Fincher hired visual effects supervisor Kevin Tod Haug, who worked for him on "The Game", to create visual effects for "Fight Club". Haug assigned the visual effects artists and experts to different facilities that each addressed different types of visual effects: CG modeling, animation, compositing, and scanning. Haug explained, "We selected the best people for each aspect of the effects work, then coordinated their efforts. In this way, we never had to play to a facility's weakness." Fincher visualized the Narrator's perspective through a "mind's eye" view and structured a myopic framework for the film audiences. Fincher also used previsualized footage of challenging main-unit and visual effects shots as a problem-solving tool to avoid making mistakes during the actual filming.
Visual effects
Fight Club
Fight Club | Visual effects
"The Game" scenes In the film's title sequence there is a 90-second visual effects composition. The film's title sequence and an early scene in which the camera flashes past city streets to survey Project Mayhem's destructive equipment lying in underground parking lots. The film's title sequence is a 90-second visual effects composition that depicts the inside of the Narrator's brain at a microscopic level.
who is 30 seconds to mars touring with
user
Muse and PVRIS
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who are the members of the band?
user
Jared Leto and Shannon Leto
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which was their first ever album?
user
"30 Seconds to Mars"
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has the first band member also been in any movies?
user
Yes, "How to Make an American Quilt" ,  "Fight Club" , "The Thin Red Line",  "Urban Legend"  are some of the movies
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what is his political stance?
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He supported Senator Barack Obama of Illinois during presidential election
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is the singer/actor also a businessman?
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Yes, he launched the social media management and digital marketing company and also launched the online platform
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what is the company called?
user
The Hive
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what is the story of this actor's second movie mentioned above?
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The unnamed Narrator is an automobile recall specialist who is unfulfilled by his job and possessions and suffers from chronic insomnia. He finds catharsis by attending support groups and posing as a sufferer of several diseases, curing his insomni
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who were the other actors in this movie?
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Brad Pitt, Edward Norton, Helena Bonham Carter , etc.
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for which scenes or characters were special effects used?
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In January 1998, 20th Century Fox announced that Pitt and Norton had been cast. The actors prepared by taking lessons in boxing, taekwondo, grappling, and soapmaking. Pitt voluntarily visited a dentist to have pieces of his front teeth chipped off so his character would not have perfect teeth. The pieces were restored after filming concluded.
Fight Club | Casting
The final scene of the demolition of the credit card office buildings was designed by Richard Baily of Image Savant; Baily worked on the scene for over fourteen months.
Fight Club | Visual effects
On the other hand, Fincher also ensured that scenes were not so strongly lit so the characters' eyes were less visible, citing cinematographer Gordon Willis' technique as the influence.
Fight Club | Cinematography
Paul Shapiro was tasked with directing the episode, and many of the physical effects in the episode were coordinated by Danny Weselis. Regarding the latter task, the episode contained several scenes featuring extensive stunt work, and Weselis later explained, "During the bar explosions we had a room full of stunt people showered with broken glass. And we used stunt people for much of the missionary and special agent fights." The final scene, featuring a stadium full of people attacking each other after the Templetons make an appearance, was filmed at the Grand Olympic Auditorium in Los Angeles and made use of "several hundred" extras, many of whom were solicited via internet postings and ads that had been placed in "selected publications".
Fight Club (The X-Files) | Filming and effects
Fight Club is a 1999 American film directed by David Fincher and starring Brad Pitt, Edward Norton, and Helena Bonham Carter. It is based on the 1996 novel of the same name by Chuck Palahniuk. Norton plays the unnamed narrator, who is discontented with his white-collar job. He forms a "fight club" with soap salesman Tyler Durden (Pitt), and becomes embroiled in a relationship with him and a destitute woman, Marla Singer (Bonham Carter). Palahniuk's novel was optioned by Fox 2000 Pictures producer Laura Ziskin, who hired Jim Uhls to write the film adaptation. Fincher was selected because of his enthusiasm for the story.
Fight Club | Introduction
Sixteen trained stuntmen and around 200 cardboard cutouts supplemented the hundreds of extras to give the stadium its final, filled-out feel. When filming the crowd fight, producer Harry Bring later noted, "a few of [the audience] members got carried away and we had to tell them to settle down." During post-production, a split screen was used by the editors as a way to "enhanc[e] the scene" and "allo[w] the viewer to focus on various angles of action".
Fight Club (The X-Files) | Filming and effects
Duchovny and Anderson later dubbed their voices over Kiziak and Pileggi's. Jack McGee was cast as Bob Damfuse, the father of the half-sisters with a severe anger issue. During rehearsals for his scene, McGee purposely kept his voice down to prevent a severe headache. He recalled, "I remember the director [Paul Shapiro], he wanted me to scream during rehearsal, and I was, like, 'Look, you don't understand: If I do this, I’m gonna have a headache in 30 fucking seconds.'" The scenes were rehearsed about five or six times before the actual scene was filmed.
Fight Club (The X-Files) | Casting
The final production budget was $63 million. The fight scenes were heavily choreographed, but the actors were required to "go full out" to capture realistic effects such as having the wind knocked out of them. Makeup artist Julie Pearce, who had worked for Fincher on the 1997 film "The Game", studied mixed martial arts and pay-per-view boxing to portray the fighters accurately. She designed an extra's ear to have cartilage missing, inspired by the boxing match in which Mike Tyson bit off part of Evander Holyfield's ear. Makeup artists devised two methods to create sweat on cue: spraying mineral water over a coat of Vaseline, and using the unadulterated water for "wet sweat".
Fight Club | Filming
The film's title sequence is a 90-second visual effects composition that depicts the inside of the Narrator's brain at a microscopic level; the camera pulls back to the outside, starting at his fear center and following the thought processes initiated by his fear impulse. The sequence, designed in part by Fincher, was budgeted separately from the rest of the film at first, but the sequence was awarded by the studio in January 1999. Fincher hired Digital Domain and its visual effects supervisor Kevin Mack, who won an Academy Award for Visual Effects for the 1998 film "What Dreams May Come", for the sequence.
Fight Club | Visual effects
The exterior of Tyler Durden's house was built in Wilmington, California, while the interior was built on a sound stage at the studio's location. The interior was given a decayed look to illustrate the deconstructed world of the characters. Marla Singer's apartment was based on photographs of apartments in downtown LA. Overall, production included 300 scenes, 200 locations, and complex special effects. Fincher compared "Fight Club" to his subsequent, less complex film "Panic Room": "I felt like I was spending all my time watching trucks being loaded and unloaded so I could shoot three lines of dialogue. There was far too much transportation going on."
