Dem Bones In Da Movies

JA 2We’ve all got them. We just don’t like to think about them. Nevertheless bones are everywhere in the movies. Most commonly they’re used in horror flicks to get a quick and easy shock reaction. Nothing reinforces the grim reality of death better than a skull, or spectral finger pointed in the audience’s direction.

Dig a little deeper however and you’ll find bones have been employed creatively throughout cinema history. Whether entertaining children or even hinting at the nature of the universe, there’s a lot more to the matter than meets the eye… well, ocular socket anyway.

So make sure you’ve drunk your milk because I’m taking you on a rattling good tour of the various ways in which moviemakers have made us aware of what lies just under the skin…

INDIANA JONES & THE KINGDOM OF THE CRYSTAL SKULL

IJ CS​​Harrison Ford may find his next foray with a fedora and bullwhip rather poignant, as the pensionable adventurer excavates yet more danger and derring do for Indiana Jones 5. Spooling back to 2008 though, his last outing featured the remains of an ancient civilization, but one of the like he’d never seen before.

Kingdom Of The Crystal Skull brought Indy face to face with a bonce of unimaginable power, in a belated tale of father-son bonding, flesh-eating ants, Cate Blanchett going the full smoked ham and the important advice that you can avoid a nuclear blast by hiding in a fridge.

The big finale, set in an Amazon temple, saw the crystal artefact’s true purpose revealed – in a first for the series Dr Jones got introduced to aliens, and director Steven Spielberg wasn’t in the mood to make them cuddly. The producers put all their eggs in one basket for a climax that had something for everyone… and at its centre was that eerie, all-knowing skull.

CAPTAIN AMERICA: THE RED SKULL ​                                                            RS

The star-spangled shield slinger is really up against it in the Marvel Cinematic Universe at present. Having battled Ultron, he’s locking horns with former friend Iron Man for his third movie, Civil War. But there’s only one true nemesis for Captain America – old war foe The Red Skull.

His terrifying appearance was due to an attempt to become a supersoldier like Chris Evans’ title hero, an experiment which went ever so slightly wrong. Cap then took on Skull over possession of the fearsome Tesseract, a relic capable of giving its user unlimited energy.

This bald bad ass has the full complement of evil credentials. He’s a Nazi. He has an insatiable thirst for power. And above all he’s only got half a face. Woe bedtide the underling who suggests he needs a nose job.

DON’T BE AFRAID OF THE DARK: TOOTH FAIRIES

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Mad Mexican helmer Gullermo del Toro has a tendency to take established ideas and give them his own warped spin, to great critical and commercial effect. An obscure TV movie about goblins became a passion project for him forty-odd years after it first aired – 2010’s Don’t Be Afraid Of The Dark.

Handsome yet haunted couple Guy Pearce and Katie Holmes moved into a perilous pile of prime real estate that unbeknownst to them had a history of carnage, care of some child-seeking tiny creatures. The dark dynamo reworked these as tooth fairies, though left the directing honours to comic book guy Troy Nixey.

Why tooth fairies? Because they liked to feast on your pearly whites of course! The monsters enjoyed getting their teeth into your teeth, a concept del Toro had previously explored in Hellboy sequel The Golden Army.

ONE OF OUR DINOSAURS IS MISSING: APATOSAURUS SKELETON

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​While you’re marvelling at the rampaging skinless T-Rex at the centre of the Night At The Museum franchise, spare a thought for the movie that came first in that predatory respect –  1975’s One Of Our Dinosaurs Is Missing.

The Disney classic featured the Natural History Museum as the venue for slapstick-fuelled mayhem. The multi-boned Apatosaurus exhibit was chosen as an unlikely place to hide a microfilm by crusading Brit Lord Southmere (Derek Nimmo). From there ensued a battle of wits between the Chinese government and, erm, some nannies.

The film is well-remembered for the spectacle of the former flesh eater being driven around London on the back of a steam lorry. The presence of Peter Ustinov as ethnically questionable character Hnup Wan – alongside Carry On stars Joan Sims and Bernard Bresslaw – also raised eyebrows.

THE NIGHTMARE BEFORE CHRISTMAS: JACK SKELLINGTON

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One of the most famous onscreen skeletons of all wasn’t made of calcium but modelling clay. Tim Burton proved the perfect candidate to create a heartwarming family tale based on his dark verse, which made Jack Skellington the all-singing, all-dancing focus. Henry Selick sat in the director’s chair, moulding the movie’s plasticine legs.

