backlot

anonymous asked:

rewatching s1 for like the 100th time--at what point does all the brilliant animal sight gag stuff (eg the croc wearing crocs) get added? is it like, we need to have a croc wearing crocs, where can we fit this in? or do you start out by needing someone to guard the food and say let's do a crocodile--hey, he should wear crocs? or some kind of total afterthought, or something else entirely? thanks. love the show, my favorite of all time.

Hello! I am going to answer your question, and then I am going to talk a little bit about GENDER IN COMEDY, because this is my tumblr and I can talk about whatever I want!

The vast vast vast majority of the animal jokes on BoJack Horseman (specifically the visual gags) come from our brilliant supervising director Mike Hollingsworth (stufffedanimals on tumblr) and his team. Occasionally, we’ll write a joke like that into the script but I can promise you that your top ten favorite animal gags of the season came from the art and animation side of the show, not the writers room. Usually it happens more the second way you described— to take a couple examples from season 2, “Okay, we need to fill this hospital waiting room, what kind of animals would be in here?” or “Okay, we need some extras for this studio backlot, what would they be wearing?”

I don’t know for sure, but I would guess that the croc wearing crocs came from our head designer lisahanawalt. Lisa is in charge of all the character designs, so most of the clothing you see on the show comes straight from her brain. (One of the many things I love about working with Lisa is that T-Shirts With Dumb Things Written On Them sits squarely in the center of our Venn diagram of interests.)

NOW, it struck me that you referred to the craft services crocodile as a “he” in your question. The character, voiced by kulap Vilaysack, is a woman.

It’s possible that that was just a typo on your part, but I’m going to assume that it wasn’t because it helps me pivot into something I’ve been thinking about a lot over the last year, which is the tendency for comedy writers, and audiences, and writers, and audiences (because it’s a cycle) to view comedy characters as inherently male, unless there is something specifically female about them. (I would guess this is mostly a problem for male comedy writers and audiences, but not exclusively.)

Here’s an example from my own life: In one of the episodes from the first season (I think it’s 109), our storyboard artists drew a gag where a big droopy dog is standing on a street corner next to a businessman and the wind from a passing car blows the dog’s tongue and slobber onto the man’s face. When Lisa designed the characters she made both the dog and the businessperson women.

My first gut reaction to the designs was, “This feels weird.” I said to Lisa, “I feel like these characters should be guys.” She said, “Why?” I thought about it for a little bit, realized I didn’t have a good reason, and went back to her and said, “You’re right, let’s make them ladies.”

I am embarrassed to admit this conversation has happened between Lisa and me multiple times, about multiple characters.

The thinking comes from a place that the cleanest version of a joke has as few pieces as possible. For the dog joke, you have the thing where the tongue slobbers all over the businessperson, but if you also have a thing where both of them ladies, then that’s an additional thing and it muddies up the joke. The audience will think, “Why are those characters female? Is that part of the joke?” The underlying assumption there is that the default mode for any character is male, so to make the characters female is an additional detail on top of that. In case I’m not being a hundred percent clear, this thinking is stupid and wrong and self-perpetuating unless you actively work against it, and I’m proud to say I mostly don’t think this way anymore. Sometimes I still do, because this kind of stuff is baked into us by years of consuming media, but usually I’m able (with some help) to take a step back and not think this way, and one of the things I love about working with Lisa is she challenges these instincts in me.

I feel like I can confidently say that this isn’t just a me problem though— this kind of thing is everywhere. The LEGO Movie was my favorite movie of 2014, but it strikes me that the main character was male, because I feel like in our current culture, he HAD to be. The whole point of Emmett is that he’s the most boring average person in the world. It’s impossible to imagine a female character playing that role, because according to our pop culture, if she’s female she’s already SOMEthing, because she’s not male. The baseline is male. The average person is male.

You can see this all over but it’s weirdly prevalent in children’s entertainment. Why are almost all of the muppets dudes, except for Miss Piggy, who’s a parody of femininity? Why do all of the Despicable Me minions, genderless blobs, have boy names? I love the story (which I read on Wikipedia) that when the director of The Brave Little Toaster cast a woman to play the toaster, one of the guys on the crew was so mad he stormed out of the room. Because he thought the toaster was a man. A TOASTER. The character is a toaster.