Fight Club | Filming
In 1999, Pitt portrayed Tyler Durden in "Fight Club", a film adaptation of Chuck Palahniuk's novel of the same name, directed by David Fincher. Pitt prepared for the part with lessons in boxing, taekwondo, and grappling. To look the part, Pitt consented to the removal of pieces of his front teeth which were restored when filming ended. While promoting "Fight Club", Pitt said that the film explored not taking one's aggressions out on someone else but to "have an experience, take a punch more and see how you come out on the other end." "Fight Club" premiered at the 1999 Venice International Film Festival.
Brad Pitt | 1999–2003
Fincher hired visual effects supervisor Kevin Tod Haug, who worked for him on "The Game", to create visual effects for "Fight Club". Haug assigned the visual effects artists and experts to different facilities that each addressed different types of visual effects: CG modeling, animation, compositing, and scanning. Haug explained, "We selected the best people for each aspect of the effects work, then coordinated their efforts. In this way, we never had to play to a facility's weakness." Fincher visualized the Narrator's perspective through a "mind's eye" view and structured a myopic framework for the film audiences. Fincher also used previsualized footage of challenging main-unit and visual effects shots as a problem-solving tool to avoid making mistakes during the actual filming.
Fight Club | Visual effects
Meat Loaf, who plays a fight club member who has "bitch tits", wore a 90-pound (40 kg) fat harness that gave him large breasts. He also wore eight-inch (20 cm) lifts in his scenes with Norton to be taller than him. Filming lasted 138 days, during which Fincher shot more than 1,500 rolls of film, three times the average for a Hollywood film. The locations were in and around Los Angeles, including the Promenade Towers, Melrose Avenue, St. Brendan's Catholic Church, and Michael Heizer's public art sculpture "North, South East, West". Sets were also built in Century City. Production designer Alex McDowell constructed more than 70 sets.
Fight Club | Filming
Richard Schickel of "Time" described the mise en scène as dark and damp: "It enforces the contrast between the sterilities of his characters' aboveground life and their underground one. Water, even when it's polluted, is the source of life; blood, even when it's carelessly spilled, is the symbol of life being fully lived. To put his point simply: it's better to be wet than dry." Schickel applauded the performances of Pitt and Norton, but criticized the "conventionally gimmicky" unfolding and the failure to make Bonham Carter's character interesting. "Cineaste"s Gary Crowdus reviewed the critical reception in retrospect: "Many critics praised "Fight Club", hailing it as one of the most exciting, original, and thought-provoking films of the year." He wrote of the negative opinion, "While "Fight Club" had numerous critical champions, the film's critical attackers were far more vocal, a negative chorus which became hysterical about what they felt to be the excessively graphic scenes of fisticuffs ...
Fight Club | Critical reception
They felt such scenes served only as a mindless glamorization of brutality, a morally irresponsible portrayal, which they feared might encourage impressionable young male viewers to set up their own real-life fight clubs in order to beat each other senseless."
Fight Club | Critical reception
Leterrier jokingly remarked that making Norton fall that distance would obviously render him unable to act.
The Incredible Hulk (film) | Visual effects
The fight choreography for "" was different from how it was traditionally done for other movies, and was met with resistance from the production side of the film. The production team felt the fighting was too fast and direct, and they could not see what was being filmed. When the footage was played at 500 frames per second, it was realised that instead of making the movements larger, they could do the opposite. The stuntman was throwing real punches at Downey and he was defending himself, which worked well on film due to the slow motion scenes in the final cut.
Eric Oram | "Sherlock Holmes: A Game of Shadows"
Kitamura gave his feedback on how to improve the fight. Kitamura chose to green screen the Versus scene due to insufficient time to do the set ups that the scene required. Visual effects supervisor Takeshi Shin felt that filming the scene on-set would have restricted the crew due to the amount of wire-action involved and a virtual set allowed them to overcome those limitations. Shin added distortion effects to "show that the Isomer is something that you see and yet can't see." Shin considered using motion-tracking software to better process irregular camera movement, however, the program wasn't able to process some camera movements and it had to be done by hand.
Alive (2002 film) | Special effects
The filmmakers used heavily desaturated colors in the costuming, makeup, and art direction. Bonham Carter wore opalescent makeup to portray her romantic nihilistic character with a "smack-fiend patina". Fincher and Cronenweth drew influences from the 1973 film "American Graffiti", which applied a mundane look to nighttime exteriors while simultaneously including a variety of colors. The crew took advantage of both natural and practical light. Fincher sought various approaches to the lighting setups; for example, he chose several urban locations for the city lights' effects on the shots' backgrounds. The crew also embraced fluorescent lighting at other practical locations to maintain an element of reality and to light the prostheses depicting the characters' injuries.
Fight Club | Cinematography
Leonard Termo, Van Quattro, Markus Redmond, and Michael Girardin appear as members of law enforcement also involved in the fight club.
Fight Club | Cast
In the 1999 film "Fight Club", based on the Palahniuk novel and directed by David Fincher, the Narrator is portrayed by Edward Norton while Tyler is played by Brad Pitt. The actors began preparation for their roles by taking lessons in boxing, grappling, taekwondo, and soapmaking. Pitt made the decision to visit a dentist to have pieces of his front teeth chipped off so that the character of Tyler would have imperfect teeth. The pieces were restored after the film's production concluded. The film's portrayal of the Narrator and Tyler is similar to that of the novel, with some differences.
The Narrator (Fight Club) | Film
Producer Ross Bell met with actor Russell Crowe to discuss his candidacy for the role of Tyler Durden. Producer Art Linson, who joined the project late, met with Pitt regarding the same role. Linson was the senior producer of the two, so the studio sought to cast Pitt instead of Crowe. Pitt was looking for a new film after the domestic failure of his 1998 film "Meet Joe Black", and the studio believed "Fight Club" would be more commercially successful with a major star. The studio signed Pitt for US$17.5 million. For the role of the unnamed Narrator, the studio desired a "sexier marquee name" such as Matt Damon to increase the film's commercial prospects; it also considered Sean Penn.
Fight Club | Casting
For the Warrior Falls environment, the amphitheater-like cliff walls had to be populated with digital spectators that could not simply be copy-and-pasted around the set due to the precise costume designs created by Carter for each tribe and character. Instead, the visual effects department had to work with the costumers to individually model each digital extra for the sequence. Additionally, visual effects were also used to adjust the opening sequence after test audiences were confusing the characters of T'Chaka and T'Challa, both dressed as the Black Panther. Artists digitally added some grey to T'Chaka's beard and gold trimmings to his suit to help differentiate the characters.
