Whenever Scorsese’s following Hugo’s adventures, he moves the camera a lot, pushing forward to create a sense of depth and kinetic excitement. But when he shifts to Georges, the frame is more static, with Scorsese using 3-D the way Méliès might’ve: as the ultimate tool for a stage magician always in search of a good illusion.
As Coraline travels back and forth via a gnarly tunnel, Selick takes full advantage of the extra dimension to make the trip itself look dark and magical. The look of Coraline captures its sense of being pulled through a secret gateway to someplace too good to be true.
It’s nowhere near as expensive online as the monorail set, but finding one for less than $90 is becoming difficult for me. I must have patience, but ooooh it’s so cool. Those giant wheels are my favorite part.
When I first saw the trailer I thought the person rising from a bow in front of Allura and the Tron/Quarian-esque assassin were the same person, but upon closer look I’m not so sure?
Tron Assassin didn’t seem to be wearing a fanny pack, unlike this one. Plus the armor around the shoulders doesn’t match up. They do appear to be on the same side, though, if the matching color-scheme is anything to go by.
I think the bowing one is Galra (if not both of them). What little we can see of their head shape looks consistent with Galra higher-ups, and Allura’s wary/mistrusting expression would make sense if that were the case. The red stripes are a bit odd, though I think the markings/scars on Haggar’s face are a similar shade - which may have no correlation, but it’s interesting to think about.
Either way I’m interested to see what their alignment is. I’m going to make a wild guess that they’re anti-empire rebel Galra? I could just be grasping at straws, but we’ll see.
P.S. if I’m right about Tron Assassin being female and she doesn’t do anything too evil, you can bet I’m going to be shipping her with Allura.
There was the physical puppeteering and the facial stuff. Essentially, you go from these incredibly lavish, amazing, tangible practical sets on these stages at Shepperton [Studios] — and everything’s looking gorgeous and there’s me looking like a crash-test hippo on stilts — and you’ve got to do all that again, but you’re now essentially in Tron. I’m sat wearing a black t-shirt in a sort-of UV booth with 27 cameras. The whole thing felt very very magical in a way. It just felt like pure magic how they fused these two experiences together. - Dan Stevens [on bringing the Beast to life in Beauty and the Beast]
I’m just imagining them laying there, Connors arms around troye, forgetting the world around them, a slower version of livewire w sorta a crinkly almost vinyl-like texture in the background and Connor squeezes even tighter when he feels troye waking up and he looks at Troyes face, shadows caused by the sunlight starting to stream in through the windows and can’t help but think how lucky he is to be here right now, holding this beautiful amazing boy in his arms, that he loves so much, and he rests his forehead against Troyes and kisses him on his nose and whispers, “I love you” and troye just grins and whispers back, “I love you too” and they just lay there together, in each other’s arms and comfortable silence for hours