Frame 24 by Conger He

Frame the Greatest Movie Through History S u m m e r

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An Eye For An I

A Sence of Space

Depp-Depper

Food · Travel · 5th Floor T a b l e C o n t e n t s

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â&#x20AC;&#x153; Framing the greatest movie through history. â&#x20AC;?

ARCHETYPE FRAME 24 is a magazine for people who love great classical movies. The magazine mainly introduce movies which was being called as masterpieces, and famous actors over history. It not only bring back films from the early time, but also draw our attention to modern movies as they've been released. Frame 24 introduce movies from different culture, theme, style, and shooting process. it will lead you go through the great collection of movies, and help you to find your favorite one.

President and Publisher Randy Dunbar

Creative Director Conger He

Editor

Terri Goodwin

Art Director

Alejandro Mcgee

Assistant Director Gary Vaughn

Web Editor

Lauren Schwartz

Designer

Shari Wilson

Photo Editor

Dominic Mckinney

Production Director Conrad Morales

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Letter from the Editor

Create As You Want

he first time I ever heard that I’m going to put together a magazine, I have no idea what I’m going to do, or what should I do. I want to create a movie magazine but make it look serious and modern, put in unique elements, create a brand new, high quality style through out the whole magazine. tTime goes by, after creating several pages and sections of the magazine, things start to combine together, every pieces we’ve been working on, are perfect linked together. The president, Randy Dunbar always push us hard, helping us to find out the best, attractive layout. “The first, and the only purpose of magazines, is making people want to read it.” We would put this philosophy in mind all the time, and improve more through every issue coming out. I hope you will like this magazine, and enjoying reading it. Thank you very much!

— Conger He

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CLIP 01

FOOD TRAVEL 5th FLOOR

FOOD

INSPIRED BY MOVIES

F I L M S H AV E A LWAY S B E E N A N I N P I S R AT I O N , E V E N TO T H E C U L I N A RY A RT S

o Ph

r tog

e on g e r H by C h ap

As a New Yorker who wants each neighborhood to be different, each block to be like a pocket with a secret tucked inside it, I have strongly mixed feelings about gentrification. As a critic confronted with shiny new restaurants in changing neighborhoods, though, I have to admit that I often end up liking the shiny new places more than what came before. So I didn’t waste time worrying about the other Italian restaurants on the south end of Mulberry Street when Pasquale Jones took up residence there in February. Those indistinguishable Little Italy flytraps with their sidewalk hawkers, their holy-communion-ready wines, their lifeless linguine facedown in a shallow pool of clam sauce: They could stand some competition. And the wandering hordes now stand a better chance of tasting New York-style Italian food. Pasquale Jones is the second restaurant from the Charlie Bird team, led by the chef Ryan Hardy and two wine scholars, Robert Bohr and Grant Reynolds. The three of them squeeze so many of the prevailing casual New York-Italian tropes into this glass-walled dining room on the corner of Kenmare and Mulberry Streets that it’s virtually a showroom of the genre, circa 2016. There is the menu that. — William Black FRAME24 Summer 2016

CLIP 01

FOOD TRAVEL 5th FLOOR

The Best Movie Locations

THE BRADBURY BUILDING The Artist focuses on the lives of silent film star George Valentin (played by Dujardin), and chorus girl Peppy Miller, portrayed by Berenice Bejo. With the arrival of talkies, George’s career descends into oblivion while “It girl” Peppy Miller soars to leading lady status. Fans of the film from around the world can use the following guide to visit some of the Los Angeles locations featured in the movie. (Mild spoilers ahead for those who haven’t seen the movie yet!) Eagle Rock Substation, 7888 N. Figueroa Street – Used as the opening scene in the movie, when a masked George rescues a modernday flapper from a torture chamber. Bradbury Building, 304 S. Broadway – The director uses foreshadowing effectively as George and Peppy pass each other on the ornate stairway

Photograph by Conger He belonging to the fictional Kinograph Studios. She is ascending the staircase as he is making his way down the steps, both physically and professionally. The Bradbury Building has appeared in numerous movies, TV episodes and

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music videos, including the 1982 film Blade Runner. 104 and 56 Fremont Place, Hancock Park - Located in a gated area of Hancock Park are the homes of George Valentin, where he resided during his movie star. — Ben Abraham