Black Panther (film) | Visual effects
They created many of the film's digital characters, vehicles, and weapons, with some of those digital creatures being rhinoceroses for the final battle, a sequence that Method did the majority of the work for. Because these rhinoceroses did not have to be seen on screen with the one designed by ILM, only basic structures, scale, and details of the character models had to be shared between the two companies. Much of the work for the final fight included crowd simulation, with Method working alongside the stunt coordinators in motion capture sessions to give each fighter a unique style. In addition to randomizing the height and weight of each digital fighter, the models had to incorporate specific design elements from the costumers.
Black Panther (film) | Visual effects
The scene of Burnham's arrest also used computer-generated effects. Several scenes also involved practical effects: Junior's injuries from a flaming gas burn and Stephen Altman's bloodied, beaten self. A team of puppeteers was used to move Stephen's sticking-out collarbone. Fincher also sent the film reel to be digitally color-corrected as he had done for "Fight Club" and "Seven".
Panic Room | Visual and practical effects
Uhls started working on a draft of the adapted screenplay, which excluded a voice-over because the industry perceived at the time that the technique was "hackneyed and trite". When Fincher joined the film, he thought that the film should have a voice-over, believing that the film's humor came from the Narrator's voice. He described the film without a voice-over as seemingly "sad and pathetic". Fincher and Uhls revised the script for six to seven months and by 1997 had a third draft that reordered the story and left out several major elements. When Pitt was cast, he was concerned that his character, Tyler Durden, was too one-dimensional.
Fight Club | Writing
A dummy was used against a green screen and the head was detonated at the point when the object was about to impact the body. Throughout the film, over seventy gunfight shots were digitally augmented; Briscoe's rationale for adding the additional effects was that "The town square shootout, for example, is full of extra little hits scattered throughout, so that it feels like our hero characters really do have it all going off, all around them. It was a great demonstration of [how] seemingly very trivial enhancements can make a difference when combined across a sequence."
Hot Fuzz | Effects
Cinematography was done by Robert Elswit and the film was edited by Barbara Tulliver. John Machado and Rico Chiapparelli were the fight choreographers. Chiwetel Ejiofor's stunt double was Aaron Toney and Tim Allen's stunt double was Todd Warren.
Redbelt | Production
The film was ranked #18 on "Entertainment Weekly" magazine's "The Cult 25: The Essential Left-Field Movie Hits Since '83" list. Rotten Tomatoes ranked the fight scene between Roddy Piper's character, Nada, and Keith David's character, Frank Armitage, seventh on their list of "The 20 Greatest Fights Scenes Ever". The fight scene influenced "The Wrestler", whose director, Darren Aronofsky, interpreted the scene as a spoof. Shepard Fairey credits the film as a major source of inspiration, sharing a similar logo to his "Andre the Giant Has a Posse" campaign. ""They Live" was…the basis for my use of the word 'obey'," Fairey said.
They Live | Legacy
Leterrier cited Andy Serkis' motion capture portrayals of Gollum and King Kong in "The Lord of the Rings" and "King Kong", respectively, as the standard he was aiming for. Norton and Roth filmed 2500 takes of different movements the monsters would make (such as the Hulk's "thunder claps"). Phosphorescent face paint applied to the actors' faces and strobe lighting would help record the most subtle mannerisms into the computer. Others including Cyril Raffaelli provided motion capture for stunts and fights, after the main actors had done video referencing. Leterrier hired Rhythm and Hues to provide the CGI, rather than Industrial Light & Magic who created the visual effects for Ang Lee's "Hulk".
The Incredible Hulk (film) | Visual effects
To make sure the visual effects were made in just one year and without exceeding the budget, special effects supervisor John Bruno shipped the 900 effects shots to eleven companies in four countries – United States, New Zealand, United Kingdom and Canada – and did extensive previsualization. Their work begun in April 2005, before the director Brett Ratner had even been announced, and Bruno made sure to emphasize practical effects, "shoot as many practical elements as possible, and only use CG when we had to." For instance, complex wirework rigs were employed which enabled the actors to do some stunts without resorting to digital doubles, including a computer controlled flying rig from Cirque Du Soleil for Angel's flight, and one for Halle Berry's flying spins.
X-Men: The Last Stand | Visual effects
The gender mix of audiences for "Fight Club", argued to be "the ultimate anti-date flick", was 61% male and 39% female; 58% of audiences were below the age of 21. Despite the film's top placement, its opening gross fell short of the studio's expectations. Over the second weekend, "Fight Club" dropped 42.6% in revenue, earning . In its original theatrical run, the film grossed in the United States and Canada, and in other territories, for a worldwide total of . (With subsequent re-releases, the film's worldwide gross increased to .) The underwhelming North American performance of "Fight Club" soured the relationship between 20th Century Fox's studio head Bill Mechanic and media executive Rupert Murdoch, which contributed to Mechanic's resignation in June 2000.
Fight Club | Theatrical run
In preparation for the film, Rocky lost over and wore a toupee in order to look as he did in his prime. Both he and Ali were reported to be enthusiastic about meeting each other and getting back in the ring. The same formulas as the radio fantasy fights were used and entered into the NCR 315, with filming commencing February 1969 in a Miami studio. The two fighters sparred for between 70 and 75 rounds, exchanging mainly body blows with some head shots in-between, which were later edited together according to the findings of the computer. Braddock, Louis, Schmeling, Sharkey and Walcott also recorded commentary to be used in the film.
The Super Fight | The film
The game follows the standard formula of fighting-genre games such as "Street Fighter II" and "Tekken 4". In a side-view, players control one of two characters who perform various fighting moves until one is beaten. "Fight Club" structures the formula around the premise of the movie, where two men meet secretly to fight each other into submission. In the game, players play as one of the 10+ original characters such as fighters from the novel and movie including Tyler Durden and Bob Paulson. The game tries to capture the gritty feel of the movie with injuries inflicted on players and blood splattering everywhere, including onto the screen.
Fight Club (video game) | Gameplay
To allow Walls to continue to move and feign death while displaying the wound, KNB designed a chair with no back. The actor would kneel behind it while his upper body, head, and arms were positioned within the chair's seating area. An anatomical model representing the character's torso and legs was positioned in the chair and disguised so that the actor's upper body and the model appeared to be one piece. The fake abdomen was filled with rubber, latex, and gelatin pieces smeared in fake blood—the "internal organs" — which could then fall free. The other effect involved Barrymore's character being gutted and hanged by the neck from a tree.
