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Narratives of marginalization have been crucial to the thematic consciousness of animated films from Snow White and the Seven Dwarfs to the slick CG kiddie films of today. Subversion of social ‘tradition’ and the transcension of adversive societal elements are key parts of this equation. The go-girl butt-kicking heroics of Disney’s Mulan and the odd-man-out subtexts of films as seemingly diverse as Aladdin and Finding Nemo are prime examples of this Disney-fied social flavoring...
...certain scenes, and took out a few other scenes to compensate, because we are in a rush to catch the deadline of Cannes, so that version the sound and also the music is not perfect. We improved it, and also the special effects of the film. All this CG works hadn't been complete during Cannes. We put all the things that were supposed to be in the film back in their right place. Part of the delay is because I am working with CGI for the first time in my career. This is something beyond my control, and there...
...CG-4A Waco Glider Carried 15 soldiers or about 9,000lbs. (4 metric tons) of equipment. Most broke apart on landing...
Some flightier, more fantastic movies go heavy on the CG. Director Joseph McGinty Nichol, known as McG, lays out a bit of his new Charlie's Angels action: "The girls drive an Army truck off a dam, and while falling to their death, they climb into a helicopter on the back of the truck and fly away." Send in the computer nerds! Still, McG stresses, "Pure CG can be cartoonish. You lose the stakes. There's no jeopardy. Audiences have a built-in CG detector. So you need to be slippery. You use a lot of real elements...
That's why those fearless--or foolhardy--stunt folk aren't likely to be replaced by machines. "Stuntmen are more vital than ever to provide the impetus for the CG work," says McG. "In The Matrix Reloaded there's a lot of CG in the freeway chase, but that scene probably employed more stuntmen for a longer period than any action sequence in the history of cinema." Besides, CG is expensive. "Given the amount of time and money that it takes to get it right in the computer," says Jonathan Mostow, director of Terminator 3, "you might as well have...