The story is as well-known as a Grimm’s fairy tale, but in case you’re out of the loop, here it is. Skellington was the toast of Halloween Town, until he stumbled upon Christmas Town, and his whole attitude to life changed as he attempted to bring the two sides of the coin together for a bizarre and brutal festive experience.

Jack had quite a pedigree behind the scenes – his elegant vocals came courtesy of regular Burton composer Danny Elfman, but his lines were delivered by Chris Sarandon, better known as vampire hunk Jerry Dandrige in the original Fright Night.

JURASSIC PARK: RAPTOR CLAW

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​Sometimes the smallest things can be the most powerful, an idea ably demonstrated by Steven Spielberg in 1993 game changer Jurassic Park. It wasn’t all giant scaly horrors running around the place gobbling up lawyers and giving Newman from Seinfeld a venom facial.

Before we even saw a “living” dinosaur we were introduced to rebel paleontologist Alan Grant (Sam Neill), who gave a mouthy young scamp an education on velociraptor hunting habits at a dig site. His illustrative tool? A rather nasty-looking claw. As the accompanying picture shows it wasn’t long before the kid was seeing those so-called relics in a whole new light.

It was in many ways a quiet scene, but one underscored by a playful bite. Neill’s laid back tones, contrasting with the vivid subject matter being described, set the scene for the theme park-based action horror fest to come. The actor returned for Jurassic Park III. Sadly the claw didn’t.

THE SKULL

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Though Hammer Studios made a lasting mark on the British horror film it’s easy to overlook the contribution of Amicus Productions, who specialized in gore-filled compendiums. These typically depicted several grisly chapters under the umbrella of one movie. In the mid-Sixties they had a go at beating Hammer at their own game in our next bony slice of terror, The Skull.

Based around the idea of the late Marquis de Sade’s noggin being detached, enabling the decapitator to use its evil powers, the story (by Psycho’s Robert Bloch) starred Peter Cushing as a supernatural anorak who came into possession of the title object, complete with terrifying telepathic abilities. This inanimate neck topper left a trail of death and destruction in its cranial wake.

The Skull has unfortunately not survived well against the likes of Dracula: Prince Of Darkness and The Devil Rides Out, but it carried a welter of talent both in front of and behind the camera: Christopher Lee and Michael Gough shared the screen with Cushing and Freddie Francis lined the lurid lenses.

2001: A SPACE ODYSSEY: BONE THROW

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​The most important bone on this list (stop sniggering) is also the most important in human history, according to Stanley Kubrick’s epic 1968 collaboration with Arthur C Clarke. Trying to get the story of 2001 down in one paragraph would be stupider than a neanderthal eating his own dung, but here are the basics.

Back at the dawn of intelligent life on Earth a monolith appeared, heralding a strange, ominous, mysterious and beautiful introduction into the world of an interplanetary power. Got that? Good. In a lengthy opening sequence we hung out with primitive humanity as they eked out their existence on the barren landscape.

One particular primate discovered the power of a bone as the way forward for his species – an emblem of Mankind’s capacity to create and destroy. He promptly chucked it into the air, where Kubrick cleverly cut from its spinning trajectory to that of a ship hanging in space. The scene straddled our primal past and hi tech future in one striking gesture.​

PREDATOR 2: XENOMORPH TROPHY

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This nod to the Dark Horse comic looked like a throwaway thing, but turned out to be the biggest blink and you’ll miss it moment of recent times. ​It was just a fleeting appearance, but the in joke of a xenomorph skull on a spaceship in the latter’s Arnie-free sequel created a momentum that led to a whole other horror franchise.​

Danny Glover felt too old for the shit of Lethal Weapon, but was the right age it seemed for this crock of urban action, which relocated the title monster from the great outdoors to the City of Angels. The climactic scenes saw Glover access the Predator’s crib where he stumbled on its macabre trophy collection.

Over a decade later the potential was capitalized on with Alien vs Predator. It didn’t receive a red hot reception, but gave rise to a bizarre follow up, in addition to the dreadlocked death dealer taking centre stage again for Predators.

