String City – Teaser Trailer

September 7, 2018 by Leave a Comment

 

Regular visitors to this blog will know I have a new novel out in January 2019, titled String City. To keep your appetite whetted, I thought I’d treat you to a teaser trailer, which features original music by my good friend Pete Riley. Thanks, Pete! Watch out for the full book trailer coming later in the year. Here’s the blurb:

String City by Graham EdwardsIn an interdimensional city full of gods, living concepts and weirder things, a gumshoe – a “stringwalker” who can travel between realities – is hired to investigate an explosion at a casino.

He ends up on a frantic chase to track down and retrieve an unimaginable power source, while staying one step ahead of the ancient Greek Titans, an interdimensional spider god, and the mysterious creature known as the Fool. If he fails, all things – in all realities – could be destroyed.

Just another day in String City.

String City will be published by Solaris Books on January 24, 2019. Preorder your copy now.

Filed Under: Fiction, Published, Writing Tagged With: ,

Cinefex Diaries – VIEW Conference 2018

September 7, 2018 by Leave a Comment

VIEW Conference 2018

Last year, I remember looking wistfully at the programme for VIEW Conference 2017 and thinking what a great lineup it was. At the time, our hectic publishing schedule made it impossible for any of the Cinefex editorial team to attend, but this year is different. The stars have aligned and I’ll be heading out to Turin in October for VIEW Conference 2018, ready to report back on the proceedings via the Cinefex blog.

What’s so great about VIEW? For me, personally, it’s a chance to rub shoulders with people I’ve admired for years, among them Dennis Muren. Creative director at Industrial Light & Magic and a true legend in the field of visual effects, Dennis has been conjuring movie magic since the days of The Empire Strikes Back through Terminator 2: Judgment Day, Jurassic Park and beyond. Then there’s Hans Zimmer, whose epic film scores seem hellbent on filling up my iTunes library. Both Dennis and Hans are delivering keynote speeches at VIEW this year, and I can’t wait.

On top of that, VIEW will give me the chance to meet up with a bunch of visual effects supervisors I interviewed for Cinefex earlier this year, but have never actually met in person – like Rob Bredow (Solo: A Star Wars Story), Dan Glass (Deadpool 2) and Geoffrey Baumann (Black Panther). I’ll also get to prowl the conference hall in search of new victims – sorry, interviewees – watch the many presentations and, best of all, report back to our readers.

Here’s a tiny selection of highlights from the conference programme, which you can view in full at the official VIEW Conference 2018 website:

TUESDAY 23 OCTOBER

  • “Creatively Driven – The VFX For Solo: A Star Wars Story” – Rob Bredow, overall visual effects supervisor, senior vice president, executive creative director, head of ILM
  • “Step into my Music – Hans Zimmer
  • “Black Panther” – Geoffrey Baumann, overall visual effects supervisor, Marvel Studios

WEDNESDAY 24 OCTOBER

  • “Westworld” – Jay Worth, overall visual effects supervisor, HBO
  • “Venom” – Troy Saliba, animation director, DNEG
  • “Adrift” – Dadi Einarsson, visual effects supervisor, co-founder, RVX
  • “Avengers: Infinity War” – Matt Aitken, visual effects supervisor, Weta Digital

THURSDAY 25 OCTOBER

  • “From Puppets to Pixels: Bringing the Dinosaurs of Fallen Kingdom to Life” – Glen McIntosh, animation supervisor Jurassic World, and animation co-supervisor Jurassic World: Fallen Kingdom
  • “Next-Gen Virtual Reality” – Dr. Don Greenberg, Jacob Gould Schurman Professor of Computer Graphics, Cornell University
  • “Jurassic World: Fallen Kingdom” – David Vickery, overall visual effects supervisor, creative director, ILM

FRIDAY 26 OCTOBER

  • “Breathing Life into the Alien Robot of Lost in Space” – Joao Sita, visual effects supervisor, Image Engine
  • “What is the Magicverse?” – John Gaeta, senior vice president, Magic Leap
  • “Deadpool 2” – Dan Glass, overall visual effects supervisor, second unit director
  • “Visual Effects: Defining that Critical, Elusive and Final 5%” – Dennis Muren, senior visual effects supervisor, creative director, ILM

VIEW Conference 2018 takes place 22-26 October 2018, at OGR (Officine Grandi Riparazioni), Turin, Italy. Reserve your place at the official VIEW website. See you there!

