Den of Geek serves as the media partner of the London Action Festival
Sometimes the sequel is better. The London Action Festival 2 blew the bloody doors off with an action-packed weekend celebrating the influential creatives who crafted some of the most iconic moments in the action film and television genre.
Den of Geek returned as senior media partner and we were on hand in London to witness the best panels, surprise moments, and fascinating insights from professionals at all levels of the production process, from directors and stars, to editors, composers, stuntmen, and more. Check out some of the best photos from the weekend below!
The second annual festival rev’d up with what was billed as the “World’s Greatest Screening Ever… Probably” of The Italian Job. Three mini coopers — red, white, and blue — greeted fans who stopped for a photo opp as they entered the screening at the...
Sometimes the sequel is better. The London Action Festival 2 blew the bloody doors off with an action-packed weekend celebrating the influential creatives who crafted some of the most iconic moments in the action film and television genre.
Den of Geek returned as senior media partner and we were on hand in London to witness the best panels, surprise moments, and fascinating insights from professionals at all levels of the production process, from directors and stars, to editors, composers, stuntmen, and more. Check out some of the best photos from the weekend below!
The second annual festival rev’d up with what was billed as the “World’s Greatest Screening Ever… Probably” of The Italian Job. Three mini coopers — red, white, and blue — greeted fans who stopped for a photo opp as they entered the screening at the...
- 7/3/2023
- by Chris Longo
- Den of Geek
Top global talent paid homage to director Martin Campbell and special effects supervisor Chris Corbould at the second London Action Festival, which concluded Sunday.
The duo, who were honored with the festival’s Moving Target Award for their outstanding contribution to action cinema, were surprised with a range of video messages from people who had worked with them.
Daniel Craig described Campbell and Corbould as “two people who have had a major influence on my career.” On Campbell, Craig said: “It gave me incredible security knowing you were steering the ship [Casino Royale]. I have so much to thank you for. I’m incredibly proud of the film we made together.” On Corbould, Craig added: “I don’t know what to say. You’ve blown me up, you’ve set me on fire – but what has been so incredible in working with you is to have had the privilege of getting inside your imagination.
The duo, who were honored with the festival’s Moving Target Award for their outstanding contribution to action cinema, were surprised with a range of video messages from people who had worked with them.
Daniel Craig described Campbell and Corbould as “two people who have had a major influence on my career.” On Campbell, Craig said: “It gave me incredible security knowing you were steering the ship [Casino Royale]. I have so much to thank you for. I’m incredibly proud of the film we made together.” On Corbould, Craig added: “I don’t know what to say. You’ve blown me up, you’ve set me on fire – but what has been so incredible in working with you is to have had the privilege of getting inside your imagination.
- 6/27/2023
- by Naman Ramachandran
- Variety Film + TV
Justice League cinematographer Fabian Wagner is on board to shoot Venom 3, a new installment in Sony Pictures Universe of Marvel Characters, which begins filming next month in the U.K.
In addition to Justice League/Zack Synder’s Justice League, Wagner’s credits include Game of Thrones, for which he was Emmy nominated and won an American Society of Cinematographers Award for the acclaimed season six “Battle of the Bastards” episode. He received a second ASC nomination for his work on Netflix’s Queen Elizabeth II drama The Crown, and a second Emmy nomination for BBC miniseries Sherlock. His latest work includes HBO’s Game of Thrones prequel, House of the Dragon.
In the upcoming movie, Tom Hardy is returning as Marvel antagonist Venom and Kelly Marcel (who worked as a scribe on Venom and Venom: Let There be Carnage) will be making her directorial debut. Marcel wrote the...
In addition to Justice League/Zack Synder’s Justice League, Wagner’s credits include Game of Thrones, for which he was Emmy nominated and won an American Society of Cinematographers Award for the acclaimed season six “Battle of the Bastards” episode. He received a second ASC nomination for his work on Netflix’s Queen Elizabeth II drama The Crown, and a second Emmy nomination for BBC miniseries Sherlock. His latest work includes HBO’s Game of Thrones prequel, House of the Dragon.
In the upcoming movie, Tom Hardy is returning as Marvel antagonist Venom and Kelly Marcel (who worked as a scribe on Venom and Venom: Let There be Carnage) will be making her directorial debut. Marcel wrote the...
- 5/23/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
"House of the Dragon" and "The Lord of the Rings: The Rings of Power" continued their parallel prestige fantasy ride this last weekend, each with an episode that — dramatically, at least — may well be the best the series has delivered thus far. "Driftmark" and "Udûn," respectively the seventh and sixth episode of "House of the Dragon" and "The Rings of Power," were full of unbearably tense confrontations and fights where long-simmering plotlines came to a head in an explosive manner.
Yet on Monday morning, in the immediate aftermath of "House of the Dragon" the night before, it seemed like all anyone could talk about in the Bad Place was how dark the beach scenes in "Driftmark" were. If you're like me, your timeline may have been flooded with all-black screenshots and complaints of how hard it was to visually decipher those scenes.
/Film's Mike Shutt has explored why "Driftmark" looks the way it does.
Yet on Monday morning, in the immediate aftermath of "House of the Dragon" the night before, it seemed like all anyone could talk about in the Bad Place was how dark the beach scenes in "Driftmark" were. If you're like me, your timeline may have been flooded with all-black screenshots and complaints of how hard it was to visually decipher those scenes.
/Film's Mike Shutt has explored why "Driftmark" looks the way it does.
- 10/4/2022
- by Joshua Meyer
- Slash Film
Have you ever been enjoying a film or TV series, only to suddenly find yourself squinting at the dark screen? Recent releases including “Euphoria,” “The Batman” and “Handmaid’s Tale,” as well as classic films including “Alien,” “Taxi Driver” and “Seven” all utilize dark imagery, but what if the visuals are simply too dark to see everything in the frame?
While dark scenes are usually due to the filmmaker’s vision, there are several factors both at movie theaters and when viewing at home that will affect the viewer’s ability to see what’s going on onscreen.
Home viewing
For home viewers, one culprit could be the viewing environment, according to digital imaging technician Nicholas Kay. When he goes to visit his parents’ house, he’s aghast at the butchered image quality on their television screen, which Kay believes should be as neutral as possible. As someone who spends...
While dark scenes are usually due to the filmmaker’s vision, there are several factors both at movie theaters and when viewing at home that will affect the viewer’s ability to see what’s going on onscreen.
Home viewing
For home viewers, one culprit could be the viewing environment, according to digital imaging technician Nicholas Kay. When he goes to visit his parents’ house, he’s aghast at the butchered image quality on their television screen, which Kay believes should be as neutral as possible. As someone who spends...
- 3/12/2022
- by Sasha Urban
- Variety Film + TV
There's a real art to lighting actors in superhero outfits. It's just as easy to make them look sharp and sophisticated as it is to make them look utterly clownish — which, to be fair, is sometimes the intent, like when Christopher Smith (John Cena) walks confidently into a public area wearing his shiny chrome helmet and brightly colored costume on James Gunn's "Peacemaker" series. Alternatively, Ben Affleck's Batman looks mysterious and threatening in his grey-and-black suit thanks to Fabian Wagner's shadowy cinematography in "Zack Snyder's Justice League," but loses much of his mystique when he's...
The post Robert Pattinson Admits a Batman Suit Looks Like a Halloween Costume Until the Lighting is Just Right appeared first on /Film.
The post Robert Pattinson Admits a Batman Suit Looks Like a Halloween Costume Until the Lighting is Just Right appeared first on /Film.