Scream (1996 film) | Special effects and design
Despite divided critical opinion on the film as a whole, Pitt's performance was widely praised. Paul Clinton of CNN noted the risky yet successful nature of the film, while "Variety" remarked upon Pitt's ability to be "cool, charismatic and more dynamically physical, perhaps than [...] his breakthrough role in "Thelma and Louise"". In spite of a worse-than-expected box office performance, "Fight Club" became a cult classic after its DVD release in 2000. Pitt was cast as an Irish Gypsy boxer with a barely intelligible accent in Guy Ritchie's 2000 gangster film "Snatch". Several reviewers were critical of "Snatch"; however, most praised Pitt.
Brad Pitt | 1999–2003
"Fight Club" contained several scenes of intense action that necessitated the use of various stunt doubles and extras.
Fight Club (The X-Files) | Introduction
Special effects supervisor Burt Dalton and stunt coordinator Mic Rodger created the battle weapons used in the final scenes. The trebuchet, used by prisoners to throw rocks, was capable of throwing a rock a distance of with an accuracy of ten feet around the target. The water cannon had the power to shoot of water per second. Some of the cast did their own stunts, including Mark Ruffalo, who performed one scene hanging from a helicopter. Interiors of the helicopter were not created with blue screen effects; instead, a special gimbal was used to hold a full-sized Huey-A type military helicopter.
The Last Castle | Effects
Outsiders attributed the delays to the Columbine High School massacre earlier in the year. Marketing executives at Fox Searchlight Pictures faced difficulties in marketing "Fight Club" and at one point considered marketing it as an art film. They considered that the film was primarily geared toward male audiences because of its violence and believed that not even Pitt would attract female filmgoers. Research testing showed that the film appealed to teenagers. Fincher refused to let the posters and trailers focus on Pitt and encouraged the studio to hire the advertising firm Wieden+Kennedy to devise a marketing plan. The firm proposed a bar of pink soap with the title "Fight Club" embossed on it as the film's main marketing image; the proposal was considered "a bad joke" by Fox executives.
Fight Club | Marketing
They modeled his posture and the way he turns his head on a shark. The character also shares Roth's tattoos. A height of eleven feet was chosen for the character. Leterrier tried to work in the character's pointed ears, but realized the Hulk would bite them off (using the example of Mike Tyson when he fought Evander Holyfield), and felt ignoring that would make the Hulk come across as stupid. Leterrier had planned to use prosthetic makeup and animatronics to complement the computer-generated imagery that was solely used in the previous film. The make-up artists who worked on "" were set to portray Blonsky's gradual transformation, which Zak Penn said would portray Blonsky "not [being] used to having these properties.
The Incredible Hulk (film) | Visual effects
Fincher used the Super 35 format to film "Fight Club" since it gave him maximum flexibility to compose shots. He hired Jeff Cronenweth as cinematographer; Cronenweth's father Jordan Cronenweth had been cinematographer for Fincher's 1992 film "Alien 3," but left midway through production due to Parkinson's disease. Fincher explored visual styles in his previous films "Seven" and "The Game", and he and Cronenweth drew elements from these styles for "Fight Club". Fincher and Cronenweth applied a lurid style, choosing to make people "sort of shiny". The appearance of the Narrator's scenes without Tyler were bland and realistic. The scenes with Tyler were described by Fincher as "more hyper-real in a torn-down, deconstructed sense—a visual metaphor of what [the Narrator is] heading into".
Fight Club | Cinematography
Although the film made extensive use of real flying aircraft, special effects were needed to create the final attack scenes. Oscar winning special effects technician Tom Howard used miniatures, front and rear projection and matte paintings to make the sequences work. Cliff Robertson enjoyed working on the film and stated that the atmosphere on set was very good, but was unhappy with the ambiguous ending. He noted that the movie was shot on a very tight schedule and budget. He regretted not being allowed to pilot a Mosquito, which he was forbidden to do for insurance reasons.
633 Squadron | Special effects
The Japanese instruction card features the original Japanese names of the characters written next to the western names in parentheses to avoid confusion. The actors in the film are credited with reprising their roles for the game, with some of the actors dressed differently so as to more closely resemble their video game counterparts. While Raul Julia is credited as Bison, his likeness only appears in archive footage from the film due to his death shortly after the game entered development. Julias stunt double, Darko Tuscan, was used to digitize the character in the game instead.
Street Fighter: The Movie (arcade game) | Characters
ILM was primarily responsible for the visual effects during the large-scale fight sequence at the airport, along with creating the digital assets for all of the characters. VFX supervisor Russell Earl, stated that the 20-minute scene grew to be an almost fully digital sequence explaining, "We ultimately ended up replacing 99% of everything that was shot with the actors being lifted from the background. Originally both Spider-Man and Black Panther were planned to be photographed elements but we ended up almost completely replacing them." Luma Pictures, who also worked on "Winter Soldier", was assigned with completing shots of Bucky's arm and his metal brainwashing chair.
Captain America: Civil War | Visual effects
An animatronic was used for Sterns' mutating head, however. Destruction was mostly done practically. A model of a bottling machine was smashed through a wall for when the Hulk escapes the factory. The filmmakers used steam and dry ice for the gas used to smoke out the Hulk, and they destroyed a real Humvee by dropping a weight on it when shooting the Culver University battle. Pipes blew fire for when the Hulk strikes down the computer-generated helicopter. When Banner falls from the helicopter to trigger the Hulk into fighting the Abomination, Norton was attached to a surface held by a bar which turned 90 degrees while the camera was pulled to the ceiling to simulate falling.
The Incredible Hulk (film) | Visual effects
"Fight Club" author Chuck Palahniuk was a graduate of The Landmark Forum, or "The Forum" for short, and this later influenced his work. In his review of the 1999 film adaptation of the book, Roger Ebert likened the character Tyler Durden to Werner Erhard. Ebert wrote that Tyler Durden was: ".a bully--Werner Erhard plus S & M, a leather club operator without the decor." "Fight Club" film producer Ross Grayson Bell believes that his "creative synchronicity" with writer Palahniuk was due to their shared experience of attending The Forum.
EST and The Forum in popular culture | 1990s
"Hancock" was Peter Berg's first film with visual effects as critical cinematic elements. He considered the computer-generated fight his least favorite part of the film, citing limited control in making the scene successful. According to the director, "Once the fight starts, you're very limited and you're at the mercy of your effects guys ... unless they're really technically oriented ... it's definitely the time we have the least amount of control as directors." He and other filmmakers worked to cut down on the fight scene, believing that the film's success would come from the character study of Smith's character, John Hancock, similar to Robert Downey, Jr.'s acclaimed portrayal of Tony Stark in the previous May's superhero release, "Iron Man".
