Tag Archives: Documentary

Win Tix for “Persistence of Vision” World Premiere

Persistence Of Vision

Persistence Of Vision

Want to go to the world premiere of “Persistence of Vision” for free?

The documentary follows the 30-year quest of animator Richard Williams to make his masterpiece, The Thief and the Cobbler — perhaps the greatest animated film never made.

Sponsor The Snipe, Vancouver’s news source for movies, music, comics and more, has two pairs of tickets to give away to the world premiere Thursday, October 4 at this year’s Vancouver International Film Festival.

Best known for the animated sequences of Who Framed Roger Rabbit, Canadian-born British animator Williams saw the film wrested from his control and savagely recut.

Kevin Schreck’s documentary pairs unreleased scenes from Williams’ virtuoso fairytale with horror stories of creativity falling prey to commerce.

To enter to win one of two pairs of tickets to the October 4 premiere at 6 p.m. at Granville Cinemas, let the online magazine know your favorite animated feature or cartoon of all time at www.thesnipenews.com/the-latest/persistence-of-vision-movie-viff/. The draw will be made at 9 a.m. PST on Wednesday, October 3.

Persistence of Vision is part of the 2012 Vancouver International Film Festival.

Saving Mr. Banks Tells Story Behind Mary Poppins Adaptation

Saving Mr. Banks Tells Story Behind Mary Poppins Adaptation

Saving Mr. Banks

Disney began production Wednesday on “Saving Mr. Banks,” the account of Walt Disney’s 20-year pursuit of the film rights to P.L. Travers’ popular novel Mary Poppins, and the testy partnership that the upbeat filmmaker develops with the uptight author during the partly animated film’s pre-production in 1961.

Two-time Academy Award winner Tom Hanks (Philadelphia, Forrest Gump) will essay the role of the legendary Disney (the first time that the entrepreneur has ever been depicted in a dramatic film) alongside fellow double Oscar winner Emma Thompson (Howard’s End, Sense and Sensibility) in the role of the prickly novelist. Before actually signing away the book’s rights, Travers’ demands for contractual script and character control circumvent not only Disney’s vision for the film adaptation, but also those of the creative team of screenwriter Don DaGradi and sibling composers Richard and Robert Sherman, whose original score and song (“Chim-Chim-Cher-ee”) would go on to win Oscars at the 1965 ceremonies (the film won five awards of its 13 nominations).

When Travers travels from London to Hollywood in 1961 to finally discuss Disney’s desire to bring her beloved character to the motion picture screen (a quest he began in the 1940s as a promise to his two daughters), Disney meets a prim, uncompromising sexagenarian not only suspect of the impresario’s concept for the film, but a woman struggling with her own past. During her stay in California, Travers reflects back on her childhood in 1906 Australia, a trying time for her family which not only molded her aspirations to write, but one that also inspired the characters in her 1934 book.

None more so than the one person whom she loved and admired more than any other — her caring father, Travers Goff, a tormented banker who, before his untimely death that same year, instills the youngster with both affection and enlightenment (and would be the muse for the story’s patriarch, Mr. Banks, the sole character that the famous nanny comes to aid). While reluctant to grant Disney the film rights, Travers comes to realize that the acclaimed Hollywood storyteller has his own motives for wanting to make the film — which, like the author, hints at the relationship that he shared with his own father in the early 20th Century Midwest.

Colin Farrell (Minority Report, Total Recall) co-stars as Travers’ doting dad, Goff, along with British actress Ruth Wilson (the forthcoming films The Lone Ranger and Anna Karenina) as his long-suffering wife Margaret; Oscar and Emmy nominee Rachel Griffiths (Six Feet Under, Hilary and Jackie, The Rookie) as Margaret’s sister, Aunt Ellie (who inspired the title character of Travers’ novel); and a screen newcomer: 11-year-old Aussie native Annie Buckley as the young, blossoming writer, nicknamed “Ginty” in the flashback sequences.

The cast also includes Emmy winner Bradley Whitford (The West Wing, The Cabin in the Woods) as screenwriter Don DaGradi; Jason Schwartzman (Rushmore, Moonrise Kingdom) and B.J. Novak (NBC’s The Office, Inglourious Basterds) as the songwriting Sherman Brothers (Richard and Robert, respectively); Oscar nominee and Emmy winner Paul Giamatti (Sideways, Cinderella Man, HBO’s John Adams) as Ralph, the kindly limousine driver who escorts Travers during her two-week stay in Hollywood; and multi-Emmy winner Kathy Baker (Picket Fences, Edward Scissorhands) as Tommie, one of Disney’s trusted studio associates.