JASON & THE ARGONAUTS: UNDEAD ARMY

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Animator Ray Harryhausen was one of the driving forces behind stop motion production. If he hadn’t sat there patiently manipulating and snapping all those fantasy creations we wouldn’t have had the spectacles of the Sinbad movies or Clash Of The Titans. From Minotaur to Medusa, he gave generations of kids nightmares.

Jason & The Argonauts, my final entry, was one of his crowning achievements. The bronzed and bearded Todd Armstrong went on a quest across the exotic and creature-strewn Colchis, in search of the fabled Golden Fleece. He encountered various fully-poseable beasties, but Harryhausen saved the best and indeed boniest for last.

The final section of the film showcased a massive swordfight between Jason’s men and a team of skeletal warriors brought up from the earth by the evil Aeëtes​. He even used the teeth of the fearsome Hydra as seeds from which to grow the menace. This sequence is so perfectly executed, blending actors and effects, that it still looks as impressive now as it did back in 1963.

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10 Film Sequels That Went In Wildly Different Directions (WhatCulture)

PS ICThe psychology behind a sequel is simple: more of the same, and usually bigger. After all, since the first film was a great success, why change a winning formula? While it’s generally accepted that a follow up won’t match the original, producers can always rely on dollar signs as a motivating force.

Over the years, scores of audience members have sat in the cinema only to emerge two hours later wondering why they bothered. The bloated spectacles of Speed 2, Bad Boys II and Escape From LA are testament to that.  However every so often that rule is broken, and a director will try something different with a new instalment. From a shift in tone to a complete change in storyline, there are sequels out there that mean more than an increase in budget and a digit jammed onto the end of the title. Here we take a look at ten of the best/worst examples…  Read more.

Brilliant But Blatant Movie Product Placements (The Hollywood News)

AS CTMUK TV viewers are currently being treated to the sight of Arnold Schwarzenegger being blackmailed by two nattily-dressed Eastern European meerkats. Tied in with the release of Terminator: Genisys, this is an advert for car and home insurance – now the T-800 has popped up in some odd places, but lending itself to a company that helps you when your water pipes burst? That’s a whole new level of terror. As the star reaches pensionable age, so the endorsements get more staid and sensible.

What with Sylvester Stallone flogging sliced bread and Jean-Claude Van Damme karate’ing his way round his own ice palace for a popular beer brand, it seems Eighties action stars are really starting to build those nest eggs. It isn’t a great surprise to see these commercially-minded butt-breakers sign up for the big bucks – after all Schwarzenegger, Stallone and Bruce Willis made a hefty mint out of the Planet Hollywood restaurant franchise. Yet when the likes of George Clooney, Cate Blanchett and even Al Pacino start appearing in your home hawking various products and services it opens a different chapter on the history of movie stars mingling with the Mad Men.

Bill Murray mildly spoofed stars who absconded to foreign territories to peddle rubbish in Lost In Translation. However these days the business of plastering your face onto a money-making exercize is viewed with less embarrassment, to the extent that Sean Penn weighed in to criticize his fellow actors for being quite so quick to open their wallets. Mind you, he’s a fine one to talk, as our list is about to demonstrate!

Here we take a moolah-strewn peek at the complex relationship between the film industry and advertising. Along the way we uncover some alarming examples of Hollywood shunting brand names front of camera, in creative or often just blatant fashion. This is the art of extracting cash from unsuspecting punters, and where better to start than our first choice, a man who earns a crust from being covert? Well, as covert as a handsome man in a tuxedo doing major stunts in capital cities can be…

JAMES BOND (1962 – present)

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The 007 franchise has been a bandwagon of luxury brand names for decades. From the Aston Martin he drives, to the Walther PPK he shoots people with, right through to the tipple he enjoys after a hard shift beating up bad guys and bedding beauties (Martini, shaken not stirred) this agent has a licence to print money as well as kill.

Today’s Bond is no different, with watch manufacturers, fashion houses and even purveyors of fragrances courting Daniel Craig‘s attention. Be it deploying one of Q’s gadgets, checking the time to see whether the bar is open or tearing up the streets of an exotic location, there’s a queue of corporations as long as Richard “Jaws” Kiel‘s arm waiting to put their stamp all over the latest adventure.

There are too many examples of product placement in the Bond movies to catalogue here, but my favourite was Pierce Brosnan‘s Nineties superspy driving a remote control BMW off a roof in Tomorrow Never Dies… landing it perfectly in the window of a Hertz rental shop!