- 1/20/2022
- by Sandy Schaefer
- Slash Film
Los Angeles The American Society of Cinematographers (ASC) presented its annual awards during a virtual ceremony today, with Erik Messerschmidt, ASC claiming the top prize in feature film for Mank. The 35th ASC Outstanding Achievement Awards also honored Aurélien Marra for Two of Us in the Spotlight Award category, and Michael Dweck and Gregory Kershaw for the documentary The Truffle Hunters. Winners in the TV categories included Steven Meizler for The Queen?s Gambit; Fabian Wagner, ASC, Bsc for The Crown; Jon Joffin, ASC for Motherland: Fort Salem; and Baz Idoine for The Mandalorian. TCM?s Ben Mankiewicz hosted the awards show, which was streamed live from the historic ASC Clubhouse in Hollywood. Below is the complete list of winners and nominees: Feature Award – presented by Roger Deakins, ASC, Bsc, Cbe and James Deakins -Erik Messerschmidt, ASC for Mank – Winner -Phedon Papamichael, ASC, Gsc for The Trial of the...
- 4/18/2021
- by HollywoodNews.com
- Hollywoodnews.com
“Mank” cinematographer Erik Messerschmidt upset “Nomadland” Dp Joshua James Richards, the Oscar favorite, at the 35th annual American Society of Cinematographers Awards on Sunday. The win for David Fincher’s monochromatic biopic, with Herman J. Mankiewicz (Gary Oldman) struggling to churn out a first draft of “Citizen Kane,” was a surprise, given the momentum that has been with Richards since he won Camerimage’s prestigious Golden Frog last year. However, Richards (previously nominated for the Spotlight Award for “The Rider” but is not a current ASC member) still remains the Oscar favorite for shooting Chloé Zhao’s Best Picture frontrunner (she is also the favorite to take Best Director).
Yet it is a breakthrough achievement for Fincher’s go-to cinematographer from “Mindhunter.” Messerschmidt recreated a Golden Age of Hollywood in black-and-white, shooting with the Red Ranger Helium Monochrome, and bolstered by the Cinefade variable depth of field tool to emulate...
Yet it is a breakthrough achievement for Fincher’s go-to cinematographer from “Mindhunter.” Messerschmidt recreated a Golden Age of Hollywood in black-and-white, shooting with the Red Ranger Helium Monochrome, and bolstered by the Cinefade variable depth of field tool to emulate...
- 4/18/2021
- by Chris Lindahl and Bill Desowitz
- Indiewire
The American Society of Cinematographers handed out its top prize in feature film visual storytelling to Erik Messerschmidt, ASC for “Mank.”
Other winners included “The Crown,” “The Mandalorian,” “The Truffle Hunters,” “Two of Us,” “Motherland: Fort Salem” and “The Queen’s Gambit.”
Turner Classics Movies host Ben Mankiewicz served as the emcee for the ceremony, presenting the awards from the ASC clubhouse in Hollywood. During the ceremony, writer, producer and director Sofia Coppola was presented with the Board of Governors Award. Coppola accepted the award via Zoom and thanked her father “for having me on so many sets where I saw great cinematographers.”
The ASC Awards represent the organization’s picks for the most compelling visual filmmaking over the past 14 months. Roger Deakins and James Deakins presented the feature film prize to Messerschmidt, who beat out stiff competition from “Nomadland” cinematographer Joshua James Richards.
The ASC Awards mark the last guild...
Other winners included “The Crown,” “The Mandalorian,” “The Truffle Hunters,” “Two of Us,” “Motherland: Fort Salem” and “The Queen’s Gambit.”
Turner Classics Movies host Ben Mankiewicz served as the emcee for the ceremony, presenting the awards from the ASC clubhouse in Hollywood. During the ceremony, writer, producer and director Sofia Coppola was presented with the Board of Governors Award. Coppola accepted the award via Zoom and thanked her father “for having me on so many sets where I saw great cinematographers.”
The ASC Awards represent the organization’s picks for the most compelling visual filmmaking over the past 14 months. Roger Deakins and James Deakins presented the feature film prize to Messerschmidt, who beat out stiff competition from “Nomadland” cinematographer Joshua James Richards.
The ASC Awards mark the last guild...
- 4/18/2021
- by Jazz Tangcay
- Variety Film + TV
“Mank” cinematographer Erik Messerschmidt has won the feature-film award from the American Society of Cinematographers at the 35th annual ASC Awards, which were handed out in a ceremony that streamed live from the ASC clubhouse in Hollywood on Sunday afternoon.
The award came in a category in which four of the five nominees are nominated for the Best Cinematography Oscar. The ASC nominees were “Mank,” “The Trial of the Chicago 7,” “Nomadland,” “News of the World” and “Cherry,” with the first four also landing Oscar nominations and “Cherry” replaced by “Judas and the Black Messiah” on the Oscar ballot.
Over the first 34 years, the ASC has honored the film that would go on to win the Oscar for Best Cinematography less than half the time, with the two groups matching 15 times and disagreeing 19 times. In recent years, though, the ASC has become a better Oscar predictor, with six out of 10 matches in the last decade.
The award came in a category in which four of the five nominees are nominated for the Best Cinematography Oscar. The ASC nominees were “Mank,” “The Trial of the Chicago 7,” “Nomadland,” “News of the World” and “Cherry,” with the first four also landing Oscar nominations and “Cherry” replaced by “Judas and the Black Messiah” on the Oscar ballot.
Over the first 34 years, the ASC has honored the film that would go on to win the Oscar for Best Cinematography less than half the time, with the two groups matching 15 times and disagreeing 19 times. In recent years, though, the ASC has become a better Oscar predictor, with six out of 10 matches in the last decade.
- 4/18/2021
- by Steve Pond
- The Wrap
The American Society of Cinematographers is announcing its winners today for the 35th Annual ASC Outstanding Achievement Awards this afternoon in the feature film, documentary and television cinematography categories.
They represent the organization’s picks for the most compelling visual filmmaking over the past 14 months.
The Society is bestowing the ASC Board of Governors Award to filmmaker Sophia Coppola for her contributions to cinema through her body of work. It is the only ASC Award not given to a cinematographer and is reserved for industry stalwarts who have been champions for directors of photography and the visual art form.
The Michael Chapman & Allen Daviau Student Heritage Award is being awarded to Ai Chung for A Young Tough in the Michael Chapman Graduate Category and Elias Ginsberg for Milk Teeth in the Allen Daviau Undergraduate Category.
The virtual ceremony is being streamed live via American Cinematographer’s Facebook page from the historic ASC Clubhouse in Hollywood.
They represent the organization’s picks for the most compelling visual filmmaking over the past 14 months.
The Society is bestowing the ASC Board of Governors Award to filmmaker Sophia Coppola for her contributions to cinema through her body of work. It is the only ASC Award not given to a cinematographer and is reserved for industry stalwarts who have been champions for directors of photography and the visual art form.
The Michael Chapman & Allen Daviau Student Heritage Award is being awarded to Ai Chung for A Young Tough in the Michael Chapman Graduate Category and Elias Ginsberg for Milk Teeth in the Allen Daviau Undergraduate Category.
The virtual ceremony is being streamed live via American Cinematographer’s Facebook page from the historic ASC Clubhouse in Hollywood.
- 4/18/2021
- by Tom Tapp
- Deadline Film + TV
The Truffle Hunters triumphs in documentary category.
One week before the Oscars, the American Society Of Cinematographers (ASC) gave Netflix’s gave Mank a timely boost by honouring it with the feature award to Erik Messerschmidt.
Last year’s ASC feature film winner was Roger Deakins for 1917 and he went on to win cinematography Oscar.