Saving Mr. Banks will be directed by John Lee Hancock (The Blind Side, The Rookie) based on a screenplay by Kelly Marcel (creator of FOX-TV’s Terra Nova), from a story by Sue Smith (Brides of Christ, Bastard Boys) and Kelly Marcel. The film is being produced by Alison Owen of Ruby Films (the Oscar-nominated Elizabeth, HBO’s Emmy-winning Temple Grandin), Ian Collie of Essential Media (the Aussie TV documentary The Shadow of Mary Poppins, DirecTV’s Rake) and longtime Hancock collaborator Philip Steuer (The Rookie, The Chronicles of Narnia trilogy). The film’s executive producers are Ruby Films’ Paul Trijbits (Lay the Favorite, Jane Eyre), Hopscotch Features’ Andrew Mason (The Matrix trilogy, Dark City) and Troy Lum (Mao’s Last Dancer, I, Frankenstein), and BBC Films’ Christine Langan (Oscar nominee for The Queen, We Need to Talk About Kevin).

Hancock’s filmmaking team includes a trio of artists with whom he worked on his 2009 Best Picture Oscar nominee, The Blind Side: two-time Oscar nominated production designer Michael Corenblith (How The Grinch Stole Christmas, Apollo 13), Emmy-winning costume designer Daniel Orlandi (HBO’s Game Change, Frost/Nixon) and film editor Mark Livolsi, A.C.E. (Wedding Crashers, The Devil Wears Prada). Hancock also reunites with Academy Award-nominated cinematographer John Schwartzman (Seabiscuit, Pearl Harbor), with whom he first worked on his inspiring 2002 sports drama The Rookie.

Saving Mr. Banks will film entirely in the Los Angeles area, with key locations to include Disneyland in Anaheim and the Disney Studios in Burbank. Filming will conclude around Thanksgiving this year, with no specific 2013 release date yet set.

Persistence of Vision World Premiere in Vancouver


Persistence Of Vision

Persistence Of Vision

Persistence of Vision, a documentary film about acclaimed Canadian animator Richard Williams, will premiere to the world at this years Vancouver International Film Festival. The  83 minute film will show Thursday, October 4th, 6:00 PM @ the Empire Granville 7 Cinemas Theatre #4. The showing will be followed by a Q&A with director/producer Kevin Schreck plus a special guest animator.

First conceived in September 2007, Persistence of Vision began in development as director/producer Kevin Schreck’s senior project at Bard College in August 2009. Filming began in earnest a year later in August 2010, with editing finished about march of 2012.

To pay for such a complex and in-depth film, Schreck “crowd-sourced” his funding through creative project funding website Kickstarter. After posting his project on the site, the general public pledged over eight thousand dollars toward the completion of the film- some even earning producer credits in the film for their larger contributions.

Persistence Of Vision

Persistence Of Vision

Persistence of Visionis a documentary look at Richard Williams and his thirty year attempt to make the animated film The Thief And The Cobbler. It was to be the greatest animated film of all time. Not just an eye-opener, but a game-changer. Richard Williams demanded nothing less, investing nearly three decades into his movie masterpiece.

Still best known today for the animated portions of Who Framed Roger Rabbit, the Canadian producer-director came to the UK in the 1950s and won accolades for his short films. He formed a production company and reaped the boom in animated commercials and movie credit sequences. But from as early as 1964 he ploughed most of the profits right back into his pet project, a feature inspired by the Arabian Nights and provisionally known as Mullah Nasruddin.

He assembled a team of inspired young artists—and brought in the best Hollywood craftsmen to teach them—and devised what would be the most elaborate, kaleidoscopic, mind-boggling visual sequences ever committed to celluloid. Years passed. Potential financiers came and went. Work continued. But it was only after Roger Rabbit that Williams had a studio budget to corroborate the munificence of his imagination. After 25 years and as many million dollars in the making his labor of love finally saw the light of day…

Kevin Schreck’s documentary is essential viewing on three counts: it showcases Williams’ dazzling, often unprecedented visuals; it reveals how these staggering effects were created; and it’s a heartbreaking portrait of artistic obsession running smack into the business of show…