Hancock (film) | Visual effects
De Souza agreed; however plans were switched once it was learned that Raúl Juliá was suffering from cancer. Initially plans were to shoot Juliá's less intensive scenes first while the rest of the cast would train with Picerni, however upon seeing Juliá, de Souza realized that they could not show him in his current weakened state and was forced to switch the filming around. This led to an environment where the cast would be trained only right before their scenes—sometimes only hours ahead.
Street Fighter (1994 film) | Production
A major effect required throughout the episode was face replacements, especially during the 'May vs. May' fight where it had to appear as if Wen was fighting herself. All the effects were completed in the two weeks between the filming and airing of the episode. Wen noted that "Kevin Tancharoen directed [the episode] and he’s amazing with his directing with the "Mortal Kombat" series. So we had this really complicated sequence where we do this 360 and it reveals me and it reveals me again and there’s no cut and you wonder how that happens in one of the fight sequences.
Face My Enemy | Visual effects
During the dojo scenes, cinematographer Randall Einhorn and Krall "lost it" when Michael pinned down. In fact, shots of Krall (and several of the cast) laughing made it into the closing scene of the episode.
The Fight (The Office) | Production
But I certainly owe something to that movie." Specifically for the climax of the film, Derrickson wanted to play on the superhero trope of "a big fight scene where they're tearing up a city, and there's a portal opening up and they have to close it", subverting it by having the villain defeated with an intelligent use of power rather than showing "which CGI thing can hit the other CGI thing harder". ILM worked on the folding Manhattan mirror sequence (chosen because of their work creating a digital New York in "The Avengers") and the time fight sequence in Hong Kong, which consisted of 200 and 150 shots, respectively.
Doctor Strange (2016 film) | Visual effects
Prior to filming, the cast had twelve weeks of training and fight evaluations, beginning in June 2009 in Los Angeles and continuing through filming. The leads in the film were trained to deadlift up to for their roles. Damon Caro, the stunt coordinator and fight choreographer from "300" and "Watchmen", Snyder's previous films, was hired for the action design, stunt training and fight choreography for the movie. The other cast members started training without Hudgens while she was involved with other projects, including "Beastly". Abbie Cornish said that the rest of the cast were training six hours a day, five days a week in martial arts, swords and empty hand choreography.
Sucker Punch (2011 film) | Training
The third fight (Scott vs. Todd Ingram) had to be adapted from the comic material more creatively, as Todd's superpowers are shown in print by rings, which was handled by the VFX team. Churchill explains that they took inspiration from the old RKO Pictures logo of a transmitting tower. To imitate this they "made the rings feel uneven and have these optical aberrations with color bursts". In this fight, Scott also gets punched through several walls, which was achieved with camera set-ups. The movement away from Todd is shown from tight and wide camera shots, with Cera as Scott being pulled on a rig in the room.
Scott Pilgrim vs. the World | Visual effects
The role of the fight promoter in this movie, played by co-producer and director Gavin O'Connor, was meant to be played by Charles Lewis Jr., had Lewis not been killed just before the shooting of the movie. A new film by British director Bobby Razak chronicles the life and death of Charles Lewis. Razak founded the media portion of TapouT and TapouT films. Mask is the first non-fighter to be inducted into UFC Hall of Fame
Charles Lewis Jr. | Legacy
"Time" labeled him "excellent", and "Variety" was impressed by his embracing a range of techniques needed for his character. For his performance, Norton was nominated for Best Actor by the Online Film Critics Society. Despite a worse-than-expected performance at the box office, "Fight Club" became a cult classic after its DVD release in 2000.
Edward Norton | 1995–1999: Breakthrough
Perhaps the most notable effect is Cherry's (Rose McGowan) fake leg. To accomplish the fake leg that Cherry sports after her accident, during post-production the effects teams digitally removed McGowan's right leg from the shots and replaced it with computer-generated props—first a table leg and then an M16 rifle. During shooting for these scenes, McGowan wore a special cast which restricted her leg movement to give her the correct motion, and helped the effects artists to digitally remove it during post-production.
Grindhouse (film) | Special effects
Backgrounds with green-screens had to be recreated shot-for-shot to correspond with camera movement. Kitamura wanted the Versus scene to defy the laws of physics, feeling it would have been "lame" for them to simply remain on the ground boxing. Cameras were set up overhead for mid-air shots. Via wire-action, Sakaki and Sakaguchi jumped double the height than what was originally planned, at Kitamura's request. A custom bottle was produced so Sakaki would be able to hit Sugimoto, however, the bottle still managed to cut Sugimoto.
Alive (2002 film) | Special effects
"Fight Club" was one of the most controversial and talked-about films of the 1990s. The film was perceived as the forerunner of a new mood in American political life. Like other 1999 films "Magnolia", "Being John Malkovich", and "Three Kings", "Fight Club" was recognized as an innovator in cinematic form and style since it exploited new developments in filmmaking technology. After "Fight Club"s theatrical release, it became more popular via word of mouth, and the positive reception of the DVD established it as a cult film that David Ansen of "Newsweek" conjectured would enjoy "perennial" fame. The film's success also heightened Palahniuk's profile to global renown.
Fight Club | Cultural impact
In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI. The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame.
Forrest Gump | Visual effects
"Den of Geek" wrote that "the special effects are dreadful; bad ideas that look cheap and unconvincing. The story follows as though the script was tossed into the air and the pages put back together in the wrong order. Fortunately, the tone is light and the silliness passes as good fun. There are a couple of great fight scenes, too. My favourite part of the film sees Seagal fighting a guy who bizarrely develops the ability to crawl along walls, mid-brawl. Obviously, Seagal smashes him to pieces regardless. We also get lots of scenes set in strip club, because of course, and plenty of Seagal shooting."
Out for a Kill | Reception
In filming "The Incredible Hulk", Leterrier cited Andy Serkis' motion capture portrayals of Gollum and King Kong in "The Lord of the Rings" and "King Kong", respectively, as the standard for which he was aiming. Norton and Roth filmed 2500 takes of different movements the monsters would make (such as the Hulk's "thunder claps"). Phosphorescent face paint applied to the actors' faces and strobe lighting would help record the most subtle mannerisms into the computer. Others including Cyril Raffaelli provided motion capture for stunts and fights, after the main actors had done video referencing. Leterrier hired Rhythm and Hues to provide the CGI, rather than Industrial Light & Magic (ILM) who created the visual effects for Ang Lee's "Hulk".