The 35th ASC Outstanding Achievement Awards on Sunday (April 18) also honoured Aurélien Marra for French romance Two Of Us in the Spotlight Award category, and Michael Dweck and Gregory Kershaw for The Truffle Hunters in the documentary category.
In the TV categories, Steven Meizler won...
One week before the Oscars, the American Society Of Cinematographers (ASC) gave Netflix’s gave Mank a timely boost by honouring it with the feature award to Erik Messerschmidt.
Last year’s ASC feature film winner was Roger Deakins for 1917 and he went on to win cinematography Oscar.
The 35th ASC Outstanding Achievement Awards on Sunday (April 18) also honoured Aurélien Marra for French romance Two Of Us in the Spotlight Award category, and Michael Dweck and Gregory Kershaw for The Truffle Hunters in the documentary category.
In the TV categories, Steven Meizler won...
- 4/18/2021
- by Jeremy Kay
- ScreenDaily
Now that “Zack Snyder’s Justice League” is out in the open, audiences are free to compare it to the theatrical cut and find all the ways Snyder’s vision was changed. It is fair to say that much of what is being discussed paints a negative light on the theatrical cut. After writer Chris Terrio compared the script changes to it being “vandalized,” now it is cinematographer Fabian Wagner who is opening up about the changes made to his work on the film after Joss Whedon took over.
Continue reading ‘Justice League’ Cinematographer Says He Was “Devastated” After Watching Whedon’s Cut at The Playlist.
Continue reading ‘Justice League’ Cinematographer Says He Was “Devastated” After Watching Whedon’s Cut at The Playlist.
- 4/10/2021
- by Rafael Motamayor
- The Playlist
Cinematographer Fabian Wagner was one of the first crew or cast members to publicly speak out against Joss Whedon’s version of “Justice League,” which was theatrically released in 2017. The German Dp lent early credence to the #ReleasetheSnyderCut movement’s fervent belief that they’d been lied to; that the theatrical version was not Warner Bros./DC and Whedon carrying out Zack Snyder’s vision, after the director stepped away following a family tragedy. Wagner was one of the first to clearly and publicly state that Whedon rewrote and reshot most of the movie, throwing out “90 percent” of the original material. (Jean-Philippe Gossart is credited as both the second unit director of photography and additional director of photography on “Justice League.)
“If there is a Snyder cut, I hope it’s better than the one that is out now,” said the cinematographer in the summer of 2019, adding he cried when he saw the theatrical version.
“If there is a Snyder cut, I hope it’s better than the one that is out now,” said the cinematographer in the summer of 2019, adding he cried when he saw the theatrical version.
- 4/9/2021
- by Chris O'Falt
- Indiewire
Earlier today, the American Society of Cinematographers revealed their nominations, hoping to clear up who might be Oscar nominees next week. Well, they definitely confirmed that Erik Messerschmidt, Phedon Papamichael, Joshua James Richards, and Dariusz Wolski are very likely to hear their names called on Monday morning. As for the final slot, they went with Newton Thomas Sigel, but for Cherry, not Da 5 Bloods, as many expected. Messerchmidt (Mank), Papamichael (The Trial of the Chicago 7), Richards (Nomadland), and Wolski (News of the World) feel safe. As for the final spot at the Academy Awards in Best Cinematography, anything is possible, so sit tight… Here are the ASC nominees for this year: Feature Film Erik Messerschmidt, ASC Mank Phedon Papamichael, ASC, Gsc The Trial of the Chicago 7 Joshua James Richards Nomadland Newton Thomas Sigel, ASC Cherry Dariusz Wolski, ASC News of the World Spotlight Katelin Arizmendi Swallow Aurélien Marra Two...
- 3/11/2021
- by Joey Magidson
- Hollywoodnews.com
The American Society of Cinematographers on Wednesday set its nominees for the 35th Asc Outstanding Achievement Awards, recognizing the best in feature film, documentary and television cinematography over the past 14 months. Winners will be revealed April 18 in a virtual ceremony from the Asc Clubhouse in Hollywood.
The marquee Feature Film category this year features awards-season staples including Erik Messerschmidt for Mank and Phedon Papamichael for The Trial of the Chicago 7, both from Netflix, and Chloé Zhao’s go-to Dp Joshua James Richards for Seachlight’s Nomadland. Also in the running is Newton Thomas Sigel for A24’s Russo Brothers-directed Cherry and Dariusz Wolski for Universal’s News of the World.
Papamichael has been nominated for five Asc Awards including last year for Ford v Ferrari. He lost to Roger Deakins for 1917; Deakins went on to win the Oscar, marking the 15th time the Asc winner has gone on to scoop the Academy Award in 34 years.
The marquee Feature Film category this year features awards-season staples including Erik Messerschmidt for Mank and Phedon Papamichael for The Trial of the Chicago 7, both from Netflix, and Chloé Zhao’s go-to Dp Joshua James Richards for Seachlight’s Nomadland. Also in the running is Newton Thomas Sigel for A24’s Russo Brothers-directed Cherry and Dariusz Wolski for Universal’s News of the World.
Papamichael has been nominated for five Asc Awards including last year for Ford v Ferrari. He lost to Roger Deakins for 1917; Deakins went on to win the Oscar, marking the 15th time the Asc winner has gone on to scoop the Academy Award in 34 years.
- 3/10/2021
- by Patrick Hipes
- Deadline Film + TV
“Cherry,” “Mank,” “News of the World,” “Nomadland” and “The Trial of the Chicago 7” are among the films nominated by the American Society of Cinematographers (Asc) in the feature film category.
The Asc nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking over the past 14 months. Last year’s Asc feature film winner was Roger Deakins for “1917,” who went on to win an Oscar for best achievement in cinematography.
Winners will be named during the 35th Asc Outstanding Achievement Awards on April 18.
The virtual ceremony will be live streamed via American Cinematographer’s Facebook page at 12:30 p.m. Pt from the historic Asc Clubhouse in Hollywood.
The complete list of this year’s nominees are:
Feature Film
Erik Messerschmidt, Asc (“Mank”)
Phedon Papamichael, Asc, Gsc (“The Trial of the Chicago 7″)
Joshua James Richards (” Nomadland”)
Newton Thomas Sigel, Asc (“Cherry”)
Dariusz Wolski,...
The Asc nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking over the past 14 months. Last year’s Asc feature film winner was Roger Deakins for “1917,” who went on to win an Oscar for best achievement in cinematography.
Winners will be named during the 35th Asc Outstanding Achievement Awards on April 18.
The virtual ceremony will be live streamed via American Cinematographer’s Facebook page at 12:30 p.m. Pt from the historic Asc Clubhouse in Hollywood.
The complete list of this year’s nominees are:
Feature Film
Erik Messerschmidt, Asc (“Mank”)
Phedon Papamichael, Asc, Gsc (“The Trial of the Chicago 7″)
Joshua James Richards (” Nomadland”)
Newton Thomas Sigel, Asc (“Cherry”)
Dariusz Wolski,...
- 3/10/2021
- by Jazz Tangcay
- Variety Film + TV
The cinematography for “Mank,” “Nomadland,” “The Trial of the Chicago 7,” “News of the World” and “Cherry” has been nominated as the best film work of 2020 by the American Society of Cinematographers, the Asc announced on Wednesday.
The first four of those films were expected to be recognized by the Asc and are thought to be strong contenders for the Oscar for Best Cinematography, but “Cherry” came as a surprise. The Russo brothers film came out in February to withering reviews and had not been considered an awards contender until the Asc included its cinematographer, Newton Thomas Sigel, in its list of nominees.