I try to think about that when writing new characters— is there anything inherently gendered about what this character is doing? Or is it a toaster?

ASK ME QUESTIONS ABOUT BOJACK HORSEMAN.

Sometimes i feel like my work environment is the nerdy scientist version of B99

Evidence:

  • My 6’ 7″ coworker Paul who eats an entire 8 serving danish by himself at morning meetings 
  • The lab tech who just spent over an hour telling me about the superior taste of ghee and how to cook with it 
  • My adorable gay supervisor
  • Our intimidating postdoctoral researcher visiting from the UK who won’t say anything about her personal life
  • The time where the lab mouse got lost and they had to tear apart the lab to find it while also pretending like nothing was wrong 
  • My coworker being called down by security because an officer went to write her a parking ticket and they were concerned she had dead bodies in her car (she didn’t)
  • The topless incident in Spain 
  • 5 researchers trying to move a tech out of our head researcher’s house at 2 am because she was supposed to be house sitting for 6 months, but forgot when our boss would be back
  • Lots of puns about sterile procedure
people.com
Did Dan Stevens Really Sing? What Worried Emma Watson While Waltzing? Beauty and the Beast’s Secrets Revealed!
Ten burning Beauty and the Beast questions asked and answered — with important insider facts about the hit new film

How many people, animals and props were involved in making the opening musical number, “Belle?”

According to Disney, there were more than 150 cast members and extras involved, along with 28 wagons and carts, hundreds of live animals (horses, cows, mules, ducks, geese and hens) and countless props and set decorations. The set itself was also the production’s largest, measuring 28,787 square feet.

Bonus fact: The town is named Villeneuve, a fictional French village that was built on the backlot at Shepperton Studios outside London.  The town’s name is an homage to Gabrielle-Suzanne Barbot de Villeneuve, the author of the original Beauty and the Beast story.

How many horses played Belle and Maurice (Kevin Kline)’s trusty steed, Philippe?

Three.

“Belle and Maurice’s horse Philippe was played by three different horses, two of which had to be painted on a daily basis,” says a rep for the studio.

How did they pull off the waltz scene between Belle (Emma Watson) and the Beast?

Carefully! Watson and Stevens first had to learn the choreography, and then Stevens had to master it on stilts. The British star tells PEOPLE practice makes perfect when it came time to learn how to walk and dance in the steel contraptions.

“You’ve just got to get in ’em, start moving around!” Stevens says with a laugh. “Fortunately we had about three months of pre-production for rehearsals, learning the songs, the dances. Initially with the waltz I learned the steps on the ground and graduated to the stilts, which was slightly terrifying for me but probably more for Emma. I think she was very worried that I was going to tread on her toes in steel stilts, which could’ve ruined the movie, but I didn’t, so I’m very proud of that.”

Is that Dan Stevens’ real singing voice?

Yes! And it was a welcome challenge for the actor.

“Singing was a relatively new thing to me,” Stevens, 34, says of re-training his singing voice. “I’d sung at school and when I was younger, but in my 20s I [hadn’t] sung as extensively so reengaging my voice, retraining the voice was a big challenge.”

Did they use Dan Stevens’ actual face for the Beast?

Yes, although the finished product is a computer-animated and significantly hairier version.

Stevens wore a 40-lb. “muscle suit” and performed the role on stilts — first so that the size and movements of the character were captured on set during filming, and then again for the visual-effects teams so that his face was captured and later computer-animated with the Beast’s hair and fangs.

“Every couple of weeks I would go into a special booth and my face would be sprayed with about 10,000 UV dots and I would sit in what I used to call the Tron cage,” Stevens says. “Anything I’d been doing in the previous two weeks in the scenes, whether it was eating, sleeping, roaring, waltzing, I did it again with my face, with Emma [Watson] sitting on the other side of the cage, and we would capture the Beast’s face.”

What’s with Dan Stevens’ hair in that Prince reveal?

It’s a wig. A stringy, scraggly one.

“The hair at the end, was it extensions? I think it was a wig,” Stevens says, trying hard to remember the hair accessory he wore two years ago during filming. “It was quite awhile ago. Yeah, I’m pretty sure that was a wig,” he adds with a smile. “And what a wig!”

Which costume was the most challenging to create?

Belle’s red “montage” outfit, aka the one she wears outdoors for her snowball fight with Beast. Why? Because costume designer Jacqueline Durran used all eco-friendly materials in its design.