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CLIP 01

FOOD TRAVEL 5th FLOOR

Build & Craft SET DESIGN GETS A START AT FIDM

Photograph by Conger He

ho, or what, is really in charge of our destiny? We like to believe that our will, our imagination, our reason are meticulously clicking away, taking hold of the future and shaping it to our desires. But what about that little companion in our pocket we consult so regularly, with its innumerable little helpers that we refer to dozens if not hundreds of times a day, attending to their chirps and beeps and

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rings as if to a relentless taskmaster?“Golem,” a visually dazzling, mindpinching production from the British company 1927, Slyly poses these questions, through a fable that feels both contemporary and ageless, combining live performance and music with sophisticated stop-motion and traditional animation. The production, being presented through Sunday at the Gerald W. Lynch Theater as part of the Lincoln Center Festival, was written and directed by Suzanne Andrade, but equal credit for its seamless ingenuity must go to Paul Barritt, the creator of its kaleidoscopic film, design and animation.The production is loosely inspired by the Austrian writer Gustav Meyrink’s novel “The Golem,” a dark fantasy largely set in the Prague ghetto which was published serially in 1913 and 1914. A golem is a figure of Jewish, creature legend. — Jane Brant

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t 01

The Bat Month

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03 01 02 03 04

The Dark Knight Rises Figure Batman v Superman shoes Batman Greyscale Sublimation Snapback Hat Batman Logos No-show Socks

05 07

08 09 10

The Bat Month

Batman Logo Travel Mug Batman Be Yourself Ceramic Mug Batman v Superman Metals Die Cast 6â&#x20AC;? Figure Batman vs Superman Limited Edition Watch Batman Print Rubber Bracelet Set Batman Black Cologne Batman V Superman Model Keychain Batman Playing Cards

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05 06 07 08 09 10 11 12

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Frame the Greatest Movie Through History

180 *

180Â° rule is a cinematography guideline that states that two characters in a scene should maintain the * The same left/right relationship to one another . FRAME24 Summer 2016

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Depp

eepper

Photograph by Oliver Gettel

The ultimate interview with Johnny Depp as he reveals his thoughts on his famous roles and those Internet comments - By Willian Muscil

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For Depp’s next film project, he tried his hand at sci-fi horror with The Astronaut’s Wife in 1999. The same year, he teamed up with Burton once again on Sleepy Hollow, starring as a prim, driven Ichabod Crane. He appeared the following year in the small but popular romantic drama Chocolat, followed by a big-budget role as reallife cocaine kingpin George Jung in Blow in 2001. Depp’s next film was the terror drama From Hell in 2001 and Robert Rodriguez’s Once Upon a Time in Mexico in 2002. In April of that year, Paradis gave birth to the couple’s second child, Jack. In 2004, Depp earned an Academy Award nomination for his starring role as Captain Jack Sparrow in the family adventure Pirates of the Caribbean. The film was a box office smash, and led to the creation of a Pirates franchise. At the end of that year, Depp also turned in a critically acclaimed performance in Finding Neverland, in which he starred as Peter Pan creator J.M. Barrie. The film earned him more than 10 award nominations, including both Academy and Golden Globe nods. In 2006, Depp returned as Captain Jack Sparrow for the sequel Pirates of the Caribbean: Dead Man’s Chest, which broke a box office record in reaching the highest weekend tally ever. The third installment fared well too. Pirates of the Caribbean: At World’s End (2007) was released on Memorial Day weekend, bringing in $138.8 million. Saying goodbye to Captain Jack, Depp took on one of theater’s most notorious characters in Sweeney Todd: The Demon Barber of Fleet Street, also in 2007. Directed by Tim Burton and co-starring Helena Bonham Carter, the dark and gory musical tells the tale of a barber kills some of his customers who then turned into pies made by his downstairs neighbor. Depp netted a Golden Globe Award for his work on the film.

