![]() ![]() Meanwhile, digital plastic surgery and postproduction enhancement have become not only commonplace but expected, going so far, at least in one instance, as replacing an actor’s face with another’s after the performance was already in the can.īut Cushing in Rogue One represents a more extreme version of the case: This is a deceased actor being made to look as though he’s giving a new, living performance. Netflix’s BoJack Horseman featured a story line in its third season in which BoJack is replaced in a film by a digital re-creation of himself, having signed away those rights in his contract he’s subsequently nominated for an Oscar, and the performance is praised as the best of his career. ![]() As CGI has improved over time, concerns have grown regarding actors’ rights to their own personas and likenesses, either onscreen or in video games. The legal How is a bit less straightforward. That’s the technical How of Cushing’s return. (Apparently, his legs and feet were difficult, because Cushing hated the boots he was given for Tarkin’s costume and gave his original performance in slippers as a result, Lucas only shot him from the knees up.) According to the Daily Mail, which first reported that Cushing would be re-created back in 2015, the effect was achieved by drawing on preexisting footage of the actor, particularly his work in A New Hope. They did this through a combination of techniques: British actor Guy Henry, probably best known to American audiences as Minister of Magic Pius Thicknesse in both Harry Potter and the Deathly Hallows movies, performed the role of Tarkin during shooting, then was digitally altered in post-production to appear as if he was Cushing. Rather than recast the role of baddie Grand Moff Tarkin, once played by the late Peter Cushing, director Gareth Edwards and Industrial Light and Magic simply digitally re-created the actor. In one instance, the movie addresses this problem in a more or less unprecedented way. The problem is particularly acute for Rogue One, which takes place shortly before 1977’s A New Hope and features a few of the same characters. That’s more than 40 real-life years for the franchise to span onscreen, and 40 years of filmmaking means 40 years of human events, including the most human events of all: aging and death. It’s there in the dates of each release: 1977 to 1983 for the original trilogy 1999 to 2005 for the prequels and now, starting in 2015, one movie a year through at least 2020, including this year’s Rogue One. There are few, if any, ongoing film franchises more connected to the passage of time than Star Wars. Discovery, $47 million Paramount Global, $45 million NBCUniversal, $34 million Amazon, $32 million Sony, $25 million and Apple, $17 million.Peter Cushing as Grand Moff Tarkin in the first Star Wars. As it stands, the WGA says this deal would cost Disney $75 million per year Netflix, $68 million Warner Bros. In the memo, the WGA also broke down what their proposed deal would cost each of the major studios. What Could the Strike Cost Each Major Studio? ![]() Another bargaining point for the conflict is residuals, which would allow writers to receive proper compensation if what they wrote turns out to be successful, much like it used to be during the prime of cable television. If the demands are met, platforms like Netflix and Disney+ would be required to hire a writing team consisting of a minimum number of members, for a defined minimum amount of time, ensuring better job security for the people in charge of creating the stories audiences love. The Guild is looking for an active change regarding the way writers are treated during the current era of the industry, where streaming is one of the main branches of content production.
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