Traditionally spooky creatures like zombies and werewolves get the Disney treatment in “Zombies 2,” the follow-up to the 2018 hit TV-movie musical of the same name. While the undead have now assimilated into the community of Seabrook, they’re confronted by a new set of outsiders: werewolves. Milo Manheim and Meg Donnelly return as Zed and Addison, respectively, in the Disney Channel and DisneyNow sequel.
Makeup department head Julia Valente and costume designer Trysha Bakker were tasked with crafting characters that blend kid-friendly Disney styling with creepy creature looks. The teams took six weeks of prep to come up with the right balance. Discussion about the amount of fur, facial prosthetics and even nail length were all important as the department heads determined how far they could go before the creatures became too scary for the audience.
“If you want them to be appealing and beautiful and Disneyesque,” says Valente, “the more natural the look,...
Makeup department head Julia Valente and costume designer Trysha Bakker were tasked with crafting characters that blend kid-friendly Disney styling with creepy creature looks. The teams took six weeks of prep to come up with the right balance. Discussion about the amount of fur, facial prosthetics and even nail length were all important as the department heads determined how far they could go before the creatures became too scary for the audience.
“If you want them to be appealing and beautiful and Disneyesque,” says Valente, “the more natural the look,...
- 2/21/2020
- by Zoe Hewitt
- Variety Film + TV
Aisling Walsh with Anne-Katrin Titze on costumes by Trysha Bakker for Sally Hawkin's Maudie: "I wanted her not finely dressed, but rather nicely dressed." Photo: Courtney Richards
Aisling Walsh's Maudie, screenplay by Sherry White, with a score by Michael Timmons, stars Sally Hawkins as Canadian Folk Artist Maud Lewis (as in Paul King's Paddington, she holds the world together). Ethan Hawke is her husband Everett with Gabrielle Rose as Maud's Aunt Ida, Zachary Bennett as her brother Charles, and a Katharine Hepburn sounding Kari Matchett as a Peggy Guggenheim-like character named Sandra.
At the Crosby Street Hotel in New York, Aisling and I discussed her work with production designer John Hand, costume choices with Trysha Bakker, the paintings of Maud Lewis and her relationship to Everett, their home, and her family, and what it means to be a Naïve Artist.
Everett (Ethan Hawke) and Maud Lewis...
Aisling Walsh's Maudie, screenplay by Sherry White, with a score by Michael Timmons, stars Sally Hawkins as Canadian Folk Artist Maud Lewis (as in Paul King's Paddington, she holds the world together). Ethan Hawke is her husband Everett with Gabrielle Rose as Maud's Aunt Ida, Zachary Bennett as her brother Charles, and a Katharine Hepburn sounding Kari Matchett as a Peggy Guggenheim-like character named Sandra.
At the Crosby Street Hotel in New York, Aisling and I discussed her work with production designer John Hand, costume choices with Trysha Bakker, the paintings of Maud Lewis and her relationship to Everett, their home, and her family, and what it means to be a Naïve Artist.
Everett (Ethan Hawke) and Maud Lewis...
- 6/10/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The final day of February has many home entertainment offerings that horror and sci-fi fans are definitely going to want to add to their Blu-ray and DVD collections. Scream Factory is resurrecting the anthology Deadtime Stories in HD this week, and Tibor Takacs’ creature feature cult classic, The Gate, is getting the Vestron Video Collector’s Series treatment on February 28th as well.
This Tuesday, Vinegar Syndrome is giving a high-def overhaul to another cult classic, Slaughterhouse, and for those who may have missed it during its successful festival run, Arrow Video is releasing We Are The Flesh on multiple formats, too.
Other notable releases for February 28th include Doctor Strange, Ape 3D (aka A*P*E*), Child Eater, The Raid Collection, The Creature Below, Shut In, and When Dinosaurs Ruled the Earth (1970).
Deadtime Stories (Scream Factory, Blu/DVD Combo)
Your favorite nightmares come to life in a salute...