“Because Emma is so interested in sustainability and fair trade, eco fabrics and eco fashion, we applied those criteria to making a costume from head to toe,” Durran tells PEOPLE. “That [red] costume was made entirely from sustainable fabrics. We dyed it in vegetable dyes in our workroom, we had shoes made with eco leather, and we did the whole thing from top to bottom to be as thorough as we could. People learned different skills in the work rooms to be able to do it, so the dyers learned to dye with strange vegetable dye. Sometimes it took two weeks to dye something because you’d have to leave it in there for that long to get a rich color. It really was a learning curve for all of us, I’d certainly never done that before.”

How did the filmmakers decide on which songs to feature from the animated film and Broadway musical?

The answer is by hiring and deferring to the animated film’s composer, Alan Menken, who also co-wrote the music for the new film.

“It was challenging,” Menken told EW. “[The] Broadway show had songs that I would have loved to use for the movie, but the form for a film and the form for a Broadway show are different, so the song we wrote for the Broadway show was not going to work. Consequently, we wrote a brand-new song. The challenge is just to maintain the balance of what we originally had for the score and what we had for the show, and at the same time allow this film to have its own character.”

How many new songs are in the film?

Three.

Menken and lyricist Tim Rice (The Lion King) wrote three new ballads for the film. They are: “How Does a Moment Last Forever,” performed by Belle and her father (and sung by Celine Dion over the end credits), “Evermore,” which Beast sings for Belle when he releases her (and is sung by Josh Groban over the end credits), and “Days in the Sun,” which is sung by the objects in the castle and Belle when they are going to sleep.

What was left on the cutting room floor?

A lot — including a clever Frozen reference. Please allow LeFou (Josh Gad) and Gaston (Luke Evans) to explain:

“I mean, Gaston dies. Is that a spoiler?” Gad says with a laugh, when PEOPLE asked him and Evans during a recent sit-down if there are any Easter eggs fans should look out for. “The Easter egg I fought for [director] Bill Condon to put in but we never did, there’s a moment in the original where a bunch of snow falls on LeFou and he becomes a snowman and I thought, this could kill. It’s a little meta but it could be great [For those who may have forgotten, Gad played Olaf, the snowman in Frozen].”

Evans says his favorite scene that didn’t make the movie is one filmed during the castle battle, in which Gad’s LeFou has a fight with a bathroom appliance.

“What I miss, which we shot and is not in the film, is you having a fight with the toilet,” Evans says to Gad.

Adds Gad: “Played by Stephen Merchant (from Hello Ladies and the original Office)!”

“Yeah, it didn’t make the final cut,” Evans says with mock sadness.

Both actors joke that they have no idea what might end up on the DVD/Blu-ray because no one tells them anything.

“Nobody guarantees us anything,” says Gad. “We’re not even guaranteed that we’re going to be in the movie. It’s all based on our interview performances.

Adds Evans: “Which so far have been terrible.”

DCP Bucket List!

This is the start of my DCP bucket list. I’m picking and choosing from ones I have seen elsewhere! Also, I’m going to make a separate list just for food!

1) Visit all 4 parks in one day

2) Spend an entire day, open to close, at every park.

3) Go to MK for the Welcome Show

4) Watch the Wishes fireworks

5) Go to at least on VoluntEARS event

6) Go to a Magic Backstage event

7) Drink around the world at Epcot

8) Meet all the characters

9) See the Festival of the Lion King

10) Be the Rebel Spy on Star Tours

11) Go to the Animal Kingdom Lodge at night

12) See every parade and show at Disney

13) Go to a Rope Drop at each park

14) Go to a park alone

15) Go to a park and don’t go on any rides

16) People watch

17) Go to the parks on a rainy day

18) Have family and friends visit

19) Take a photo in front of each park landmark

20) Watch a custodian paint a water picture

Magic Kingdom specific:

21) Buy a balloon on Main Street

22) Curtsy with the Princesses

23) Find PUSH the talking trash can

24) Frontierland Hoedown

25) Get pixie dusted from Castle Couture

26) Get a picture on an empty Main Street

27) Make a wish in the wishing well

28) Ride all 3 mountains in one day

29) Take a behind the scenes tour of the park

30) Take the ferryboat instead of the monorail

31) Try pulling the sword from the stone

EPCOT specific:

