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- Lighting for Animation. Of course, we are starting strong with Academy of Animated Art’s very own book, Lighting for Animation. The book, which was written by our co-founders Jasmine Katatikarn and Michael Tanzillo, features the main philosophies and core concepts utilized by industry professionals to achieve the perfect lighting in visual effects and computer animation.
- Industrial Light & Magic: The Art of Innovation. Industrial Light & Magic: The Art of Innovation is written by multi-awarded visual effects artist Pamela Glintenkamp.
- Acting for Animators: 4th Edition. This is a terrific book to add to your collection if you are. a budding animator and could be used as a reference if you are a seasoned VFX.
- Illuminated Pixels: The Why, What, and How of Digital Lighting. What is the secret to great lighting? We all know that lighting is one of the most important elements of film production.
Dec 9, 2021 · The 2021 big-screen adaption of Dune, based on the Frank Herbert book, was written and directed by Denis Villeneuve (Arrival, Blade Runner 2049). postPerspective recently caught up with key members of the visual effects team to get a glimpse behind the scenes of the battle for Spice. We spoke to the film’s overall VFX supervisor, Paul Lambert ...
Apr 14, 2022 · Instead, the pair assembled a small team — only seven people are credited for the film’s visual effects — led by visual effects supervisor Zak Stoltz (Breakarate).
- Rick Marshall
Sep 15, 2016 · That’s something author and visual effects practitioner Pierre Grage writes early in his self-published book, Inside VFX: An Insider’s View Into The Visual Effects And Film Business. It’s a ...
- Ian Failes
- The most Stephen King movie ever.
- Stephen King's It: Film Stills and Posters
- Verdict
- Stephen King's IT Review
- More Reviews by William Bibbiani
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By William Bibbiani
Updated: Sep 6, 2017 3:15 pm
Posted: Sep 6, 2017 6:00 am
There have been so many Stephen King adaptations over the last four decades - many of them bad - that it’s easy to take them for granted. But there is something undeniably appealing about the sensibilities of this prolific author, a visual quality that translates effectively to the screen, and it’s something that director Andy Muschietti captures disturbingly well in his adaptation of IT… or at least, in this first half of the two-part film.
Stephen King’s seminal work about a group of put-upon children who overcome their fears - personified as a demonic clown - and later revisit their childhood traumas as adults has been adapted once before, in a 1990 TV mini-series. And although that version features a haunting performance by Tim Curry as the titular monster, its workmanlike presentation doesn’t come close to this new adaptation, which understands that King’s small-town nostalgia is purposefully grandiose. Memories of childhood have a tendency to take on a larger-than-life quality, a perspective which Muschietti interprets on film with romantic sentimentality half the time and grotesquely distorted funhouse-mirror theatricality the rest.
IT tells the story of “The Losers’ Club,” seven children whose seemingly idyllic summer vacation in 1989 is marred by the inexplicable disappearance of young people throughout the small town of Derry, Maine. They’d rather not have to deal with the horror closing in around them - who would? - but they cannot escape the increasingly vivid visions of their greatest fears. Those fears are brought to life by the gleeful nightmare clown Pennywise, played with gruesome, wall-eyed anti-charm by Bill Skarsgård, who is at times seductive, and at times the appalling personification of every scary clown meme on the internet.
That’s because Muschietti has to lay the groundwork for a terrific and terrifying conclusion in which all of his characters are on the same, almost unbelievable page. When the time comes for the climax, the filmmakers up the ante, making Pennywise one of the most visually extreme horror villains on record. Skarsgård cavorts, contorts and - thanks to the ingenuity of the visual effects team - completely ignores the laws of physics to create a monster whose appearance is so unnatural it’s hard to believe your eyes. That’s why, for a long time, the members of The Losers Club don’t tell each other what they’ve seen, and why it’s all the more frightening when, surrounded by blood that only they can see, they no longer have the plausible deniability that maybe, just maybe, all of this trauma is a delusional manifestation of their deep-seated, but otherwise conventional psychological dread.
What makes IT, or at least this first half of IT (since the film adapts only the first half of Stephen King’s novel, with the latter half to come in a sequel), so beautifully, uncomfortably, and shockingly effective is that Muschietti gets right out in front of King’s story and tells the living hell out of it. Subtlety is the responsibility of the actors; the director is telling a scary story at a campfire, shining a flashlight under his face and taking advantage of everything he knows about his audience.
IT may not be the best Stephen King movie (even though it comes impressively close), but it’s probably the MOST Stephen King movie. Director Andy Muschietti evokes the horror author’s effortless melodrama and in-your-face psychological torments simultaneously, because he seems to understand that these sensibilities bring out the best and, by defini...
Review scoring
amazing
While IT may not be the best Stephen King movie, it comes impressively close.
William Bibbiani
- William Bibbiani
Apr 15, 2022 · Allyson Riggs/A24. The visual effects in “ Everything Everywhere All at Once,” the latest film directed by Daniel Kwan and Daniel Scheinert (the filmmaking team known as Daniels), are abundant ...
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