This Tuesday, Vinegar Syndrome is giving a high-def overhaul to another cult classic, Slaughterhouse, and for those who may have missed it during its successful festival run, Arrow Video is releasing We Are The Flesh on multiple formats, too.
Other notable releases for February 28th include Doctor Strange, Ape 3D (aka A*P*E*), Child Eater, The Raid Collection, The Creature Below, Shut In, and When Dinosaurs Ruled the Earth (1970).
Deadtime Stories (Scream Factory, Blu/DVD Combo)
Your favorite nightmares come to life in a salute...
- 2/28/2017
- by Heather Wixson
- DailyDead
Screen horror gets a fun-ride boost with the adventures of a trio of home-alone kids squaring off against demons from, ‘right in their own back yard.’ Creative, expertly daring special effects heighten a perfect spook thriller for young kids, that’s has more and better ‘Boo’ moments than most of the hardcore genre classics of its decade.
The Gate
Blu-ray
Lionsgate / Vestron Video
1987 / Color / 1:85 widescreen / 85 min. / Street Date February 28, 2017 / 39.97
Starring: Stephen Dorff, Christa Denton, Louis Tripp, Kelly Rowan, Jennifer Irwin, Deborah Grover, Scot Denton, Ingrid Veninger, Sean Fagan
Cinematography: Thomas Vámos
Film Editor :Rit Wallis
Speical Visual Effects Designer and Supervisor: Randall William Cook
Special Makeup: Craig Reardon
Original Music: Michael Hoenig, J. Peter Robinson
Written by: Michael Nankin
Produced by: John Kemeny
Directed by: Tibor Takács
Horror enthusiasts of a different generation than mine speak highly of the theatrical shockers of the 1980s that set their nerves on edge.
The Gate
Blu-ray
Lionsgate / Vestron Video
1987 / Color / 1:85 widescreen / 85 min. / Street Date February 28, 2017 / 39.97
Starring: Stephen Dorff, Christa Denton, Louis Tripp, Kelly Rowan, Jennifer Irwin, Deborah Grover, Scot Denton, Ingrid Veninger, Sean Fagan
Cinematography: Thomas Vámos
Film Editor :Rit Wallis
Speical Visual Effects Designer and Supervisor: Randall William Cook
Special Makeup: Craig Reardon
Original Music: Michael Hoenig, J. Peter Robinson
Written by: Michael Nankin
Produced by: John Kemeny
Directed by: Tibor Takács
Horror enthusiasts of a different generation than mine speak highly of the theatrical shockers of the 1980s that set their nerves on edge.
- 2/18/2017
- by Glenn Erickson
- Trailers from Hell
"Covert Affairs" costume designer Trysha Bakker says dressing Piper Perabo, who plays CIA agent Annie Walker, is her favorite part of working on the USA Network series.
"She is an absolute pleasure to dress," Bakker tells Zap2it. "She has a fit body and looks great in everything, so that's one of the things that is really neat. I get really excited about getting ready for a fitting with her."
Bakker shops for Perabo everywhere from Gap and Banana Republic to Gucci and Prada.
"She is really into fashion, and she really gets the character, so we really love working on her character and how Annie would look in all these scenes," she says. "I'll read the script, and we'll decide whether she is going to be in something like a skirt suit as opposed to a pantsuit because she has a takedown. What we try to do is give...
"She is an absolute pleasure to dress," Bakker tells Zap2it. "She has a fit body and looks great in everything, so that's one of the things that is really neat. I get really excited about getting ready for a fitting with her."
Bakker shops for Perabo everywhere from Gap and Banana Republic to Gucci and Prada.
"She is really into fashion, and she really gets the character, so we really love working on her character and how Annie would look in all these scenes," she says. "I'll read the script, and we'll decide whether she is going to be in something like a skirt suit as opposed to a pantsuit because she has a takedown. What we try to do is give...
- 8/21/2012
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Opens: Wednesday, July 2 (Picturehouse).
