Issue link: https://digital.copcomm.com/i/100015
Director Stanton���s first live-action film was the VFX-heavy John Carter. cameras so you can���t light anything in an interesting way. I feel that a lot of today���s comedies, though very funny, often, have lost all sense of visual style. They���re just lit and framed so badly. It���s almost part of their religious belief. I���m not saying it���s better or worse ��� just different.��� ANDREW STANTON Writer/Director Wall-E, Finding Nemo, John Carter He joined Pixar in 1991 and began as their second animator (John Lasseter was the first) and a writer. After co-directing A Bug���s Life and winning Oscars for directing Wall-E and Finding Nemo, Stanton made his live-action directorial debut with John Carter. STRENGTHS: ���The fact that you can hide every mistake you���ve ever made is huge. I had no idea just what post was capable of in today���s houses until I began dealing with all the visual effects and the rest of the post on John Carter. It means you can totally rethink every scene and sequence if you have to. You never want to just rely on it, but man it gives you so many options.��� WEAKNESSES: ���The big one is that you can tweak something forever, and that���s a side of post I was so familiar with working only in digital. You can keep trying to perfect your film until they drag it out of your hands. It���s so tempting.��� OPPORTUNITIES: ���I think you���re seeing a little bit of a different approach and thinking about post, depending who you talk to and who���s more comfortable with all the tools available, in that some people are now not shooting so much for exactly the look they want at the time of shooting. Now, they���re waiting until they get to post and keeping their options open, and often coming up with something they hadn���t thought of during the shoot.��� THREATS: ���The big problem now is the faster you work in post and the less money you need, then everyone starts making that the standard and the rule. We���ve seen it happen with scoring and orchestration. All it takes is one fast composer who does the job a little faster and cheaper, and suddenly everyone has to do it that fast, and then the whole process starts to suffer for it.��� OUTLOOK FOR 2013: ���There are still problems with the economy affecting audience attendance, and ongoing things like exhibition lagging so far behind in some places, but I���ll still take those problems over getting people to leave their homes and go see movies on the big screen. I���d rather people see movies under poor conditions in a theater than staying home and watching them on their phones or computers.��� WILLIAM FRIEDKIN Writer/Producer/Director The French Connection, The Exorcist, Cruising, Killer Joe William Friedkin won the Best Directing Oscar for The French Connection. He began in TV, doing live shows and docs, and directed one of the last episodes of The Alfred Hitchcock Hour www.postmagazine.com Post���������December���2012��� 23