Bruce Banner (Marvel Cinematic Universe) | Appearance and special effects
Additional roles include: Thom Gossom Jr. as Detective Stern, a police investigator who looks into the Narrator's apartment explosion; Bob Stephenson as an airport security officer who detains the Narrator; Joon B. Kim as Raymond K. Hessel, a young convenience store clerk; Peter Iacangelo as Lou, an aggressive man who owns the bar fight club is held in; and David Andrews as Thomas, a member of the Narrator's testicular cancer support group. Tim de Zarn, Ezra Buzzington, and David Lee Smith appear as the Narrator's co-workers, and Richmond Arquette portrays his doctor. Holt McCallany, Eion Bailey, Paul Carafotes, Mark Fite, and Michael Shamus Wiles portray members of Project Mayhem, and Stuart Blumberg and Matt Winston play people harassed by the group.
Fight Club | Cast
Fincher also released two early trailers in the form of fake public service announcements presented by Pitt and Norton; the studio did not think the trailers marketed the film appropriately. Instead, the studio financed a $20 million large-scale campaign to provide a press junket, posters, billboards, and trailers for TV that highlighted the film's fight scenes. The studio advertised "Fight Club" on cable during World Wrestling Federation broadcasts, which Fincher protested, believing that the placement created the wrong context for the film. Linson believed that the "ill-conceived one-dimensional" marketing by marketing executive Robert Harper largely contributed to "Fight Club"s lukewarm box office performance in the United States.
Fight Club | Marketing
In the making of the film, Foo accidentally wounded Cung Le. The film's director, Dwight Little, found that this type of accident is common in fighting films. For the film "" (2011), writer Dai Satō added both Jin and Kazuya as a pair of men to provide "visual eye-candy" in the same way as the William sisters did. While Jin and Ling Xiaoyu appear to have developed a close relationship, Satō did not want to explore a romantic one in the film. Instead, the writer wanted to use these pairs to be played together in the spin-off game "Tekken Tag Tournament 2", which relies on the use of teams composed of two fighters.
Jin Kazama | Actors and related media
In the 1999 David Fincher-directed film "Fight Club", Norton played an unnamed unreliable narrator who feels trapped in his white-collar job. The film is based on Chuck Palahniuk's 1996 novel. To prepare for the role, Norton took lessons in boxing, taekwondo and grappling. "Fight Club" premiered at the 1999 Venice International Film Festival. During promotion for the film, Norton explained that "Fight Club" examines the value conflicts of Generation X as the first generation raised on television, by probing "the despair and paralysis that people feel in the face of having inherited this value system out of advertising". While the film divided contemporary critics, Norton's role was widely applauded.
Edward Norton | 1995–1999: Breakthrough
The film was suspected of influencing Luke Helder, a college student who planted pipe bombs in mailboxes in 2002. Helder's goal was to create a smiley pattern on the map of the United States, similar to the scene in "Fight Club" in which a building is vandalized to have a smiley on its exterior. On July 16, 2009, a 17-year-old who had formed his own fight club in Manhattan was charged with detonating a homemade bomb outside a Starbucks Coffee shop in the Upper East Side. The New York City Police Department reported the suspect was trying to emulate "Project Mayhem".
Fight Club | Cultural impact
Fight Club is a 1996 novel by Chuck Palahniuk. It follows the experiences of an unnamed protagonist struggling with insomnia. Inspired by his doctor's exasperated remark that insomnia is not suffering, the protagonist finds relief by impersonating a seriously ill person in several support groups. Then he meets a mysterious man named Tyler Durden and establishes an underground fighting club as radical psychotherapy. In 1999, director David Fincher adapted the novel into a film of the same name, starring Brad Pitt and Edward Norton. The film acquired a cult following despite underperforming financially. The film's prominence heightened the profile of the novel and that of Palahniuk.
Fight Club (novel) | Introduction
The unusual camerawork during the fight scenes was achieved by attaching a phone to Marshall-Green and having the Alexa Mini track the gyroscope of the phone.
Upgrade (film) | Production
Ulrich wore a protective vest beneath his shirt to help prevent harm while a stuntwoman attacked him with it. The second thrust missed the vest and stabbed Ulrich on his chest, impacting a wound from an open heart surgery operation. Ulrich's genuine pain was captured on film and used in the release version of "Scream". Two of the most complex special effects in the film were the corpses of Barrymore's and Walls' characters, Casey Becker and Steve Orth. Their deaths involved the character being gutted from ribcage to pelvis, essentially hollowing out the torso of internal organs, with the guts "rolling" from the wound.
Scream (1996 film) | Special effects and design
The visual effects were provided by Atomic Arts and Method Studios. They were supervised by Brooke Lyndon-Stanford, Justin Cornish, and Josh Simmonds, as well as Nicholas Brooks as the Production Supervisor, with help from Cubica, Lola VFX, Make VFX, Rodeo FX and Soho VFX. The teenage actors were digitally de-aged to match their respective ages during filming of the first film.
It Chapter Two | Post-production
de Souza to hire an Australian actor. By the time he received the request the only part not cast was that of Cammy. De Souza first learned of Minogue from her cover photo on a "World's 30 Most Beautiful People" edition of "Who" magazine. Japanese actor Kenya Sawada appeared in the film as a part of a promotional contract with Capcom. The cast's physical training was handled by Hollywood trainer and world karate champion Benny Urquidez. Charlie Picerni was hired as the stunt coordinator; he took the job with the condition that he would need ample time to train the cast.
Street Fighter (1994 film) | Production
However, he noted that it was more memorable as "the episode in which Steve Carell and Rainn Wilson jump-kick each other in public to try to prove a point." Several of the cast members had experience in martial arts prior to the filming of the episode. Rainn Wilson used to study karate and is a certified yellow belt. Krall is a black belt in Taekwondo and was nationally ranked. One of background actresses who played a student in Dwight's class was actually a black belt, but was forced to wear a white belt; ultimately, she was unhappy about having to hide her ability.
The Fight (The Office) | Production
When choreographing the various fight sequences in the film, Jean sought to maintain the atmosphere and humour of the Discworld while still creating an exciting action sequence. Jean explained that "the tone of all these fights is the tone of Discworld... it has a kind of chaos to it... there are very few set pieces, it's more about the chaos and the humour". Although all the fight sequences were carefully controlled for safety, some were choreographed to be more haphazard than others; each fighter was also given their own style for variety and humour. Liz May Brice (Herrena) noted the contrast in the ferry fight sequence, saying "the way we've done the fight, he [Cohen the Barbarian] is almost [winning] by mistake...