Refreshingly sincere and full of wholesome can-do spirit, the first big-screen incarnation of the American Girl doll-and-book series -- the anti-Bratz of collectibles -- offers solid, kid-friendly storytelling. Although it puts a warm gloss on the Great Depression, "Kit Kittredge: An American Girl" does so with heart and spunk and a minimum of fuss, particularly in Abigail Breslin's bright title-role performance.
The film's appeal to girls and to mother-daughter duos who are devotees of the source material is a given. But newcomers to the franchise's inspirational history lessons (which include three telefilms) will appreciate the old-fashioned guilelessness of the story. Parents and grandparents, in particular, will be grateful for tween fare that doesn't center on fashionista frenzy.
However bathed in nostalgia, the story's hard-times reverberations are of the moment. Set in 1934 Cincinnati, the film finds indomitable 9-year-old Kit (Breslin in a blond bob, reminiscent of a young(er) Kirsten Dunst) watching her well-to-do neighborhood struck by foreclosures and unemployment. After her father (Chris O'Donnell) heads to Chicago in search of work, Kit's resilient mom (Julia Ormond) opens their home to boarders as she struggles to pay the bills.
The ever-observant Kit retreats to her treehouse typewriter to create articles like "Portrait of a Boarding House", which she fearlessly submits to the editor of the Cincinnati Register (Wallace Shawn), eager to jump-start her career in journalism. But she's also a Nancy Drew in the making, and when a wave of "hobo crimes" affects her household, she and her best friends (Madison Davenport and Zach Mills) set out to solve the burglary. Kit, like the movie itself, is driven by a sense of compassion, and she's determined to prove that the accused, a hobo teen (Max Thieriot) who has been working for food, is not the thief.
Although the emphasis is on entertainment rather than education, the script by Ann Peacock ("The Chronicles of Narnia: The Lion, the Witch and the Wardrobe") nonetheless is pitched toward younger viewers in its careful explanations and reiterations. Despite sermonizing tendencies, though, the story is not without pleasingly silly business, mainly from the adults in Kit's life, deftly drawn by a strong supporting cast. Besides the lovely Ormond and sputtering Shawn, there's Glenne Headly's nose-in-the air neighbor, brought down a few notches; Joan Cusack's road-skills-challenged driver of a mobile library; Stanley Tucci's traveling magician, entertaining the Kittredge household with living-room levitations; and Jane Krakowski's husband-hunting hoofer.
With the exception of Kit's parents, they're all slightly ridiculous, as adults usually are in kids' eyes, but director Patricia Rozema ("Mansfield Park") never loses sight of their smiling-through-the-tears ache. The balancing act between emotional darkness and cutesy fortitude is constant and apparent, but mainly the film carries it off with poise and earns its heart-tugging payoff.
Bolstering the gentle look at class divisions and demonization of the have-nots is Peter Cosco's production design, which brings to life somewhat sanitized soup kitchens and hobo camps as well as 1930s middle-class comfort, complete with quaint vintage gadgets. Cinematographer David Boyd casts the proceedings in an apt burnished light.
Word-of-mouth should be chipper in the movie's limited release in five markets this weekend before it goes wide July 2.
Production: Picturehouse and New Line Cinema present in association with HBO Films a Goldsmith-Thomas production in association with Red Om Films. Cast: Abigail Breslin, Julia Ormond, Chris O'Donnell, Jane Krakowski, Wallace Shawn, Max Thieriot, Willow Smith, Glenne Headly, Zach Mills, Kenneth Welsh, Madison Davenport, Joan Cusack, Stanley Tucci. Director: Patricia Rozema. Screenwriter: Ann Peacock. Executive producers: Julia Roberts, Marisa Yeres. Producers: Elaine Goldsmith-Thomas, Lisa Gillan, Ellen Brothers, Julie Goldstein. Director of Photography: David Boyd. Production Designer: Peter Cosco. Music: Joseph Vitarelli. Co-Producers: Jodi Goldberg, Terry Gould. Costume Designer: Trysha Bakker. Editor: Julie Rogers. Rated G, 100 minutes.