“Cherry” landed that nomination over a group of films that included “Tenet,” “Minari,” “Ma Rainey’s Black Bottom,” “Judas and the Black Messiah” — and “Da 5 Bloods,” a more high-profile film that was also shot by Sigel.
In the Spotlight category, which singles out cinematographers from films that...
The first four of those films were expected to be recognized by the Asc and are thought to be strong contenders for the Oscar for Best Cinematography, but “Cherry” came as a surprise. The Russo brothers film came out in February to withering reviews and had not been considered an awards contender until the Asc included its cinematographer, Newton Thomas Sigel, in its list of nominees.
“Cherry” landed that nomination over a group of films that included “Tenet,” “Minari,” “Ma Rainey’s Black Bottom,” “Judas and the Black Messiah” — and “Da 5 Bloods,” a more high-profile film that was also shot by Sigel.
In the Spotlight category, which singles out cinematographers from films that...
- 3/10/2021
- by Steve Pond
- The Wrap
Seeing as the original version of the character is widely regarded as one of the worst villains ever featured in a comic book movie, Steppenwolf was far from the biggest threat faced by the Dceu’s Justice League. If anything, the hierarchy at Warner Bros. and Joss Whedon posed more problems for the franchise’s all-star team than the poorly-rendered minion of Darkseid, but Zack Snyder will be looking to erase the theatrical cut from memory entirely when his original vision is finally unveiled on HBO Max in 2021.
The saga of Justice League is almost at an end, four and a half years after Snyder first called action on the superhero blockbuster, and three years after Whedon’s heavily compromised and studio-mandated take on the material landed with a thud in theaters. In the meantime, we’ve seen fan campaigns bombard the studio, Ben Affleck retire and return as Batman,...
The saga of Justice League is almost at an end, four and a half years after Snyder first called action on the superhero blockbuster, and three years after Whedon’s heavily compromised and studio-mandated take on the material landed with a thud in theaters. In the meantime, we’ve seen fan campaigns bombard the studio, Ben Affleck retire and return as Batman,...
- 11/19/2020
- by Scott Campbell
- We Got This Covered
It’s been a year and a half since Game Of Thrones aired its final episode ‘The Iron Throne’ (although it feels a lot longer thanks to 2020 time dilation), and now a ‘Complete Collection’ box-set has arrived.
It’s slightly odd to behold these 33 discs, squeezed into eight Blu-ray cases, snuggled up in a lovely box, with a little booklet nestled in. So much time has passed since the world watched that finale and the online discourse erupted with the fiery ferocity of Cersei’s attack on the Sept Of Baelor.
With so much vocal negativity surrounding season eight, it feels as if Game Of Thrones has ended up in the big pop-culture bin of shows that nobody talks about anymore (unless they’re taking the mick). But this box-set is a chance to revisit and reappraise, and see if that sentence is really fair…
“You were the best of...
It’s slightly odd to behold these 33 discs, squeezed into eight Blu-ray cases, snuggled up in a lovely box, with a little booklet nestled in. So much time has passed since the world watched that finale and the online discourse erupted with the fiery ferocity of Cersei’s attack on the Sept Of Baelor.
With so much vocal negativity surrounding season eight, it feels as if Game Of Thrones has ended up in the big pop-culture bin of shows that nobody talks about anymore (unless they’re taking the mick). But this box-set is a chance to revisit and reappraise, and see if that sentence is really fair…
“You were the best of...
- 11/19/2020
- by Louisa Mellor
- Den of Geek
Given that Joss Whedon essentially reworked the entire movie from the ground up and Zack Snyder is putting together a miniseries that’ll run for at least four hours despite only filming a handful of new scenes, there must be absolute mountains of unused footage left over from the initial Justice League shoot, especially when the theatrical edition was mandated by the studio to run for no longer than two hours.
As a result, the narrative was unsurprisingly stuffed with under-cooked, abandoned and half-baked plot threads, as Whedon raced through the big story beats as fast as possible in order to keep things less than 120 minutes. And so, the first attempt at Justice League ended up disappointing fans and critics alike, but has now thankfully been rendered obsolete by the impending Snyder Cut.
With double the running time, you’d imagine that the director is going to lean much harder...
As a result, the narrative was unsurprisingly stuffed with under-cooked, abandoned and half-baked plot threads, as Whedon raced through the big story beats as fast as possible in order to keep things less than 120 minutes. And so, the first attempt at Justice League ended up disappointing fans and critics alike, but has now thankfully been rendered obsolete by the impending Snyder Cut.
With double the running time, you’d imagine that the director is going to lean much harder...
- 11/16/2020
- by Scott Campbell
- We Got This Covered
Visual effects technology has advanced so rapidly over the last two decades that virtually anything can be realized on the big screen and rendered completely convincingly, from entire planets located in the deepest reaches of the galaxy to whole cities being levelled in an orgy of massive scale destruction. However, as we discovered in the very first scene of Joss Whedon’s Justice League, one thing that CGI has so far failed to accomplish is the ability to convincingly remove a man’s mustache.
There was a mixture of laughter and confusion in theaters around the world during the movie’s prologue as the lower half of Henry Cavill’s face seemed to take on a mind of its own and operate independently from what his eyes were doing. It was jarring to say the least, and even with a budget of $300 million, the effects team still failed miserably in...
There was a mixture of laughter and confusion in theaters around the world during the movie’s prologue as the lower half of Henry Cavill’s face seemed to take on a mind of its own and operate independently from what his eyes were doing. It was jarring to say the least, and even with a budget of $300 million, the effects team still failed miserably in...
- 11/16/2020
- by Scott Campbell
- We Got This Covered
Tuesday marks the third anniversary of Justice League arriving in theaters, but it would be safe to assume that not a huge number of fans will be revisiting the movie, especially when a lot of them destroyed their copies of the Blu-ray once the Snyder Cut was finally made a reality after a relentless two and a half year campaign eventually yielded exactly the result it was after.
The fanbase will have to bide their time, though, until the new version of the Dceu’s all-star epic arrives exclusively on HBO Max in 2021 to get their next fix of Justice League, with Joss Whedon’s work on the film now consigned to the history books. Snyder has been busy putting the project together for months, of course, but despite gathering several key returning cast members and a couple of new ones for additional filming, the director’s admitted that he...
The fanbase will have to bide their time, though, until the new version of the Dceu’s all-star epic arrives exclusively on HBO Max in 2021 to get their next fix of Justice League, with Joss Whedon’s work on the film now consigned to the history books. Snyder has been busy putting the project together for months, of course, but despite gathering several key returning cast members and a couple of new ones for additional filming, the director’s admitted that he...
- 11/15/2020
- by Scott Campbell
- We Got This Covered
We haven’t heard any updates about the Snyder Cut of Justice League for a while, presumably because the director is gearing himself and his crew up for the impending reshoots that were officially confirmed last month. Henry Cavill has denied that he’s involved, which makes sense given that he’s busy on the other side of the world shooting season 2 of The Witcher, but it’ll be interesting to see just who shows up.
Ben Affleck has already agreed to return to the Dceu as Batman, while Gal Gadot is still waiting for Wonder Woman 1984 to be released after seeing the sequel delayed several times and Jason Momoa will no doubt be deep into training for Aquaman 2, which is rumored to start shooting early next year. Ray Fisher, meanwhile, has found himself in a very public war of words with Warner Bros. recently, but Snyder is clearly...
Ben Affleck has already agreed to return to the Dceu as Batman, while Gal Gadot is still waiting for Wonder Woman 1984 to be released after seeing the sequel delayed several times and Jason Momoa will no doubt be deep into training for Aquaman 2, which is rumored to start shooting early next year. Ray Fisher, meanwhile, has found himself in a very public war of words with Warner Bros. recently, but Snyder is clearly...