CARRY ON UP THE JUNGLE (1970)

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The Carry Ons epitomized the idea of a long-running film series way before the blockbuster entries of Hollywood. Featuring liberal helpings of irreverence and outright sauce, their approach was also characterized by the product placement on offer. It’s perhaps appropriate that iconic star Sid James became the arch exponent of this.

Known to be partial to a drop of Scotch whiskey, he took his interest to new extremes for studio-bound tropical romp Carry On Up The Jungle. In an infamous sequence he opened a cabinet, where an obscene amount of Johnny Walker Red Label was seen inside!

Ranking as one of the booziest movie scenes since Richard Harris and Richard Burton sat down for a chat and a vat of spirits in The Wild Geese, the unexpected and, more importantly, distilled addition to the shoot ensured both the actor’s representatives and his thirst were satisfied.

BLADE RUNNER (1982)

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Director Ridley Scott‘s visionary sci-fi epic impressed audiences in many respects, bringing them a neon-soaked urban landscape the likes of which they’d never seen before. One of the factors which rang true was the generous helping of brand names lit large amongst the giant geisha faces and the pollution.

Everyone recognized Coca-Cola, but the film also highlighted other logos that reflected the Eighties as much as a futuristic vibe. Atari and Pan-Am were two of the major entities on the list that either changed and vanished into the smog in ensuing years.

Interestingly, there is a “curse” associated with the machine-hunting masterpiece. A noticeable number of companies who got displayed prominently wound up going the way of the replicants! I wonder who’ll be queueing up to have their wares splashed all over the upcoming sequel like a robot’s brains…?

GHOSTBUSTERS (1984)

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Dan Aykroyd and Harold Ramis‘s lucrative comedy spawned a lot of merchandise, and these two savvy humour-mongers may have had their gameplan worked out to perfection – the ectoplasmic quartet were branded with a distinctive logo, Ray Parker Jr.‘s catchphrase-heavy title track became the anthem for a generation and the “ugly little spud” Slimer was a toymaker’s dream come true.

Yet the writers also cannily included everyday products in their concept, some of which must base part of their revenue on the basis of ‘Buster involvement. American sweet treat the Twinkie got a name check in a legendary piece of dialogue from Aykroyd’s Ray Stantz. And then there was the small matter of the Stay Puft Marshmallow Man.

A massive dude made of marshmallows dressed in a sailor outfit may have been fairly low on the list of global threats up to that point, but you can be sure the citizens of New York found him pretty damned horrifying after he tried to wreck the city in a fondant-fuelled rampage! How the incident affected Stay Puft’s profits has yet to be revealed.

U-TURN (1997)

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When you find yourself stranded in the middle of nowhere, in a dustbowl hotter than Ricky Martin’s jockstrap, you’re going to get thirsty, right? That was exactly the type of hard-boiled nightmare experienced by Sean Penn in Oliver Stone‘s vicious thriller U Turn.

While Penn’s character Bobby found numerous distractions in the remote community of Superior, most notably Jennifer Lopez‘s femme fatale Grace, it was the prominent appearance of a lower level brand name that gave viewers the impression they were suddenly watching the world’s harshest soft drinks commercial.

Usually a vending machine in an American movie is full of the all-powerful elixir that is Coke. However, when Bobby really needed to drench his parched throat after a battering Stone opted for the lesser-known Dr Pepper as the town’s speediest source of refreshment. Penn may well look back on this scene and shudder, bearing in mind he took A-Listers to task recently for their flagrant ties to advertising!

As long as the film business earns money, the big beasts of commerce will always be looking to make a deal. But it’s an interdependent thing between art and acquisition, that shows no sign of either party wanting to kick the other out of bed.

This feature appeared on The Hollywood News

Trash Blu-Ray Review (The Hollywood News)

Political corruption and intrigue form the backdrop to Trash, an involving action thriller set apart by two things. First, the unusual location – the slums of Rio De Janeiro, dominated by their mountains of litter. Second, the perspective – it’s seen mainly through the eyes of three kids who stumble upon a hotbed of deception that changes their lives forever.

