
Now, I had thought that you’re done with the Twilight films, but IMDb lists you as being part of Breaking Dawn. Is that an error?
IMDb never lies, so… [Laughs] I honestly don’t know. The honest-to-God truth is that I have not talked to [screenwriter] Melissa Rosenberg about it.
How does it feel to be done with that franchise?
I feel like I got to go in and do my little silliness and try to be funny in the time that I was given. It was cool to be a part of something from the beginning when we had no idea what it was going to become, but it’s not really my movie, it’s not my experience. I’m just happy to have been along for the ride.
Full Article on Movieline!
Thursday, August 12, 2010
Scott Pilgrim Interview by GameZone with Anna Kendrick
We take on Michael Cera and Anna Kendrick from their upcoming film, Scott Pilgrim vs. the World.
Giving life to the already lively characters of Bryan Lee O’Malley’s Scott Pilgrim series surely has its challenges. Yet when you are working under the direction of the restless and often humorously tangential Edgar Wright (Shaun of the Dead, Hot Fuzz), your acting job becomes all the more easier. That is not to say that one should get complacent and rely on the man’s talent for slick hyper-editing and pop art stylized special effects.
Complete Scott Pilgrim Vs The World Soundtrack and Score Streaming Online
If you can’t wait to see Scott Pilgrim vs. The World, but don’t want to be spoiled, then may I suggest giving the soundtrack and the score a listen? I suppose if you’re the most sensitive spoiler-wimp on the planet you won’t even want to listen to the film’s amazing music. But this article isn’t for you. It’s for all the awesome people who can enjoy these tunes right now and then re-experience them when they hear them in the context of the movie.
I’m probably going to buy the score and the soundtrack later today, but right now I’m enjoying it in all its streaming goodness over at Spinner [via Vulture]. Scott Pilgrim vs. The World opens this Friday.
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