- 10/18/2020
- by Scott Campbell
- We Got This Covered
The rise in anticipation for Zack Snyder’s Justice League, generally known as “The Snyder Cut” continues. One of the many questions surrounding the theatrically released version of film in the was why Superman’s journey from “rose from the dead on the wrong side of the crypt” to “actually this is pretty much the Superman we’ve wanted on screen for the last 30 years” seemed a little abbreviated.
After all, in the comics, when Superman died at the spikey hands of Doomsday, he didn’t return to primary colored and caped glory right away. Instead, he spent a little time in a black and silver Kryptonian regeneration suit before getting back into his beloved red and blue costume.
Henry Cavill even stirred up fans early in the filming of Justice League with an Instagram post that may or may not have been teasing the black and silver Superman resurrection costume from the comics.
After all, in the comics, when Superman died at the spikey hands of Doomsday, he didn’t return to primary colored and caped glory right away. Instead, he spent a little time in a black and silver Kryptonian regeneration suit before getting back into his beloved red and blue costume.
Henry Cavill even stirred up fans early in the filming of Justice League with an Instagram post that may or may not have been teasing the black and silver Superman resurrection costume from the comics.
- 7/25/2020
- by Mike Cecchini
- Den of Geek
For some, a dream has come true. For others, toxic fandom has run wild. Then, for many, there’s just puzzlement over just what the hell the fuss is over a so called “Snyder Cut” of Justice League? After the recent news that DC fans were going to be getting this version of the film next year on HBO Max, it seems like a good time to discuss whether that’s a good or a bad thing, independent of the movie, itself. First, though, a refresher. Zack Snyder had begun directing Justice League, but at some point, late in production, had to step away after a tragedy in his family. Joss Whedon stepped in to finish, reshooting quite a bit and changing the tone considerably. Ever since its release in 2017, Snyder fans have clamored to see his vision. Now, they’re going to get it. In case you forgot, the...
- 5/26/2020
- by Joey Magidson
- Hollywoodnews.com
Good news for all those fans who never bothered to see director Joss Whedon's "Justice League" (2017): Warner executives have reportedly screened "Zack Snyder's Justice League", an alternate take, extensive edit of the "Justice League" film, previously known as "The Snyder Cut" and will make arrangements to stream Snyder's finished film, with fresh VFX on HBO Max in 2021:
Snyder ("Watchmen") left "Justice League" during principal photography following a personal family matter.
Whedon of "Avengers" fame, unfortunately distancing himself from fans with his 'Trump Derangement Syndrome' was parachuted in to write/direct 'reshoots' of the film...
...reportedly only using 10 per cent of Snyder's work.
The film underperformed at the box office, earning $229,024,295 in North America and $428,900,000 International, for a worldwide total of $657,924,295.
Fans of Snyder petitioned for the release of 'The Snyder Cut', gaining hundreds of thousands of signatures, using the hashtag #ReleaseTheSnyderCut.
"Justice League" cast and crew...
Snyder ("Watchmen") left "Justice League" during principal photography following a personal family matter.
Whedon of "Avengers" fame, unfortunately distancing himself from fans with his 'Trump Derangement Syndrome' was parachuted in to write/direct 'reshoots' of the film...
...reportedly only using 10 per cent of Snyder's work.
The film underperformed at the box office, earning $229,024,295 in North America and $428,900,000 International, for a worldwide total of $657,924,295.
Fans of Snyder petitioned for the release of 'The Snyder Cut', gaining hundreds of thousands of signatures, using the hashtag #ReleaseTheSnyderCut.
"Justice League" cast and crew...
- 5/20/2020
- by Unknown
- SneakPeek
Director "Zack Snyder's Justice League", aka "The Snyder Cut" is an alternate take, extensive edit of the 2017 release "Justice League" (2017), including DC Comics characters 'Superman', 'Batman' and 'Wonder Woman':
Snyder left "Justice League" during principal photography following a personal tragedy.
Despite Joss Whedon of "Avengers" fame, distancing himself from fans with his 'Trump Derangement Syndrome', he was still brought in by the studio to write/direct 'reshoots' of Snyder's work...
...reportedly only using 10 per cent of Snyder's work.
The film underperformed at the box office, earning $229,024,295 in North America and $428,900,000 International, for a worldwide total of $657,924,295.
Fans of Snyder petitioned for the release of 'The Snyder Cut', gaining hundreds of thousands of signatures, using the hashtag #ReleaseTheSnyderCut.
"Justice League" cast and crew have shown support for the film's release including Ben Affleck, Ray Fisher, Gal Gadot, Ciarán Hinds, Joe Manganiello...
...Willem Dafoe, Jason Momoa, photographer Clay Enos, storyboard artist Jay Oliva,...
Snyder left "Justice League" during principal photography following a personal tragedy.
Despite Joss Whedon of "Avengers" fame, distancing himself from fans with his 'Trump Derangement Syndrome', he was still brought in by the studio to write/direct 'reshoots' of Snyder's work...
...reportedly only using 10 per cent of Snyder's work.
The film underperformed at the box office, earning $229,024,295 in North America and $428,900,000 International, for a worldwide total of $657,924,295.
Fans of Snyder petitioned for the release of 'The Snyder Cut', gaining hundreds of thousands of signatures, using the hashtag #ReleaseTheSnyderCut.
"Justice League" cast and crew have shown support for the film's release including Ben Affleck, Ray Fisher, Gal Gadot, Ciarán Hinds, Joe Manganiello...
...Willem Dafoe, Jason Momoa, photographer Clay Enos, storyboard artist Jay Oliva,...
- 2/14/2020
- by Unknown
- SneakPeek
Shortly after HBO released Game of Thrones: The Complete Eighth Season, the Golden Globe nominations were unveiled and its considered a surprise that the series was virtually shut out. After the long wait, the truncated final season arrived this year and rather than take a victory lap, it was showered with complaints.
When the series, adapting George R.R. Martin’s Song of Ice and Fire novels, arrived, people were stunned at its scope, sweep, violence, sensuality, and strong performances. You weren’t sure who to root for as the status quo kept shifting and beloved characters kept dying in unexpected, messy ways.
Phrases and names seeped into public consciousness just as the series began exhausting the extant prose and then charged ahead while Martin struggled to finish the current novel, in the cycle. Series Executive Producers/Writers/Directors David Benioff & D.B. Weiss got direction from Martin and then increasingly veered off in their own direction.
When the series, adapting George R.R. Martin’s Song of Ice and Fire novels, arrived, people were stunned at its scope, sweep, violence, sensuality, and strong performances. You weren’t sure who to root for as the status quo kept shifting and beloved characters kept dying in unexpected, messy ways.
Phrases and names seeped into public consciousness just as the series began exhausting the extant prose and then charged ahead while Martin struggled to finish the current novel, in the cycle. Series Executive Producers/Writers/Directors David Benioff & D.B. Weiss got direction from Martin and then increasingly veered off in their own direction.
- 12/16/2019
- by Robert Greenberger
- Comicmix.com
"The Snyder Cut" is an alternate edit of the feature film "Justice League" (2017) directed by Zack Snyder from a screenplay by Chris Terrio:
Director Snyder ("Watchmen") left "Justice League" during principal photography, to spend time with his family after a personal tragedy. Joss Whedon of "Avengers" fame, distancing himself from fans with his online 'Trump Derangement Syndrome' was nevertheless brought in at the last minute to both write and direct 'reshoots' of the film, reportedly only using 10 per cent of Snyder's work...