Raphael (Rickson Teves), Gardo (Eduardo Luis) and the delightfully-named Rat (Gabriel Weinstein) earn their meagre living sifting through what society dumps quite literally on their doorstep. But when Raphael discovers an abandoned wallet pitched into a passing garbage truck by man-on-the-run José Angelo, he finds it contains a strange document. Unbeknownst to the boy, Angelo has been apprehended and murdered by the police at the behest of a prominent politician, and with no information extracted the authorities begin combing the trash heaps to recover whatever it is that holds their future in the balance.

Stephen Daldry is the director, which surprises as you don’t normally associate him with this type of movie. Even more eyebrow-raising is Richard Curtis‘s involvement, adapting Andy Mulligan‘s novel. Curtis has a well-developed social conscience but Trash is strong meat for the writer of Love Actually. The viewer needn’t worry as both men do a decent job – they’ve crafted a proper thrill ride, featuring some great chase sequences and moments of pulse-pounding suspense.

They opt to show the children commenting on the majority of the action via a video confessional made later in the movie, hence reassuring us of their safety throughout. This is just as well, as the film doesn’t do things by halves. Like with Slumdog Millionnaire the villains don’t go easy on the protagonists because they’re kids – one sequence in particular where Raphael is tortured by warped cop Gonz (Selton Mello) is very difficult to watch. Overall however the tone is well-judged, balancing pathos with a light touch (these are wayward boys after all), in numerous scenes which leap off the screen.

This is intended to be an entertainment first and foremost, so inevitably the social context fades into the background. For preference I would have liked more detail about the country and indeed the lads themselves as characters. To the filmmakers’ credit it should be noted they hammer home some stark truths in the closing minutes. Some extras about Rio’s upheavals would have been beneficial, but unfortunately the release carries just the film, which is a major missed opportunity. Another minor criticism is you don’t get a thorough understanding of what Angelo was opposing in the first place, beyond a general idea. But there’s certainly enough to go on and the piece has a strong ending, with a showdown in a cemetery as satisfying as anything from a Jason Bourne chapter.

Martin Sheen and Rooney Mara are good as a priest and a nun working in the slums, but really they’re providing support for Daldry’s trio of young actors, who are a triumph and the movie’s main selling point. By parachuting in two American faces the director has managed to realize what is essentially a foreign language film on the scale of a Hollywood outing. He could so easily have had everyone speaking English, but resisted the temptation to his credit.

Whether Trash will live on as a statement about the desperate situation in a little-seen part of the world, or if it’ll wind up as just another title on the DVD shelves remains to be seen. As an involving two hours it succeeds in spades. Its legacy on the other hand has yet to be judged.
This review appeared on The Hollywood News.

All Wool Be Revealed! Interview With ‘Shaun The Sheep Movie’ Directors (The Hollywood News)

Richard-Starzak-Mark-Burton-Shaun-The-Sheep-MovieShaun The Sheep Movie is about to be released on DVD and Blu-ray after a baa-rilliant reception on the big screen. In many ways the original farm heroes saga, its story follows Shaun and the gang as they head into the big city to rescue their gibberish-speaking custodian, the Farmer.

The film was praised for its echoing of old school slapstick comedy and hopes are high for a follow up. So while the gears of the studios whirr in contemplation over that, we sat down with writer/directors Richard Starzak and Mark Burton for a good old bleat…

Shaun-The-Sheep-Movie-2Shaun The Sheep on TV is only a few minutes long. How did you go about expanding the concept to feature length?

Richard: That was the big challenge. That’s why I think me and Mark work as well together. Mark’s had much experience of writing feature scripts and we had to find a story that could sustain that long. We had to dig deeper into the characters, a lot deeper than we do in the series. The series could be quite surface, you know, one of the episodes could be just the characters getting stuck together with a tube of glue. We had to think of a bigger story for this…

You needed a bigger tube of glue almost.

Mark: Massive tube of glue!

Richard: A tube of emotional glue…

Mark: The other thing was taking characters out of their comfort zone, take them into a few worlds, so we took them into the big city.

I use this word in inverted commas, but what was an “average” day like on the set?

Richard: Me and Mark got together at 8 in the morning, and we’d go through all the shots we’d be shooting that day with our production team. Make sure everyone knows what’s happening… and then we’d go onto the studio floor, see the progress of the shots. We treat the animators like actors, so we brief them on the set, tell them what we want. We want to know what the character’s thinking. We go through all the detail when everything’s set up and lit, like a live action shoot. But at the same time we’re also having to deal with music, with editing, any other story issues that come up… the day lasts from 8 till 8 at night.