Filed Under: Cinefex, VFX, Visual effects Tagged With: ,

Cinefex Diaries – Kessel Runner

August 31, 2018 by Leave a Comment

Cinefex 160 - Solo: A Star Wars Story

The August edition of Cinefex is out, and I’m chuffed to have the cover with my article on Solo: A Star Wars Story. I had a whale of a time researching and writing this one, interviewing the visual effects team at Industrial Light & Magic, creature designer Neal Scanlan, special effects supervisor Dominic Tuohy and many others.

I also checked off a personal bucket list item by chatting with director Ron Howard. Here’s a snippet from my interview with him:

“This isn’t a war movie with an ensemble cast. It’s about young Han’s rite of passage, running this gauntlet on his quest for freedom. I wanted to make it first-person and put the audience right alongside Han throughout the adventure, to give it an urgency and excitement … There are always elements of the American Western and Kurosawa’s samurai films in Star Wars and I wanted to add a kind of ‘70s energy to all that — which was already there in the mind’s eye of Larry and Jon Kasdan, who wrote with kind of a rock‘n’roll vibe. In addition, I always remembered that A New Hope had a very unpretentious attitude about the spaceships, the worlds. George Lucas always said you have to throw all that stuff away. Don’t go for beauty shots. Don’t linger.”

You’ll hear more from Ron in the complete article, along with a ton of juicy behind-the-scenes stories explaining exactly how the design and effects teams made their movie magic.

With the Millennium Falcon on the front cover on Cinefex 160, I naturally went all sci-fi with this issue’s accompanying promo video. It’s a mere minnow compared to the whale-sized visual effects feast that is Solo: A Star Wars Story, but I had a heap of fun putting it together.

The print edition of Cinefex 160 is on newsstands now, and available to order at the online store. The iPad edition features tons more photographs and exclusive video content, including visual effects breakdown reels for Ant-Man and the Wasp and Solo: A Star Wars Story prepared especially for Cinefex by Marvel Studios and ILM respectively.

Filed Under: Cinefex, Star Wars, Visual effects, Writing Tagged With: ,

Crown of Three – Epic Collection

July 31, 2018 by Leave a Comment

Crown of Three Epic CollectionIt’s publication day for the Crown of Three Epic Collection, a box set of the complete fantasy trilogy for younger readers that I’ve been working on for the past couple of years. Publishers Simon and Schuster call it “a Game of Thrones for a younger audience” and I’m cool with that.

The series kicks off with Crown of Three, continues with The Lost Realm, and concludes with A Kingdom Rises. Here’s the blurb:

Family secrets combine with fantasy in this epic tale of battle, magic, strange creatures, power, and fate. Separated at birth, triplets Tarlan, Elodie, and Gulph have grown up knowing nothing about each other. However, an ancient prophecy says that the three will one day be reunited, overthrow the king, and bring peace to the land.

Each of the triplets has a special power that sets him or her apart from other people. Tarlan can speak to animals. Elodie can hear the voices of ghosts. And Gulph can become invisible. But what use are these abilities if they can’t stay alive long enough to claim the throne?

As three new stars shine in the nighttime sky, events are driving them together, but will the triplets live? Let alone rule?

I wrote the series under the pseudonym J.D. Rinehart. Why? Because my contribution as author is just part of a massive effort by a team of editors and storyline writers. It was an rewarding gig and, now that the project’s complete, it’s a real treat to see the whole trilogy packaged up like this.

Filed Under: Fantasy, Fiction Tagged With: , ,

Cinefex Diaries – Rush and Spectre

July 19, 2018 by Leave a Comment

Unbelievably, I’ve been working at Cinefex for nearly five years. That’s three years in my current role as full-time senior staff writer, which was preceded by two years as part-time blog editor. Time sure does fly when you’re having fun.

Big anniversary years make you nostalgic, right? So I’ve been delving back through all the magazine articles I’ve written during that time. The first of these was my article on Ron Howard’s Formula 1 biopic Rush, published in Cinefex 136, January 2014.

At the time, I was as green as they come. Despite many years as a novelist and short story writer, this was my first serious non-fiction assignment, and my first experience conducting interviews as a research journalist. Looking back, I’m not entirely sure how I muddled through, but muddle through I did, and I’m still pretty pleased with how the article turned out. Check out the blogs I wrote as I went through the process:

As an aside, there’s a nice circularity here. I recently completed my article on Solo: A Star Wars Story, for which I finally got to chat with the very director I wasn’t able to interview for Rush. More about Ron Howard, the Kessel Run and the Millennium Falcon when Cinefex 160 launches a few weeks from now.