...causing the the film to under-perform at the box office, earning $229,024,295 in North America and $428,900,000 International, for a worldwide total of $657,924,295. Snyder has since confirmed he filmed enough scenes to assemble into a 3-hour film, dubbed the 'Snyder Cut', supporting an online campaign for Warner Bros. to release this 'alternate' version of the film on DVD.
Fans of Snyder's works, members of the cast and crew, and...
Director Snyder ("Watchmen") left "Justice League" during principal photography, to spend time with his family after a personal tragedy. Joss Whedon of "Avengers" fame, distancing himself from fans with his online 'Trump Derangement Syndrome' was nevertheless brought in at the last minute to both write and direct 'reshoots' of the film, reportedly only using 10 per cent of Snyder's work...
...causing the the film to under-perform at the box office, earning $229,024,295 in North America and $428,900,000 International, for a worldwide total of $657,924,295. Snyder has since confirmed he filmed enough scenes to assemble into a 3-hour film, dubbed the 'Snyder Cut', supporting an online campaign for Warner Bros. to release this 'alternate' version of the film on DVD.
Fans of Snyder's works, members of the cast and crew, and...
- 12/13/2019
- by Unknown
- SneakPeek
The public has been begging to see the Snyder Cut of Justice League for years now. Especially since everyone who’s seen it claims that the original version of the movie is much better than what fans sat through in cinemas back in 2017. One of the questions surrounding Zack Snyder’s edition though has always been how much of his vision actually made it into the theatrical release. After all, considering that the Snyder Cut is 3.5 hours long, it stands to reason that a good portion of what he put together ended up in the final product. But maybe not.
We knew Joss Whedon performed extensive reshoots after he took over for the director, but it seems we had no idea how much he really changed. In fact, according to Snyder’s Director of Photography, Fabian Wagner, only about 10% of what he shot for Zack is in the movie that was shown to the public.
We knew Joss Whedon performed extensive reshoots after he took over for the director, but it seems we had no idea how much he really changed. In fact, according to Snyder’s Director of Photography, Fabian Wagner, only about 10% of what he shot for Zack is in the movie that was shown to the public.
- 12/6/2019
- by Evan Lewis
- We Got This Covered
Zack Snyder went viral this week after posting a photo of film containers that seemingly contain the much-discussed “Justice League” Snyder cut. Snyder’s post was an attempt to end the debate over whether or not the Snyder cut exists. The director exited “Justice League” after a family tragedy and Joss Whedon was hired by Warner Bros. to oversee reshoots and postproduction. Whedon was also tasked with lightening up the film’s tone. During a recent Q&a (via ScreenRant), the original “Justice League” cinematographer Fabian Wagner weighed in on the recent Snyder cut buzz by saying, “If there is a Snyder cut, I hope it’s better than the one that is out now.”
Wagner has long been critical of Whedon’s “Justice League.” In an interview over the summer, Wagner said he cried all the way through watching Whedon’s drastically different version of the film than Snyder’s.
Wagner has long been critical of Whedon’s “Justice League.” In an interview over the summer, Wagner said he cried all the way through watching Whedon’s drastically different version of the film than Snyder’s.
- 12/5/2019
- by Zack Sharf
- Indiewire
HBO’s “Game of Thrones” made a major splash with a record 32 Emmy nominations in July for its eighth and final season, bringing the show’s ultimate total to 161. One of those 32 bids is for Best One-Hour Single-Camera Cinematography, a category the show has never won. Can it finally do it this year with director of photography Jonathan Freeman, who is nominated for shooting the series finale “The Iron Throne”?
“Thrones” wasn’t able to break into this race until 2013 for its third season, but has since nabbed eight additional noms to become the most nominated show in this category. If anyone can now finally get it across the finish line, it’s Freeman, a three-time Emmy winner for another HBO show, “Boardwalk Empire”, and previous nominee for “Thrones” (in 2014 for the episode “Two Swords”). He’s also won five out of eight times at the American Society of Cinematographer Awards,...
“Thrones” wasn’t able to break into this race until 2013 for its third season, but has since nabbed eight additional noms to become the most nominated show in this category. If anyone can now finally get it across the finish line, it’s Freeman, a three-time Emmy winner for another HBO show, “Boardwalk Empire”, and previous nominee for “Thrones” (in 2014 for the episode “Two Swords”). He’s also won five out of eight times at the American Society of Cinematographer Awards,...
- 9/13/2019
- by Luca Giliberti
- Gold Derby
As one of the most instantly-recognizable characters in popular culture, the Dark Knight is never too far from the headlines. Fresh from Robert Pattinson revealing that he’s tried on the Batsuit for his upcoming starring role in Matt Reeves’ The Batman, Justice League cinematographer Fabian Wagner has taken to social media to share a previously-unseen behind-the-scenes image of the last actor to wear the cape and cowl.
Zack Snyder’s involvement in the DC Extended Universe didn’t exactly yield the best results in terms of quality, with the director’s trio of Man of Steel, Batman V Superman: Dawn of Justice and Justice League proving to be fairly divisive among fans. Although, the latter was heavily compromised by extensive reshoots following the filmmaker’s departure.
And as for Ben Affleck, despite the backlash that surrounded his initial casting (something replacement Pattinson also suffered), he made for a solid Batman.
Zack Snyder’s involvement in the DC Extended Universe didn’t exactly yield the best results in terms of quality, with the director’s trio of Man of Steel, Batman V Superman: Dawn of Justice and Justice League proving to be fairly divisive among fans. Although, the latter was heavily compromised by extensive reshoots following the filmmaker’s departure.
And as for Ben Affleck, despite the backlash that surrounded his initial casting (something replacement Pattinson also suffered), he made for a solid Batman.
- 9/3/2019
- by Scott Campbell
- We Got This Covered
“Justice League” cinematographer Fabian Wagner did not hold back when asked by Comic Book Debate about his thoughts on Joss Whedon’s cut of the Warner Bros. superhero tentpole. Wagner was hired by Zack Snyder, who left the project in post-production to spend time with his family after a personal tragedy. Joss Whedon boarded the project and oversaw reshoots, reshaping Snyder’s original cut and adding more humor into the script. Wagner did not work on the additional photography, and it appears he did not like what he saw in the theatrical cut.
When asked if he saw Whedon’s “Justice League” cut, Wagner replied, “I have, unfortunately.” The cinematographer was then asked to explain how much the movie changed when Whedon took over for Snyder.
“It’s really hard to say because I was watching it and I think I was crying all the way through,” Wagner said. “So...
When asked if he saw Whedon’s “Justice League” cut, Wagner replied, “I have, unfortunately.” The cinematographer was then asked to explain how much the movie changed when Whedon took over for Snyder.
“It’s really hard to say because I was watching it and I think I was crying all the way through,” Wagner said. “So...
- 8/30/2019
- by Zack Sharf
- Indiewire
The conversation surrounding Zack Snyder’s original vision for Justice League has returned in a big way, with the #ReleaseTheSnyderCut movement gaining real traction over the last several months as both fans and filmmakers have voiced their opinions on what Warner Bros. should do with the unreleased footage from before Joss Whedon was brought on to finish the movie.
Despite Snyder moving onto other things, Whedon returning to TV with upcoming HBO fantasy series The Nevers and the entire DC Extended Universe putting Justice League in the rearview mirror thanks to a couple of critically acclaimed hits and some exciting-sounding new projects, the fascination surrounding the troubled production of the divisive superhero epic has never really went away.
Some people have claimed that the Snyder Cut definitely exists, others have said it would be too expensive to finish to any kind of standard suitable for release, and Jason Momoa says...