Terry Pratchett's The Colour of Magic | Effects
In addition to the film, "Fight Club" was adapted into a fighting video game loosely based on the film, which was released in October 2004, receiving poor reviews universally. Palahniuk has mentioned at book readings that he is working on a musical based on "Fight Club" with David Fincher and Trent Reznor. Edward Norton has said that he thinks it is unlikely that he and Brad Pitt, who "can't sing," would reprise their film roles in a musical. Graphic novel adaptations of "Invisible Monsters" and "Lullaby", drawn by comic artist, Kissgz, aka Gabor, are available online. Following the success of the movie of "Fight Club", interest began to build about adapting "Survivor" to film.
Chuck Palahniuk | Adaptations
During another fight scene, Kim Chang and Lorelei Connelly stepped in for Allison Mack and Kristin Kreuk for where Lana and Chloe get into a fight at school. The scene took two full days of shooting to complete, and involved many different angles to be shot. Close-ups of Mack and Kreuk were filmed of them fighting up to the point that a big fall would take place, and then Chang and Connelly would shoot the same actions from a further distance away and continue through the fall. Then, Mack would continue the fight scene with Chang, where they filmed just Allison Mack's side of the fight.
Smallville (season 3) | Physical effects
Arun Vijay called his character a powerful one and would sport a stylish look. Rao Ramesh played the role of Charan's father in the film. During the promotions of "Kick 2" (2015), Rakul Preet Singh said that she would play the role of a graphic designer in this film. Chopra was signed to play the role of a "strong woman, a very wealthy and stylish one at that".
Bruce Lee: The Fighter | Characters and appearance
He explained, "The Hulk is beyond perfect so there is zero grams of fat, all chiseled, and his muscle and strength defines this creature so he's like a tank." Visual effects supervisor Kurt Williams envisioned the Hulk's physique as a linebacker rather than a bodybuilder. A height of nine feet was chosen for the character as they did not want him to be too inhuman. To make him more expressive, computer programs controlling the inflation of his muscles and saturation of skin color were created. Williams cited flushing as an example of humans' skin color being influenced by their emotions.
The Incredible Hulk (film) | Visual effects
"So when it comes time to dance, they're like a regiment; they do the same steps." A practical method was considered for the scene in which Violet Beauregarde turns blue and swells up into a giant 10-foot blueberry. A suit with an air hose was considered at one point for the beginnings of the swelling scene, before the decision was made to do the entire transformation in CGI. The visual effects house Cinesite was recruited for this assignment. In some shots of AnnaSophia Robb's head, a facial prosthetic was worn to give the impression that her cheeks had swelled up as well.
Charlie and the Chocolate Factory (film) | Visual effects
Its central theme of male machismo (and the anti-social behaviour that flows from it) is emphatically rejected by the central character in the concluding reels." The scenes were restored in a two-disc DVD edition released in the UK in March 2007.
Fight Club | Theatrical run
Lola also worked on visual effects for the Vision. The Third Floor extensively previsualized the film including the fight scene at Leipzig/Halle Airport. Gerardo Ramirez, the Previs and Postvis Supervisor for The Third Floor said: We visualized most of the major scenes in the film, some that were more story driven and some that were more action and story driven. The Russos used various methods for planning and they used each department for what it does best. The early edits were a combination of storyboards, previs and stunt performance clips. Stunts would choreograph the hand-to-hand action while the storyboards would be used for character story moments and previs was used for the big action scenes that involved many digital characters.
Captain America: Civil War | Visual effects
Following the success of the previous film, the Wachowskis came up with extremely difficult action sequences, such as the Burly Brawl, a scene in which Neo had to fight 100 Agent Smiths. To develop technologies for the film, Warner Bros. launched ESC Entertainment. The ESC team tried to figure out how to bring the Wachowskis' vision to the screen, but because bullet time required arrays of carefully aligned cameras and months of planning, even for a brief scene featuring two or three actors, a scene like the Burly Brawl seemed almost impossible as envisioned and could take years to composite.
The Matrix Reloaded | Visual effects
The film is generally well received. Fans cite Hiroshi Miyauchi's excellent martial arts skills and the variety of battle. Detractors state there is flat acting and over-reliance on wire special effect, especially during the final battle. Also, Sonny Chiba's "Tsurugi" character doesn't appear, despite the English title.
Sister Street Fighter | Reception
And that’s because they completely scanned and CGIed my face onto the stunt double. So there’s a tremendous amount of work that went into the fight scenes and we did not have a lot of time to do it." She also elaborated that "On the day of, you have the set and you have the cameras, and you have to deal with special effects, because on top of everything else we had to scan my face and go through this incredible process of taking a million pictures so they were able to meld it onto Sam’s face."
Face My Enemy | Visual effects
Visual effects company, Image Engine, spent over a year working on a shot where Banner's gamma-irradiated blood falls through three factory floors into a bottle. Overall 700 effects shots were created. Motion capture aided in placing and timing of movements, but overall key frame animation by Rhythm and Hues provided the necessary "finesse [and] superhero quality". Many of the animators and Leterrier himself provided video reference for the climactic fight. Dale Keown's comic book artwork of the Hulk was an inspiration for his design. Leterrier felt the first Hulk had "too much fat [and] the proportions were a little off".
The Incredible Hulk (film) | Visual effects
Studio executives Mechanic and Ziskin planned an initial budget of US$23 million to finance the film, but by the start of production, the budget was increased to $50 million. Half was paid by New Regency, but during filming, the projected budget escalated to US$67 million. New Regency's head and "Fight Club" executive producer Arnon Milchan petitioned Fincher to reduce costs by at least US$5 million. Fincher refused, so Milchan threatened Mechanic that New Regency would withdraw financing. Mechanic sought to restore Milchan's support by sending him tapes of dailies from "Fight Club". After seeing three weeks of filming, Milchan reinstated New Regency's financial backing.
Fight Club | Filming
Professional boxers Peter Quillin, Jean-Pierre Augustin and Edwin Rodríguez appear as fighters Roger Mayweather, Gilbert Dele and Roberto Durán, respectively, while Godsmack singer Sully Erna plays a Blackjack dealer at Caesars Palace.
