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…