Despite Snyder moving onto other things, Whedon returning to TV with upcoming HBO fantasy series The Nevers and the entire DC Extended Universe putting Justice League in the rearview mirror thanks to a couple of critically acclaimed hits and some exciting-sounding new projects, the fascination surrounding the troubled production of the divisive superhero epic has never really went away.
Some people have claimed that the Snyder Cut definitely exists, others have said it would be too expensive to finish to any kind of standard suitable for release, and Jason Momoa says...
- 8/28/2019
- by Scott Campbell
- We Got This Covered
Before we go any further, let’s get one thing perfectly clear: I’m in no way championing the “Release the Snyder Cut” movement. Though I would watch an alternate version of Justice League if it one day found its way to home video, I know better than to hold my breath waiting for it. Warner Bros. have more important matters to attend to – like The Batman, Joker, Wonder Woman 1984 and The Suicide Squad, for instance – and need not look backward.
That said, I’ll forever remain a trivia junkie, so my ears are bound to perk whenever something such as today’s bit of news arises – especially when it pertains to Darkseid. As you may know, the ruler of Apokolips would’ve had a cameo role in Zack Snyder’s picture, thereby setting up his greater involvement in the ill-fated Justice League, Part Two.
If you’re someone...
That said, I’ll forever remain a trivia junkie, so my ears are bound to perk whenever something such as today’s bit of news arises – especially when it pertains to Darkseid. As you may know, the ruler of Apokolips would’ve had a cameo role in Zack Snyder’s picture, thereby setting up his greater involvement in the ill-fated Justice League, Part Two.
If you’re someone...
- 8/23/2019
- by Eric Joseph
- We Got This Covered
After skipping the seventh season, director Miguel Sapochnik returned to “Game of Thrones” for the eighth and final season to direct the third and fifth episodes, “The Long Night” and “The Bells,” respectively. With the former serving as his submission, he received a second Best Drama Directing Emmy nomination and could now win his second statuette for bringing yet another battle-heavy “Thrones” episode to life.
He won his first Emmy in 2016 for his monumental directorial achievement in the Season 6 outing “Battle of the Bastards.” Considering that the one-hour episode brought about not one but two long-awaited battles, and took an estimated 25 days to film, it’s not surprising that Sapochnik ended up snagging the gold. The directors’ branch often gravitates towards the biggest, splashiest achievement. And if that’s anything to go by, Sapochnik may need to get his Emmy speech ready once again.
“The Long Night” saw the hotly...
He won his first Emmy in 2016 for his monumental directorial achievement in the Season 6 outing “Battle of the Bastards.” Considering that the one-hour episode brought about not one but two long-awaited battles, and took an estimated 25 days to film, it’s not surprising that Sapochnik ended up snagging the gold. The directors’ branch often gravitates towards the biggest, splashiest achievement. And if that’s anything to go by, Sapochnik may need to get his Emmy speech ready once again.
“The Long Night” saw the hotly...
- 8/17/2019
- by Luca Giliberti
- Gold Derby
There’s a rabid fanbase surrounding the fabled Zack Snyder cut of Justice League, with the director’s faithful followers demanding that Warner Bros. release his original version of his DC team-up movie. It’s looking increasingly unlikely that this will ever happen, though, so any snaps of snippets shared by Snyder or his team online are always analyzed by fans as they try to put all of the pieces of the puzzle together. And here’s some new evidence to add to the pile.
Cinematographer Fabian Wagner has shared some stills from Snyder’s Justice League that reveal the original version of the film’s Arkham Asylum scene. The three photos show guards approaching Lex Luthor’s cell, as the camera pans towards the bald straight-jacketed figure standing in the dark.
New Stills Reveal Justice League's Original Arkham Scene 1 of 4
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Cinematographer Fabian Wagner has shared some stills from Snyder’s Justice League that reveal the original version of the film’s Arkham Asylum scene. The three photos show guards approaching Lex Luthor’s cell, as the camera pans towards the bald straight-jacketed figure standing in the dark.
New Stills Reveal Justice League's Original Arkham Scene 1 of 4
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- 7/12/2019
- by Christian Bone
- We Got This Covered
Three members of the Night’s Watch wandering through the snowy, harrowing forests beyond the wall, then, suddenly, two of them get ambushed and slaughtered by White Walkers — all backed by an ominous, dark background score. Yes, even before composer Ramin Djawadi presented what became one of the most popular opening themes to a TV show in our era, he set the tone for “Game of Thrones” with his gripping opening track “North of the Wall,” one that warned us: No one and nothing is safe.
Now, eight seasons later, the HBO phenomenon has come to an end, and one thing is certain: Djawadi’s multifaceted, distinctive score quickly became an inseparable part of the show’s DNA. So what do we say to him not getting a farewell hug for the final season? Not today!
For consideration in Best Music Composition for a Series, Djawadi has submitted the third episode of the season,...
Now, eight seasons later, the HBO phenomenon has come to an end, and one thing is certain: Djawadi’s multifaceted, distinctive score quickly became an inseparable part of the show’s DNA. So what do we say to him not getting a farewell hug for the final season? Not today!
For consideration in Best Music Composition for a Series, Djawadi has submitted the third episode of the season,...
- 6/23/2019
- by Luca Giliberti
- Gold Derby
For many years, true cinematic darkness — the indispensable bass note of any cinematographer’s melody — was a struggle to achieve on television screens. Limitations in capture, transmission and display have been overcome in no small part due to the stubborn vision of directors of photography including Roy Wagner, John Bartley and Bill Roe (“The X-Files”) and Jonathan Freeman (“Boardwalk Empire”).
The latest controversy involving a darkly lit “Game of Thrones” episode marks another stage in this evolution, but the main takeaway may be the astonishing extent to which the show’s fans are engaged — less-than-ideal home viewing conditions notwithstanding.
Fabian Wagner, the director of photography behind the episode that has millions discussing contrast ratios, says for every complaint he has heard, a dozen or more have communicated their compliments.
“The whole thing was driven by a creative decision to depict the subjective experience of being in a battle,” says Wagner.
The latest controversy involving a darkly lit “Game of Thrones” episode marks another stage in this evolution, but the main takeaway may be the astonishing extent to which the show’s fans are engaged — less-than-ideal home viewing conditions notwithstanding.
Fabian Wagner, the director of photography behind the episode that has millions discussing contrast ratios, says for every complaint he has heard, a dozen or more have communicated their compliments.
“The whole thing was driven by a creative decision to depict the subjective experience of being in a battle,” says Wagner.
- 5/30/2019
- by David Heuring
- Variety Film + TV
“Game of Thrones” backlash hit a new level of outrage following the series’ penultimate episode, “The Bells.” Daenerys’ transformation into the Mad Queen has divided fans like no other twist in the show’s eight-season history. Other final season decisions, from Cersei’s uneventful death to Brienne losing her virginity to Jaime, also have been met with similar rage. While backlash can yield important critical perspectives (read IndieWire’s essay on “Thrones'” disrespectful treatment of women), the conversation around “Thrones” has gotten so drowned out by fans upset with the storytelling that barley anyone is giving attention to the one person who deserves overwhelming praise for “The Bells”: Director Miguel Sapochnik.
“The Bells” marked Sapochnik’s final episode of “Thrones” and capped off a six-episode directorial run that stands as some of the best filmmaking television or movies has seen this decade. Sapochnik got his start in film with his 2010 debut “Repo Men,...
“The Bells” marked Sapochnik’s final episode of “Thrones” and capped off a six-episode directorial run that stands as some of the best filmmaking television or movies has seen this decade. Sapochnik got his start in film with his 2010 debut “Repo Men,...