32) Take a picture in the phone booth in the London Pavilion

33) DiveQuest

34) Do the Behind the Seeds tour

35) Get a passport and visit every country for stamps

36) Pick a pearl in Japan

37) Sit in the very front row of Soarin’

38) Take a picture inside Bruce’s mouth at The Seas with Nemo and Friends

39) Take the Around the World Segway tour

40) Do everything in Innovations East and West

Hollywood Studios specific:

41) Do the animation class

42) Experience Character Palooza

43) Get a high score on Toy Story Midway Mania

44) Go on Tower of Terror daytime, night, and raining

45) Make a lightsaber at Tattooine Traders

46) See both Fantasmic showings in the same night

47) Sit in the very front row at Fantasmic

48) Be on the Backlot Tour

49) Walk through One Man’s Dream

Animal Kingdom specific:

50) Check out the Backstage Safari or Wild by Design tour

51) Dance in the Harambe Village street party

52) Do the Wild Africa Trek

53) Be a part of the show at Festival of the Lion King

54) Go on Kali River Rapids until completely soaked

55) Go to the petting zoo at Rafiki’s Planet Watch

56) Ride the first Kilimanjaro Safari of the day

57) Ride Expedition Everest multiple times in a row

58) Play in Dinoland

Downtown Disney specific:

59) Design your own shirt at Design-a-Tee

60) Get lost in World of Disney

61) Go bowling at Splitsville

62) Go to DisneyQuest

63) La Nouba by Cirque du Soleil

64) Ride the Characters in Flight balloon

65) See a movie at the dine-in theatre

66) Stroll around DTD at night

67) Visit Basin and wash your hands with the scrubs

68) Rent a platoon boat

Resort specific:

69) Archery at Fort Wilderness

70) Campfire & singalong with Chip and Dale at Fort Wilderness

71) Campfire at Animal Kingdom Lodge

72) Explore the Boardwalk at night

73) Stay at a fancy resort for one night

74) Get leis from the Polynesian

75) Go parasailing or jet skiing in Bay Lake

76) Go to a movie night

77) Have a spa day at Saratoga Springs or Grand Floridian

78) Have tea at the Grand Floridian

79) Jellyrolls dueling piano bar on the Boardwalk

80) Go around Seven Seas Lagoon

81) Relax in a hammock at the Polynesian

82) Ride the resort monorail all day

83) Take a carriage ride at Fort Wilderness or Port Orleans Riverside

84) Visit every resort

85) Visit the Wedding Pavilion

86) Watch the Electrical Water Pageant from the Poly

87) Watch Wishes from the beach at the Poly, Narcoossee’s at the Grand Floridian, and California Grille at the Contemporary

Other:

88) Check out ESPN Wide World of Sports Complex

89) Learn to surf at Typhoon Lagoon

90) Plan mini golf at Fantasia Gardens or Winter Summerland

91) Swim with sharks at Typhoon Lagoon

92) Take on Summit Plummet at Blizzard Beach

93) Be the last guest in a park

94) Become a Galactic Hero

AQUAMAN Press Release

BURBANK, Calif. — Principal photography has begun on Warner Bros. Pictures’ action adventure “Aquaman,” helmed by James Wan (“The Conjuring” films, “Furious 7”). Jason Momoa stars in the title role, returning to the character he plays in this fall’s “Justice League.”

The film also stars Amber Heard (“Justice League,” “Magic Mike XXL”) as Mera; Oscar nominee Willem Dafoe (“Platoon,” “Spider-Man 2”) as Vulko; Temuera Morrison (“Star Wars: Episode II – Attack of the Clones,” “Green Lantern”) as Tom Curry; Dolph Lundgren (“The Expendables” films) as Nereus; Yahya Abdul-Mateen II (upcoming “Baywatch,” Netflix’s “The Get Down”) as Black Manta; with Patrick Wilson (“The Conjuring” films, “Watchmen”) as Orm/Ocean Master; and Oscar winner Nicole Kidman (“The Hours,” “Lion”) as Atlanna.

The film is being produced by Peter Safran, with Zack Snyder, Deborah Snyder, Rob Cowan, Jon Berg and Geoff Johns serving as executive producers.

