•November 15, 2012 • 14 Comments
Feels like I’m back in production!
Been pulling 14-hour days trying to finish RIDDICK. My typical day starts at 9am with intensive visual effects meetings, sweating out the details of our 900 VFX shots. Then I jet across town to the mix stage, Soundelux, where I supervise the sound, balancing out the often-competing elements of music, sound fx, sound design, and dialog. At night I hit the lab, Technicolor in Hollywood, staying until midnight to do “DI work” — color-correction of the movie. This is where David Eggby and I have one last chance to get the images right, dropping in grads and power windows to finesse what we shot on set. It’s a great tool, the Digital Intermediate. Kind of like Photoshop for movies. Gotta love it. Gotta love the challenge of bringing it all home.
•July 9, 2012 • 18 Comments
I see that my friend Karl Urban is going to host a screening of DREDD this week at Comic-Con. Just wanted to wish him well with that — and remind everyone what his eyes really look like. Here he is reprising Vaako for us, no helmet in sight. The actor over his shoulder, menacingly out of focus, is the great Andreas Apergis who plays “Krone” in the upcoming RIDDICK.
•April 4, 2012 • 12 Comments
So our business here is done — principle photography, anyway. It was a challenging schedule we had for this latest installment of RIDDICK – a scant 47 days – but we managed to get what we needed (and more), thanks to a skilled crew and a gifted and willing cast. I’m packing up now to return to L.A. after five months here, but the memories of Montreal are already piling up in my head in a way that I know will haunt me, happily, for years to come.
Above is a photo of me and some of Santana’s crew between takes on the set of RIDDICK.
•January 15, 2012 • 2 Comments
A lot of you already know how close we are to rolling camera on RIDDICK. But most of you don’t know about an artist named Charles Ratteray who does storyboards for me, just utterly dope stuff like what you see here. Well Charles wound up in the hospital this weekend with cardiac issues — way too young for that nonsense at just 36 years old — and this is big shout out to him, hoping he recovers quick and picks up that magical stylus soon. You have a lot of fans in Montreal, Charles.
•September 11, 2011 • 1 Comment
Word slipped out last week about “The Leonardo Job,” so here I am playing catch up to my own movie.
No, don’t confuse it with “The Italian Job” or “The Brazilian Job” or any other job in the heist genre. This is a new original. What’s it about, then? Well, if there are 22 known DaVinci paintings in the world, this is a movie about stealing the 23rd. Which may well exist. It’s called “The Battle of Anghiari,” and even though it was ordered destroyed in the early 1500s by the Medicis when they swept back into Florence and back into power, some think that the man charged with its destruction – Giorgio Vasari — so revered Leonardo that he concocted an elaborate scheme to save the giant painting instead.
With that tantalizing possibility as a backdrop, I’ve conjured up a pair a modern-day thieves who, independently, decide “The Lost Leonardo” isn’t lost and concoct an elaborate scheme to go after it. Because hey, what better thing to steal than something of infinite value — yet something that no one really believes exists?
I expect to film in Florence and other venues in Italy. I expect my agents, lawyers, and half the film world to be there whether invited or not. That’s fine. It’s just the lure of la dolce vita.
Thanks to Alcon for stepping in and stepping up. Good guys over there. They’ll finance and shepherd it along. Warner Bros will distribute.