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In 2009, two Depp films— The Imaginarium of Doctor Parnassus and Public Enemies—premiered with mixed results. He returned to box office success with the 2010 film adaptation of the Lewis Carroll classic, Alice in Wonderland. For the project, Depp again teamed up with Tim Burton to take on the character of the Mad Hatter. The film, starring Mia Wasikowska as Alice, brought in more than $116 million in its opening weekend. Once again roving on the high seas, Depp reprised his role of Jack Sparrow in the latest installment of the Pirates of the Caribbean film series in 2011. He returned to independent film that same year with The Rum Diary, based on the book by Hunter S. Thompson. Depp also starred in the Tim Burton comedy Dark Shadows (2012). In the film, he plays Barnabas Collins, a vampire who escapes imprisonment and returns to his family home. There,

Collins tries to help his descendents played by Michelle Pfeiffer, Chloë Grace Moretz and Jonny Lee Miller. Depp was a longtime fan of the film’s source material—the late 1960s gothic soap opera Dark Shadows—and encouraged friend Burton to bring it to the big screen. Unfortunately, Depp’s next big budget endeavor didn’t fare nearly as well as his earlier films. In 2013, the A-list actor teamed up with Pirates producer Jerry Bruckheimer once again in the Disney film The Lone Ranger. The film— costing More than $215 million to produce with big names like Pirates director Gore Verbinski and The Social Network (2010) star Armie Hammer at the helm—performed horribly at the box office and received lackluster reviews. The film debuted in second place at the box office during its opening weekend, but only grossed $48.9 million. Disney executives expected a potential $190 million loss because of the film. Depp took on the role of notorious crime boss Whitey Bulger in the 2015 biopic Black Mass. “James Bulger is a fascinating creature and we all want to know what drove him I think,” Depp said about the role in an interview with IGN. “As much as I want to talk to James Bulger and sit down with him and understand him, I also want to sit down with the victims families and know that side as well so that is thrown in with the performance. The people of Boston are going to dictate my performance. James Bulger, whatever he presents to me, is going to dictate that performance as well. I don’t think it’s as easy as good versus evil and I hope to show that in the film and I hope to do everybody justice.” In 2016, Depp reprised his role as the Mad Hatter in Through The Looking Glass, Tim Burton’s latest take on Lewis Carroll’s sequel to Alice’s Adventures In Wonderland. Creat by the 20 centry fox company. Depp met another person who would become an important FRAME24 Summer 2016

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“I

DON’T PRETEND TO BE CAPTAIN WEIRD, I JUST DO WHAT I DO.”

— Johnny Depp

Figure in his life; while filming the sci-fi drama The Ninth Gate (1999) in France, Johnny met French actress, singer and model Vanessa Paradis. Paradis became pregnant with the couple’s first child later that year. In May of 1999, the couple welcomed daughter Lily-Rose Melody Depp. Depp and Paradis had their second child, son Jack John Christopher Depp III, three years later.In 2012, stories began to circulate that Depp and Paradis had split Depp initially

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Filmography of

Johnny Depp A Nightmare on Elm Street Cry-Baby Edward Scissorhands Benny & Joon Fear and Loathing in Las Vegas The Ninth Gate Sleepy Hollow Before Night Falls From Hell Pirates of the Caribbean: The Curse of the Black Pearl Charlie and the Chocolate Factory Pirates of the Caribbean: Dead Man’s Chest Pirates of the Caribbean: At World’s End Sweeney Todd Alice in Wonderland Pirates of the Caribbean: On Stranger Tides Dark Shadows The Lone Ranger Transcendence Into the Woods Mortdecai Black Mass London Fields Alice Through the Looking Glass

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deni these rumors, but his representative confirmed the couple’s break-up in June. In a statement given to Entertainment Tonight, Depp’s representative said that the pair “have amicably separated” and asked that people “respect their privacy” and “the privacy of their children.” Depp and Paradis had been together for nearly 14 years when they split. Depp met another future love interest on the set of a film while still publicly involved with Paradis. While filming The Rum Diary, he met co-star Amber Heard. The couple was seen publicly together for the first time in 2012, not long after Depp’s split with Paradis. The couple got engaged on Christmas Eve in 2013 and tied the knot in February 2015. Just 15 months later, in May 2016, Heard filed. Paradis had been together for nearly 14 years when they split. Depp met another future love interest on the set of a film while still publicly involved with Paradis. While filming The Rum Diary, he met co-star Amber Heard. The couple was seen publicly together for the first time in 2012, not long after Depp’s split with Paradis. The couple got engaged on Christmas Eve in 2013 and tied the knot in February 2015. Just 15 months later, in May 2016, Heard filed. Depp’s next big budget endeavor didn’t fare nearly as well as his earlier films. In 2013, the A-list actor teamed up with Pirates producer Jerry Bruckheimer once again in the Disney film The Lone Ranger. The film—costing More than $215 million to produce with big names like Pirates director Gore Verbinski and The Social Network (2010) star Armie Hammer at the helm—performed horribly at

the box office and received lackluster reviews. The film debuted in second place at the box office during its opening weekend, but only grossed $48.9 million. Disney executives expected a potential $190 million loss because of the film. Depp took on the role of notorious crime boss Whitey Bulger in the 2015. couple’s break-up in June. In a statement given to Entertainment Tonight, Depp’s representative said that the pair “have amicably separated” and asked that people “respect their privacy” and “the privacy of their children.” Depp and Paradis had been together for 14 years when they split.