Bleed for This | Cast
Under the direction of fight choreographer Olivier Schneider, the fight was designed to be brutal but realistic, representing Carano's "cop with fight training" and Rodriguez's street fighting. The parkade explosion Shaw lures Dom's team into combined on-set pillars that could be detonated alongside dust mines which could be used as a reference for the digital artists to create the appearance of the structure sinking into itself. A scene involving Evans' character commandeering a tank was originally intended to use CGI to portray the vehicle crushing cars along a Spanish highway, but the final scene used practical effects as the tank really ran over approximately 250 cars during filming.
Fast &amp; Furious 6 | Stunts
Filming concluded in December 1998, and Fincher edited the footage in early 1999 to prepare "Fight Club" for a screening with senior executives. They did not receive the film positively and were concerned that there would not be an audience for the film. Executive producer Art Linson, who supported the film, recalled the response: "So many incidences of "Fight Club" were alarming, no group of executives could narrow them down." Nevertheless, "Fight Club" was originally slated to be released in July 1999 but was later changed to August 6, 1999. The studio further delayed the film's release, this time to autumn, citing a crowded summer schedule and a hurried post-production process.
Fight Club | Marketing
Fincher sought the advice of writer-director Cameron Crowe, who suggested giving the character more ambiguity. Fincher also hired screenwriter Andrew Kevin Walker for assistance. He invited Pitt and Norton to help revise the script, and the group drafted five revisions in the course of a year. Palahniuk praised the faithful film adaptation of his novel and applauded how the film's plot was more streamlined than the book's. Palahniuk recalled how the writers debated if film audiences would believe the plot twist from the novel. Fincher supported including the twist, arguing, "If they accept everything up to this point, they'll accept the plot twist.
Fight Club | Writing
Brad Pitt's character in writer-director Quentin Tarantino's 2009 war film "Inglourious Basterds" is a soldier named "Aldo Raine."
Aldo Ray | Legacy
A lot of what happened at the back end of the movie, like the little stumps walking around in the sand, was stuff that Jon Hall shot. I had nothing to do with it...Yes, the famous Jon Hall from "The Hurricane" [1937]. In later years he had a production company, and apparently he made a deal with Broder and went out and shot more stuff. The only tree that I worked with was the one that had the guy in it manipulating the limbs, which is the one that has the fight with the [C-47] pilot. We shot it in pretty low-key light, to try to hide as much of it as we possibly could.
The Navy vs. the Night Monsters | Special effects
Paul Attanasio was brought in as a script doctor to re-work the film's story before shooting. School scenes were filmed at Occidental College in Los Angeles. Many of the fight scenes were orchestrated by Lee, which contain elements of his father Bruce Lee's Jeet Kune Do fighting style.
Rapid Fire (1992 film) | Production
The film's special effects were completed by seven different visual effects houses: Digital Domain, Giant Studios, The Third Floor, MPC, Soho VFX, Rodeo FX and Hatch Productions. Creating the giants took four main steps. The first step was Pre-Capture, in which performance capture was used to capture the actor's facial and body movements and render them in a real-time virtual environment. The second step took place during principal photography, where Simulcam technology was used to help the human characters virtually interact with the giants that were rendered earlier in Pre-Capture. The third step was Post-Capture, a second performance capture shoot to adjust giants' movements to seamlessly fit the live-action performances.
Jack the Giant Slayer | Post-production
Farrell MacDonald, George Melford, Torben Meyer, Charles R. Moore, Frank Moran, Jack Norton, Franklin Pangborn, Emory Parnell, Victor Potel, Dewey Robinson, Harry Rosenthal, Julius Tannen, Max Wagner and Robert Warwick. In addition, Sturges re-used other actors, such as Sig Arno, Luis Alberni, Eric Blore, Porter Hall and Raymond Walburn, and even stars such as Joel McCrea and Rudy Vallee, who both made three films with Sturges, and Eddie Bracken, who did two.
Preston Sturges | Studio battles
Many aspiring stuntmen sent demo tapes, hoping to be cast in the film. An American stunt actor was cast but did not properly take the impact and was injured on the first take. "He kicked me, I used my arm to block his kick, and he fell down hard," Tony told the Associated Press. However, no one was hospitalized in the making of the film, with injuries limited to "bumps and bruises, muscle tears, a little something like that. Nothing major," Tony said. The fights include duels with:
Tom-Yum-Goong | Stuntwork
A first aid station was set up off the soundstage for injuries. Pioneering stuntwoman Helen Thurston filled in for Dietrich when the action became too heavy … but the publicity claimed the stars did all their own stunts in one continuous take and were presented with champagne toasts and applause from the cast and crew." -- Gene Freese, "Classic Movie Fight Scenes: 75 Years of Bare Knuckle Brawls, 1914-1989" "I was a very nice girl but Aliza was a cow. We had terrible clashes and I was disgusted with her. I had a lot of anger inside of me so that [fight] scene was a perfect way to work it out.
Catfight | In the TV and film industry
For this scene, Asylum adjusted the actor's facial expressions to create a "post mortem" look. The special effects team digitally drooped half of the actor's face to appear as though the nerves had been severed by Jason's machete.
Friday the 13th (2009 film) | Visual effects
Meanwhile, Jim Halpert's (John Krasinski) flirting with Pam Beesly (Jenna Fischer) goes too far. "The Fight" was known as "Karate" and "The Dojo" by members of the cast and crew due to many of the scenes featuring the titular fight. Several of the cast members of the show, recurring and starring, had martial arts experience. The episode contained several cultural references, with many referring to popular fighting-related movies and television shows. "The Fight" received largely positive reviews from critics. The episode earned a Nielsen rating of 3.9 in the 18–49 demographic and was viewed by 7.9 million viewers.
The Fight (The Office) | Introduction
Performance capture was used only for facial animation, since Schwarzenegger was scanned reading his lines. The studio's artists studied archive footage of the actor, focusing mainly on "The Terminator" and "Pumping Iron", and were given a 1984 plaster cast of him. On set, the fight between both Terminators had Schwarzenegger and Brett Azar (a bodybuilder chosen for his resemblance to the actor in 1984) and, in more dangerous scenes, Azar and a stunt double—requiring effects artists to replace the face of Pops. MPC also handled the future battle, with set extensions and Skynet robots and vehicles based on models by Legacy Effects.
Terminator Genisys | Visual effects
It certainly has the look of a gritty 70's cop show...The fights are good and realistic and Li gets to show some handy moves with a Bokken (wooden Japanese sword) during one particular scrap with the boss's goons." The film is admired by Quentin Tarantino who wrote "While it maybe lacking in the script department, and the fights, though good, are usually unprovoked and undramatic, the cast is good. "
The Image of Bruce Lee | Reaction