Wan’s team behind the scenes includes such frequent collaborators as Oscar-nominated director of photography Don Burgess (“The Conjuring 2,” “Forrest Gump”), his five-time editor Kirk M. Morri (“The Conjuring” films, “Furious 7,” the “Insidious” films) and production designer Bill Brzeski (“Furious 7”). They are joined by costume designer Kym Barrett (“The Matrix” trilogy; “The Amazing Spider-Man”), along with Oscar-winning VFX supervisor Charles Gibson (“Pirates of the Caribbean: Dead Man’s Chest,” “The Hunger Games: Mockingjay Part 1 & 2”) and VFX supervisor Kelvin McIlwain (“The Fast and the Furious” franchise).

As is fitting for the king of the sea, the shoot will take place mainly in locations spanning the stunning Gold Coast of Queensland, Australia, with extensive filming to be accomplished at Village Roadshow Studios. The production will utilize the facility’s sprawling backlot and all nine VRS soundstages, including its newest, Stage 9, the largest of its kind in the Southern Hemisphere. Filming will also take place in Newfoundland, Sicily and Tunisia.

An icon for over 75 years, Aquaman is known by fans of DC Comics as the ruler of Atlantis but committed to protecting the entire globe, both land and sea.

Currently set for a 2018 release, the film is based on characters from DC.

The Thing About Carnival Row...

I’m pleased as punch to announce that Amazon has ordered Carnival Row to series. This, as I may or not have mentioned, is the series based on my first script. And it’s been a long journey for me. I was a second-year film student when I had the idea. I don’t know where it came from. Maybe that trip to England, with the production of Midsummer Night’s Dream and the Jack the Ripper walking tour. Or the film noir class and the Brian Froud book I picked up after a shift at the school library. But at some point, this imaginary place, this sooty Victorian city where humans and mythical creatures lived side by side started to come into focus. And I wrote a short student film about a police inspector who shows up at a brothel where this faerie prostitute has been un-winged and murdered. And we come to realize that he’s hiding something from the other police on the scene, that the victim means something to him.

I was probably biting off a little more than I could chew, but I was desperately in love with it. It had big wet emotions and English accents and social implications and fog and gaslight and creatures. I wanted to film it. Very badly. And I was hell-bent to figure out a way to do it. I wrangled some friends. I found a production designer. Went driving around at night after class and found like the only cobblestone street in Winston-Salem.

I was crushed when the school rejected the pitch, but my screenwriting advisor convinced me to turn it into a feature script. I didn’t want to at first. I was heartbroken. I’d wanted to make it. But he was insistent, to his credit, and the idea wouldn’t go away. So I spent the next two years writing, bringing pages to him, etc. And he’d give me notes. How to write economically. Using white space to draw the eye. Using active verbs instead of “is.” The script wasn’t just a sandbox. It was a classroom. It was the script I learned to write on.

I never thought of selling it at that point. Hollywood seemed lightyears from my little room in North Carolina. I honestly never imagined it could sell. I liked it too much to think so. It was just some fun I was having. Written for an audience of one. So in my last year at school, when an alumni in LA called to say his boss was looking for material and asked if I’d send that thing I’d been working on, I sent the script along, not really expecting anything to come of it. But a few months later, I get this call in my dorm room. And he says, “I can’t say much. But you should know — you’re about to start getting phone calls.” And my life was never the same. By the same time the following year, the script, Killing on Carnival Row, had been bought by New Line. I had reps. I had meetings on backlots. I had a career.

Even so, Carnival Row sat unproduced for over a decade. And for much of that time, I harbored almost no hope for it. It was either unlikely to get made or unlikely to get made in a way I’d have anything to say about. I had to learn to think of it as a sacrificial lamb. This thing I loved very intensely once, and gradually had to let go of. It was my first good idea. The one I bought my career with. And that was that.

The fact that it’s getting made now is extraordinary. The fact that anything gets made is extraordinary, of course. But the fact that I get to be there. Talking about the color of the wallpaper or the shape of faerie wings. Giving notes to artists. Going over lists of actors and location photos. Looking for the right cobblestone street — That, my friends, is a miracle. Because after all these years, that kid who was too dumb to be afraid he was biting off more than he could chew is back in my life, and he’s finally getting to make his weird little movie. And like Rene said at lunch the other day, “If that isn’t the fun we signed up for, it doesn’t exist.“