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A SENSE OF

S PA C E

Photographer Julius Shulmanâ&#x20AC;&#x2122;s photography spread California Mid-century modern around the world. Carefully composed and artfully lighted, his images promoted not only new approaches to home design but also the ideal of idyllic California living â&#x20AC;&#x201D; a sunny, suburban lifestyle played out in sleek, spacious, low-slung homes featuring ample glass, pools and patios.

By Peter Gossell P hotogr aphs B y Julius Shulman

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“

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merican photographer Julius Shulman’s images of Californian architecture have burned themselves into the retina of the 21th century.”

“The subject is the power of photography,” Shulman explains. “I have thousands of slides, and Juergen and I have assembled them into almost 20 different lectures. And not just about architecture—I have pictures of cats and dogs, fashion pictures, flower photographs. I use them to do a lot of preaching to the students, to give them something to do with their lives, and keep them from dropping out of school.”

Mayne—we had lunch with him. Long Beach, AIA meeting. People were here for a meeting about my photography at the Getty [which houses his archive]. High school students, a lecture. Silver Lake, the Neutra house, they’re opening part of the lake frontage, I’m going to see that. USC, a lecture. Then an assignment, the Griffith Observatory— we’ve already started that one.”

It all adds up to a very full schedule, which Shulman handles largely by himself—“My daughter comes once a week from Santa Barbara and takes care of my business affairs, and does my shopping”— and with remarkable ease for a near-centenarian. Picking up the oversized calendar on which he records his appointments, Shulman walks me through a typical seven days: “Thom

Shulman is equally proud of his own lighting abilities. “I’ll show you something fascinating,” he says, holding up two exteriors of a new modernist home, designed for a family named Abidi, by architect James Tyler. In the first, the inside of the house is dark, resulting in a handsome, somewhat lifeless image. In the second, it’s been lit in a way that seems a natural balance of indoor and outdoor illumination, yet expresses the structure’s relationship to its site and showcases the architecture’s transparency. “The house is transfigured,” Shulman explains.

Yet rather than seeming overtaxed, Shulman fairly exudes well-being. Like many elderly people with nothing left to prove, and who remain in demand both for their talents and as figures of veneration (think of George Burns), Shulman takes things very easy: He knows what his employers and admirers want, is happy to provide it, and accepts the resulting reaffirmation of his legend with a mix of playfully rampant immodesty and heartfelt gratitude. As the man himself puts it, “The world’s my onion.”

“I have four Ts. Transcend is, I go beyond what the architect himself has seen. Transfigure—glamorize, dramatize with lighting, time of day. Translate—there are times, when you’re working with a man like Neutra, who FRAME24 Summer 2016

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“T

he key to my work is that I stopped, physically, to observe something. I raised my camera and recorded my observations.”

— Julius Shulman

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wanted everything the way he wanted it—‘Put the camera here.’ And after he left, I’d put it back where I wanted it, and he wouldn’t know the difference—I translated. And fourth, I transform the composition with furniture movement.” To illustrate the latter, Shulman shows me an interior of the Abidi house that looks out from the living room, through a long glass wall, to the grounds. “Almost every one of my photographs has a diagonal leading you into the picture,” he says. Taking a notecard and pen, he draws a line from the lower left corner to the upper right, then a second perpendicular line from the lower right corner to the first line. Circling the intersection, he explains, “That’s the point of what we call ‘dynamic symmetry.’” When he holds up the photo again, I see that the line formed by the bottom of the glass wall—dividing inside from outside—roughly mirrors the diagonal he’s drawn. Shulman then indicates the second, perpendicular line created by the furniture arrangement. “My assistants moved [the coffee table] there, to complete the line. When the owner saw the Polaroid, she said to her husband, ‘Why don’t we do that all the time?’” Shulman’s remark references one of his signature gambits: what he calls “dressing the set,” not only by moving furniture but by adding everyday objects and accessories. “I think he was trying to portray the lifestyle people might have had if they’d lived in those houses,” suggests the Los Angeles–based architectural photographer Tim Street-Porter. “He was doing—with a totally positive use of the words—advertising or propagandist photographs for the cause.” This impulse culminated in Shulman’s introduction of people into his 30