Refreshingly sincere and full of wholesome can-do spirit, the first big-screen incarnation of the American Girl doll-and-book series -- the anti-Bratz of collectibles -- offers solid, kid-friendly storytelling. Although it puts a warm gloss on the Great Depression, "Kit Kittredge: An American Girl" does so with heart and spunk and a minimum of fuss, particularly in Abigail Breslin's bright title-role performance.
The film's appeal to girls and to mother-daughter duos who are devotees of the source material is a given. But newcomers to the franchise's inspirational history lessons (which include three telefilms) will appreciate the old-fashioned guilelessness of the story. Parents and grandparents, in particular, will be grateful for tween fare that doesn't center on fashionista frenzy.
However bathed in nostalgia, the story's hard-times reverberations are of the moment. Set in 1934 Cincinnati, the film finds indomitable 9-year-old Kit (Breslin in a blond bob, reminiscent of a young(er) Kirsten Dunst) watching her well-to-do neighborhood struck by foreclosures and unemployment. After her father (Chris O'Donnell) heads to Chicago in search of work, Kit's resilient mom (Julia Ormond) opens their home to boarders as she struggles to pay the bills.
The ever-observant Kit retreats to her treehouse typewriter to create articles like "Portrait of a Boarding House", which she fearlessly submits to the editor of the Cincinnati Register (Wallace Shawn), eager to jump-start her career in journalism. But she's also a Nancy Drew in the making, and when a wave of "hobo crimes" affects her household, she and her best friends (Madison Davenport and Zach Mills) set out to solve the burglary. Kit, like the movie itself, is driven by a sense of compassion, and she's determined to prove that the accused, a hobo teen (Max Thieriot) who has been working for food, is not the thief.
Although the emphasis is on entertainment rather than education, the script by Ann Peacock ("The Chronicles of Narnia: The Lion, the Witch and the Wardrobe") nonetheless is pitched toward younger viewers in its careful explanations and reiterations. Despite sermonizing tendencies, though, the story is not without pleasingly silly business, mainly from the adults in Kit's life, deftly drawn by a strong supporting cast. Besides the lovely Ormond and sputtering Shawn, there's Glenne Headly's nose-in-the air neighbor, brought down a few notches; Joan Cusack's road-skills-challenged driver of a mobile library; Stanley Tucci's traveling magician, entertaining the Kittredge household with living-room levitations; and Jane Krakowski's husband-hunting hoofer.
With the exception of Kit's parents, they're all slightly ridiculous, as adults usually are in kids' eyes, but director Patricia Rozema ("Mansfield Park") never loses sight of their smiling-through-the-tears ache. The balancing act between emotional darkness and cutesy fortitude is constant and apparent, but mainly the film carries it off with poise and earns its heart-tugging payoff.
Bolstering the gentle look at class divisions and demonization of the have-nots is Peter Cosco's production design, which brings to life somewhat sanitized soup kitchens and hobo camps as well as 1930s middle-class comfort, complete with quaint vintage gadgets. Cinematographer David Boyd casts the proceedings in an apt burnished light.
Word-of-mouth should be chipper in the movie's limited release in five markets this weekend before it goes wide July 2.
Production: Picturehouse and New Line Cinema present in association with HBO Films a Goldsmith-Thomas production in association with Red Om Films. Cast: Abigail Breslin, Julia Ormond, Chris O'Donnell, Jane Krakowski, Wallace Shawn, Max Thieriot, Willow Smith, Glenne Headly, Zach Mills, Kenneth Welsh, Madison Davenport, Joan Cusack, Stanley Tucci. Director: Patricia Rozema. Screenwriter: Ann Peacock. Executive producers: Julia Roberts, Marisa Yeres. Producers: Elaine Goldsmith-Thomas, Lisa Gillan, Ellen Brothers, Julie Goldstein. Director of Photography: David Boyd. Production Designer: Peter Cosco. Music: Joseph Vitarelli. Co-Producers: Jodi Goldberg, Terry Gould. Costume Designer: Trysha Bakker. Editor: Julie Rogers. Rated G, 100 minutes.
- 6/19/2008
- The Hollywood Reporter - Movie News
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