Mark: And weekends as well.

Richard: And a few weekends. So it’s a very intense time really.

Mark: It’s not really a 9 – 5 job. You’re very involved and engaged in everything. Like all directors we’ll say we’re power mad and trying to keep an eye on all aspects of the film, right up to the marketing really.

Omid-DjaliliMoving onto the cast, you’ve got a lot of comedians in the film, notably Omid Djalili. What dynamic did they bring?

Richard: Omid was great because he’s a comedy star, he’s been in some Hollywood movies… and we wanted him to grunt and make some noises!

Mark: He rose to the challenge because he got the point, which was that it’s not really about the dialogue in that sense, it’s about non-verbal communication. So he brought a lot to the character of the baddie, Trumper. He was totally up for it, and not just in terms of being funny. He’d have that range where he’d go from these very small little verbal things we could use, right up to big, Omid-type screaming. But he could bring a level of subtlety to it.

Shaun-The-Sheep-Movie-Trumper-Omid-DjaliliThat’s what he brought, and I think John Sparkes (Absolutely) – who obviously works on the series – and Justin Fletcher (Mr Tumble)… they kind of rose to the challenge. Like a big Hollywood movie we were were going to take these characters’ emotions very seriously, so the comedy worked and the emotion worked… we stretched them out. It was a slightly bizarre process sometimes as you can imagine, but ultimately it was quite a rewarding and illuminating one.

Talking of dramatic intrigue, how did Nick Park’s cameo appearance come about?

Richard: The joke came about first I think. We had the idea of the bird spotter, the twitcher, getting revealed and attacked by the birds he’s spying on. He’s a bit of a voyeur. Then we remembered that Nick Park’s a very keen bird spotter.

Mark: He had a great sense of humour about it.

Nick-ParkAnimation gives you more free rein than in reality, but was there anything you wanted to do that you couldn’t achieve?

Richard: The story went through lots of iterations, but it was quite meticulously-planned so we knew what we’d be doing…

Mark: There’s a little bit of begging and bartering that goes on. Obviously we’ve got a production crew working to tight deadlines. So sometimes when we’d want to do a shot at the end, maybe we weren’t quite happy with it, or if we wanted to see more characters… to be fair, what’s great about the Aardman team is that they’ve done it for so long they can accommodate that. It was very rare you’d get told “no”! A bit of chin stroking sometimes, a bit of “hmm”. But they always try to facilitate the directors.

Richard: What was interesting with the city was that the size of the sets, and the size of the shots, were kind of prescribed by the physical size of the space. We were in this crazy warehouse down on the outskirts of Bristol, where the production is done. And sometimes the camera would hit the ceiling! That’s as far as it goes. It’s like, you want to get a nice, big, swooping top shot and we literally hit the sky, so that’s it. But that’s okay, you kind of work into that…

Why do you prefer working with stop motion animation? I like it, but it seems quite laborious compared to CGI…

Richard: I don’t know whether it is any more laborious. I think you have to go through all the same processes as other forms of animation. I just love the way it feels, the way you engage with it. It’s visceral, you go down on the sets, you’ve got real sets, real props, real lighting cameramen up ladders… it’s great, like doing live action very slowly. I think the audience likes to know that the things are real. The exhibitions are very popular as well, we’ve got one in France at the moment and it’s very successful. People love to see that stuff.

Mark: I think the audience gets more out of that. I mean, we love CGI, don’t get us wrong, you can press a button and have huge crowds and great big swooping shots of giant cities and everything, and you can’t do that in stop-motion, you’ve got to think about it another way. But that can also be quite empowering!

What are the pair of you working on next? Shaun The Sheep was a spin off from Wallace & Gromit – are there any characters in the movie you think could have their own spin off…?

Richard: Slip the dog has proved to be very popular…

Mark: It would be nice to do some more Shaun The Sheeps, if possible.

Richard: There could well be a sequel. We’re planning for it just in case! The signs are good, I’m currently working on a Shaun The Sheep half hour, called The Farmer’s Llamas, which I’m overseeing. That’s going to be out at Christmas and will be fairly global…

Mark: You may know Nick Park’s working on a new movie. I think he’s unveiling it at Cannes.

This turned out to be Early Man, a prehistoric tale and another collaboration with StudioCanal. Here’s the teaser poster…

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This interview appeared on The Hollywood News.