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pictures—commonplace today, but virtually unique 50 years ago. “Those photographs—with young, attractive people having breakfast in glass rooms beside carports with twotone cars—were remarkable in the history of architectural photography,” Street-Porter says. “He took that to a wonderfully high level.” “I tell people in my lectures, ‘If I were modest, I wouldn’t talk about how great I am.’” Yet when I ask how he developed his eye, Shulman’s expression turns philosophical. “Sometimes Juergen walks ahead of me, and he’ll look for a composition. And invariably, he doesn’t see what I see. Architects don’t see what I see. It’s God-given,” he says, using the Yiddish word for an act of kindness—“a mitzvah.” “Most people whose houses I photographed didn’t use their sliding

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EXHIBITIONS of Julius Schulman

BEYOND THE ASSIGNMENT October 5, 2013 – November 1, 2013 CATHERINE OPIE: IN & AROUND L.A. February 16, 2013 – March 24, 2013 GRANT MUDFORD: BUILDING April 3 – April 27, 2014 HÉLÈNE BINET: FRAGMENTS OF LIGHT February 28 — March 29, 2015 IMAGE.ARCHITECTURE.NOW October 2010 JAMES WELLING Opening March 3, 2016, 7-9pm Exhibit runs until March 27 MATTER, LIGHT AND FORM: ARCHITECTURAL PHOTOGRAPHS OF WAYNE THOM, 1968-2003 5 November – 20 December, 2015 Opening: 5 November, 6 pm PEDRO E. GUERRERO: PHOTOGRAPHS OF MODERN LIFE June 9, 2013-November 1, 2013 RICHARD BARNES: UNNATURAL SPACES October 9, 2011 – October 22, 2011

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“T

he key to my work is that I stopped, physically, to observe something. I raised my camera and recorded my observations.”

doors,” Shulman says, crossing the living room toward his own glass sliders. “Because flies and lizards would come in; there were strong winds. So I told Soriano I wanted a transition—a screenedin enclosure in front of the living room, kitchen, and bedroom to make an indoor/ outdoor room.” Shulman opens the door leading to an exterior dining area. A bird trills loudly. “That’s a wren,” he says, and steps out. “My wife and I had most of our meals out here,” he recalls. “Beautiful.” When I ask Shulman what Neutra saw in his images, he answers with a seemingly unrelated story. “I was born in Brooklyn in 1910,” says this child of

Russian-Jewish immigrants. “When I was three, my father went to the town of Central Village in Connecticut, and was shown this farmhouse—primitive, but [on] a big piece of land. After we moved in, he planted corn and potatoes, my mother milked the cows, and we had a farm life. “And for seven years, I was imbued with the pleasure of living close to nature. In 1920, when we came here to Los Angeles, I joined the Boy Scouts, and enjoyed the outdoorliving aspect, hiking and camping. My father opened a clothing store in Boyle Heights, and my four brothers and sisters and my mother worked in the store. They were businesspeople.” He flashes a slightly cocky smile. “I was with the Boy Scouts.” I ask Shulman if he’s surprised at how well his life has turned out. “I tell students, ‘Don’t take life too seriously— don’t plan nothing nohow,’” he replies. “But I have always observed and respected my destiny. That’s the only way I can describe it. It was meant to be.” “And it was a destiny that suited you?” At this, everything rises at once—his eyebrows, his outstretched arms, and his peaceful, satisfied smile. “Well,” says Shulman, “here I am.”

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EYE FOR AN I

Explore the shooting process behind stop-motion animation: Coraline. XSI expert Ed Harriss chips away at ICE to tell us the scoop on the latest edition of Softimage.