After Rush, it was all about the blog for two years, until November 2015 when I joined Cinefex on a full-time basis, writing articles for the magazine (while still keeping the blog romping along). My first assignment as senior staff writer was Spectre, published in Cinefex 145, February 2016. This was a very different kettle of fish to Rush, where my interviews were largely confined to the film’s sole visual effects vendor, DNEG. With Spectre, I found myself talking with the world and his wife – Industrial Light & Magic, MPC, Cinesite, DNEG (again), Framestore, Peerless, Propshop, IO Entertainment, special effects supervisor Chris Corbould … the list went on. No surpise that the interviews yielded over 50,000 words of transcript – twice what I’d had for Rush. Here’s the blog I wrote at the time:

My favourite Spectre interview was with production visual effects supervisor Steve Begg, who spoke to me on the phone for over an hour while he was strolling through the streets of Edinburgh. Partway through our conversation, he found the optimum spot in the city for 4G reception – the interior of an old church. Steve’s obvious delight at the carvings he found in there was so beguiling that I almost wished I didn’t have to return his attention to James Bond and his latest exploits.

For the next issue, I took on not one article but two. Jody Duncan, Joe Fordham and I have a give-and-take way of sharing the workload, you see – if one of us has a couple of heavy assignments on one issue, the others will give them a break next time around. As the new boy, I only had to tackle one film on my maiden voyage. Next issue in, things ramped up. In fact, they ramped up more than any of us had anticipated so that, for various reasons, I actually ended up writing three articles for Cinefex 146.

But I’ll save that story for next time.

Filed Under: Cinefex Tagged With: , , ,

String City – Coming Soon

July 12, 2018 by 2 Comments

"String City" by Graham Edwards - draft cover. Illustration by Vince Haig.

January 24, 2019 – put the date in your diary. Why? Because it’s the publication date of my new novel, String City. Huzzah!

Yes, I know, it’s months away, but the darn thing’s just popped up on Amazon, which means you can preorder it right now. Or, at the very least, admire the first draft cover design, which features a rather gorgeous illustration by the deeply talented Vince Haig. Can’t wait to see the finished thing in all its glory.

If you want to know what the book’s about, you’re in luck. My splendid publisher, Solaris Books, has prepared this tantalising blurb:

String City is a hard-boiled, interdimensional detective romp of high suspense and action. China Mieville meets Dashiell Hammett.

In an interdimensional city full of gods, living concepts and weirder things, a gumshoe – a “stringwalker,” who can travel between realities – is hired to investigate an explosion at a casino. He ends up on a frantic chase to track down and retrieve an unimaginable power source, while staying one step ahead of the ancient Greek Titans, an interdimensional spider god and the mysterious creature known as the Fool. If he fails, all things – in all realities – could be destroyed.

Just another day in String City.

If you’re a regular reader you’ll know a little bit about the strange metropolis of String City already. It first appeared in my series of novelettes known collectively as The String City Mysteries, which chronicle some of my dimension-hopping detective’s earliest cases. If you’ve never read those original stories, don’t worry. The novel stands alone.

I’ll have lots more to say about String City over the coming months. Stay tuned.

Filed Under: Fiction, Published, Writing Tagged With: ,

Cinefex Diaries – Going Solo

June 25, 2018 by Leave a Comment

Cinefex 159 - Pacific Rim Uprising

My latest Cinefex story is Heft and Jank, an in-depth article on Pacific Rim Uprising, hot off the press in our June 2018 issue, Cinefex 159. I described the work that went into it in an earlier blog post – check it out here. Even while I was wrapping up the robots and monsters, however, I was gearing up for my next two articles, which have taken up all my time since then.

Deadpool 2First up was Deadpool 2. I was looking forward to this one, having written the Cinefex story on the original Deadpool back in 2016. It didn’t disappoint.

My interview list for Deadpool 2 covered a lot of ground, from production visual effects supervisor Dan Glass through all the many VFX vendors who worked on the show, namely DNEG, Framestore, Method Studios, Weta Digital, Soho VFX, Crafty Apes and Digital Makeup Group.