- 5/17/2019
- by Zack Sharf
- Indiewire
Wasn’t that a great Steadicam shot in last Sunday’s “Game of Thrones” when Jon Snow was hurtling down the corridor in Winterfell with wights — we think — dropping through the ceiling — I mean, right? It was the ceiling? — as he brandished his sword — Definitely a sword, and probably his sword, right? — en route to the weirwood to try to save Bran? Forgive our hesitancy amid our enthusiasm, but as it has well been documented — “Game of Thrones” is just too damn dark to see what’s going on.
With dp Fabian Wagner doubling down this week that it is viewers’ TVs that are the problem, not his camerawork, IndieWire decided to answer the question. What Are the optimum settings to watch the show? How can you make the fog of war less, well, foggy?
Resolution and Compression
We all need to accept that the shows and movies we stream...
With dp Fabian Wagner doubling down this week that it is viewers’ TVs that are the problem, not his camerawork, IndieWire decided to answer the question. What Are the optimum settings to watch the show? How can you make the fog of war less, well, foggy?
Resolution and Compression
We all need to accept that the shows and movies we stream...
- 5/2/2019
- by Chris O'Falt
- Indiewire
Sunday night’s episode of Game of Thrones was one fans around the world were rushing to see. In the final season of HBO’s hit series, Sunday’s episode ran a whopping 96 minutes and portrayed the epic Battle of Winterfell fans have been waiting for. But apparently, some fans couldn’t even see it. On Sunday, a number of […]
The post ‘Game of Thrones’ Cinematographer Fabian Wagner Defends Dimly Lit Battle Of Winterfell appeared first on uInterview.
The post ‘Game of Thrones’ Cinematographer Fabian Wagner Defends Dimly Lit Battle Of Winterfell appeared first on uInterview.
- 5/1/2019
- by Yael Turitz
- Uinterview
Game of Thrones cinematographer Fabian Wagner says there’s a reason some fans found Sunday night’s episode of the HBO drama too tinted for easy viewing — your TV.
“A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” Wagner told Wired U.K. “A lot of people also unfortunately watch it on small iPads, which in no way can do justice to a show like that anyway.”
Wagner added that showrunners David Benioff and D.B. Weiss wanted Season 8’s third episode titled “The Long Night” to be darkly hued, for a certain effect.
“The showrunners decided that this had to be a dark episode,” he said. “We’d seen so many battle scenes over the years – to make it truly impactful and to care for the characters, you have to find a unique way of portraying the story.”
In another interview,...
“A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” Wagner told Wired U.K. “A lot of people also unfortunately watch it on small iPads, which in no way can do justice to a show like that anyway.”
Wagner added that showrunners David Benioff and D.B. Weiss wanted Season 8’s third episode titled “The Long Night” to be darkly hued, for a certain effect.
“The showrunners decided that this had to be a dark episode,” he said. “We’d seen so many battle scenes over the years – to make it truly impactful and to care for the characters, you have to find a unique way of portraying the story.”
In another interview,...
- 5/1/2019
- by Anita Bennett
- Deadline Film + TV
“Game of Thrones” cinematographer Fabian Wagner isn’t apologizing any time soon for Sunday night’s poorly-lit episode.
Fans were particularly excited for the show’s tentpole episode over the weekend, but many were left disappointed when multiple scenes were too dark for home-viewers to make out the much anticipated Battle of Winterfell. After receiving significant criticism for its poor lighting, Wagner defended the artistic choices he made for the gruesome battle scenes.
In an interview with Wired alongside episode director Miguel Sapochnik, Wagner placed the blame away from the production team onto viewers’ home devices, which he says aren’t fit for the show’s cinematic filming.
“A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” he said. “A lot of people also unfortunately watch it on small iPads, which in no way can do justice to a show like that anyway.
Fans were particularly excited for the show’s tentpole episode over the weekend, but many were left disappointed when multiple scenes were too dark for home-viewers to make out the much anticipated Battle of Winterfell. After receiving significant criticism for its poor lighting, Wagner defended the artistic choices he made for the gruesome battle scenes.
In an interview with Wired alongside episode director Miguel Sapochnik, Wagner placed the blame away from the production team onto viewers’ home devices, which he says aren’t fit for the show’s cinematic filming.
“A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” he said. “A lot of people also unfortunately watch it on small iPads, which in no way can do justice to a show like that anyway.
- 5/1/2019
- by Anna Tingley
- Variety Film + TV
Were you squinting to see what was happening during Game of Thrones‘ Battle of Winterfell? The episode’s cinematographer says you might just need to adjust your TV set.
Many fans complained that certain scenes in Sunday’s climactic episode of Thrones were too dark to make out, but director of photography Fabian Wagner, who shot “The Long Night,” lays the blame instead on fans’ TV settings. “A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” Wagner told Wired UK. “A lot of people also unfortunately watch it on small iPads,...
Many fans complained that certain scenes in Sunday’s climactic episode of Thrones were too dark to make out, but director of photography Fabian Wagner, who shot “The Long Night,” lays the blame instead on fans’ TV settings. “A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” Wagner told Wired UK. “A lot of people also unfortunately watch it on small iPads,...
- 4/30/2019
- TVLine.com
Is the lighting on “Game of Thrones” too dark and making it hard for viewers to watch what’s happening onscreen? It was a question asked by IndieWire after the final season’s premiere episode and it’s one that has only gotten more attention following “The Long Night,” the 80-minute episode that depicted the Battle of Winterfell. Many “Thrones” fans took to social media during the battle episode to complain about the darkly lit cinematography making it impossible to see. However, “Thrones” cinematographer Fabian Wagner is defending his work in various new interviews.
In one conversation with Wired, Wagner suggests the problem might be with viewers’ television settings and not with the actual cinematography of the show. “A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” he said. “A lot of people also, unfortunately, watch it on small iPads,...
In one conversation with Wired, Wagner suggests the problem might be with viewers’ television settings and not with the actual cinematography of the show. “A lot of the problem is that a lot of people don’t know how to tune their TVs properly,” he said. “A lot of people also, unfortunately, watch it on small iPads,...
- 4/30/2019
- by Zack Sharf
- Indiewire
The Battle of Winterfell arrived on Sunday and a victor was crowned in Game of Thrones. The fight scenes between both humans and monsters were epic, and a ton of fun to watch, but there was one issue that many people took with the episode, and that’s that it was too dark. Literally.
Viewers had trouble making out what was going on for a good portion of the battle and are a bit angry that the lighting did its job a little too well. We get it; it takes place at night, there’s snow everywhere and flashlights haven’t been invented yet. But when staging such an epic fight and one that’s arguably going to be one of the biggest set pieces of the season, it would’ve been nice to have been able to see it a bit more clearly.
That being said, there’s a...
Viewers had trouble making out what was going on for a good portion of the battle and are a bit angry that the lighting did its job a little too well. We get it; it takes place at night, there’s snow everywhere and flashlights haven’t been invented yet. But when staging such an epic fight and one that’s arguably going to be one of the biggest set pieces of the season, it would’ve been nice to have been able to see it a bit more clearly.
That being said, there’s a...
- 4/30/2019
- by Matt Joseph
- We Got This Covered
"Game of Thrones" Battle of Winterfell left fans cheering and complaining -- the latter due to it being too damn dark -- but the cinematographer wants to make it clear ... the gripes aren't his fault. Fabian Wagner -- who was also the cinematographer on lauded 'Thrones' episodes like "Hardhome" and "Battle of the Bastards" -- tells TMZ, he's aware folks are upset that "The Long Night" looked Too nightly, and he has an explanation. First,...
- 4/30/2019
- by TMZ Staff
- TMZ
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