By Josephine Norton Photographs by Alice Chandler

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Produced by Oregonbased Laika Ent., Coraline is an unusual movie in several respects. Bucking the CG toon trend, Coraline combines old-fashioned stopmotion animation techniques with the newfangled wonders of modern 3-D. All this under the direction of James and the Giant Peach, and filming in a surprisingly nondescript industrial park office complex just outside the lush green environs of Portland. At the time of the set visit in late May, Selick says the film is two-thirds complete after about a year and a half of production, which followed a year of pre-production. The 36

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schedule for finishing the film is tight -- set to wrap in late summer or early autumn, the film is slated for a lateDecember Oscar-qualifying run, followed by a nationwide release on Feb. 6 from Focus Features. Selick says the long process of making the film began in 2000, before Gaiman’s popular novella had been published. At that time he managed to convince first the author and then producer Bill Mechanic that animation struck the right tone for the creepy kids tale. “This is a scary book for kids. If it’s animation, I think that it takes a little of the edge off the worst moments, but it keeps the Grimm’s fairy tale quality,” he says. There are changes in Selick’s adaptation, although the story remains essentially the same: A girl named Coraline discovers a passageway to a world much like our own that nonetheless seems better in many ways -- until her “Other Mother” kidnaps her real parents and demands that Coraline stay. But it’s now set in Oregon as opposed to the Midwest, and Selick has added a local boy named Wylie to the cast, a move he says helps by giving Coraline someone to talk to. Another character, Mr. Bobo, has been made more energetic and given a Russian accent in his transition to Mr. Bobinsky.

“

e are shooting in 3-D and we wanted to take advantage and really show it off. To your eye, all you know is it feels better, but it’s two different sets.”

Heading up the cast is Dakota Fanning as Coraline, with Teri Hatcher as Mother and Other Mother, Jon Hodgman as Father and Other Father, Keith David as The Cat, Ian McShane as Bobinsky, and the English comedy duo of Dawn French and Jennifer Saunders as the theatrically minded neighbors Miss Spink and Mi ss Forcible. Production is in full swing at this point, and there are more than 28 animators working at any one time on rehearsing or shooting scenes for the film and producing 90-100 seconds of finished animation each week. Work proceeds at a steady pace throughout the massive Laika facility as craftsmen prepare from scratch all the puppets, costumes, sets and props needed to make the film one frame at a time. Creating the necessary elements takes unusual talent and lots of time. The costume department, headed up by Deborah Cook, is chock full of tiny clothes all made by hand to exacting standards. Because of wear and tear, each costume is made in multiples. Cook shows a pair of tiny pajamas worn by Coraline in the film, of which 30 identical pairs were made. Each copy had to be identical down to the way the pattern broke at the seams. Georgina Hayns, who has the unique title of puppet fabrication supervisor, says making such clothes in quantity requires highly specialized talent. “We’ve actually got a miniature knitter, who is actually part of the guild of craftspeople in the United States, and we found her on the Internet,” she says. Even with such talent, clothing these puppets is also a game of patience -- it takes about three weeks to make a simple sweater. Next to costume design is a larger room devoted to puppet fabrication. As with costumes, multiple puppets are made for the main characters and there are 28 Coraline puppets. Each puppet also has multiple pairs of backup hands, which are especially prone to wear and tear and often need to be replaced, Hayns says. FRAME24 Summer 2016

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Puppets begin with an armature designed to give them a full range of motion. They are made mostly of ball-and-socket joints manufactured by a company in San Francisco. Each puppet also has two heads, each with a different base expression to give animators a greater potential range of facial expressions. “We try to get as much into these mechanical heads as we possibly can, but without distorting the face so much,” says Hayns. “Because if you’re not careful, you can overanimate these. We try to get the subtlety of movement in there as much as possible.”

Multiple puppets are made for the main characters, with 28 Coraline puppets. Each puppet has multiple pairs of backup hands, which are especially prone to wear and tear and often need to be replaced. Hayns says the biggest challenge in making the puppets is that every part that the animator may want to control has to be made “animatable.” “So you have to take into account that even if there’s a tiny piece of fabric blowing behind [a puppet], you have to wire it or you have to put lead in it so it’s animatable,” she says. Each puppet is then cast in a silicone substance to create the skin, then painted and given hair -- which also must be animatable. Selick says Susan Multon, head of the hair department, has created for Coraline the best-looking hair ever seen in a stop-motion movie. “Susan came along with this technique of actually animating hair and has perfected it with each character,” Hayns adds. “She’s designed all the armatures that go inside to make it work, and worked with the armature team.” CG will be used on the film, mostly to erase in the puppets’ faces the removable parts needed to make them appear to speak, as well as rig removal. Selick says there will be some additional visual effects practical stuff that we then combine.” FRAME24 Summer 2016

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End Reel

“We’ll catch you later.”

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