I also chatted with special effects supervisor Mike Vézina, makeup designer Bill Corso, aviation effects supervisor Doug Scroggins, and the previs supervisors at Unit Eleven, Image Engine and The Third Floor. Last and definitely not least came the film’s director, the supremely talented David Leitch.

Deadpool 2 took a lot of wrangling, but it was nothing compared to my second assignment – Solo: A Star Wars Story, the final draft of which I delivered just a couple of hours ago. This is the first time I’ve covered a Star Wars movie for Cinefex, so I was determined to get it right.

I ended up with another long list of interviewees, kicking off with production visual effects supervisor Rob Bredow, plus the visual effects teams at Industrial Light & Magic – who led the project – Hybride Technologies and Tippett Studio.

Then there were the guys at BLIND LTD, creature supervisor Neal Scanlan, special effects supervisor Dominic Tuohy and costume designers David Crossman and Glyn Dillon. And yes, I did manage to pin down director Ron Howard for a telephone interview during which he proved that he really is one of the nicest men in the business. As a movie fan who grew up in the ’70s and ’80s, getting to chinwag with Ron was absolutely a bucket list moment.

I’ll tell you more about these two articles in a future blog post. Right now, all you need to know is that they’ll be appearing in Cinefex 160, which you can preorder from the website here.

Even as I was winding up Solo, was getting my ducks in a row for my next assignment, which looks set to start later this week. As for what film I’m covering, you’ll just have to wait and see …

Filed Under: Cinefex, Star Wars, Visual effects, Writing Tagged With:

Cinefex Diaries – Robots and Monsters

April 5, 2018 by 1 Comment

Pacific Rim Uprising posterThe visual effects industry is a global affair, which means that I conduct most of my interviews over the phone, desperately trying to remember which time zone the person on the other end is in. As I set out to cover Pacific Rim Uprising for Cinefex 159, however, I sniffed an opportunity.

The majority of the effects work on Pacific Rim Uprising was done by Double Negative, overseen from its London office, which is not too far from my home in the UK. When I asked the company’s charming PR team if I could visit for the day and conduct my interviews face to face, they graciously agreed. They even arranged for Peter Chiang, overall production visual effects supervisor on the show, to be there too.

As interview experiences go, it certainly beat sitting on the phone. I spent a delightful couple of hours with Peter Chiang and Double Negative visual effects supervisor Pete Bebb, sitting in a darkened screening room and discussing shot after shot as they played on the big screen. Next, I grilled a steady flow of artists and supervisors, discussing everything from city building and creature rigging to compositing and concept design. I covered a lot of ground. I was punch-drunk by the end, my brain filled up with everything I needed to know about how this talented team brought their remarkable images to the screen.

Well, not quite everything. I followed up my visit with the inevitable round of telephone interviews, catching up with those people I’d missed. One highlight was an entertaining Skype call with Double Negative animation director Aaron Gilman. In keeping with his role, Aaron was highly animated, and spent nearly as much time physically demonstrating his ideas for Jaeger and Kaiju movement as he did talking about them!

I also spoke with visual effects supervisors at the other companies working on the film – Atomic Fiction, Territory Studio and BLIND Ltd, plus previs specialists The Third Floor, Halon and Day for Nite. Production designer Stefan Dechant gave me a dazzling overview of the film’s design, and special effects supervisor Dan Oliver delivered nuts-and-bolts breakdowns of the extraordinary physical rigs that he and his team built. Rounding out the practical picture, I learned all about specialty costumes and props from Legacy Effects, Weta Workshop and Odd Studio.

Putting the icing on the cake, my final telephone interview was with the director of Pacific Rim Uprising, Steven S. DeKnight, who talked to me about his fondness for Guillermo del Toro’s original film, and the creative approach he took with the sequel. He even made a point of telling me he was a fan of Cinefex!

Cinefex 159 contents

You can read my article on Pacific Rim Uprising in Cinefex 159, which also contains in-depth articles on Avengers: Infinity War, Ready Player One and Annihilation. It’s out in June and available to preorder now.

In the meantime, you’ll want to get your teeth into our brand new April edition, a special tribute issue celebrating the 10-year anniversary of Marvel Studios. More about that very soon!

Filed Under: Cinefex Tagged With: , , ,

Book Trailer Tease

March 27, 2018 by Leave a Comment

Book Trailer Test-1Anticipating the publication of my next novel – out at the end of the year – I’ve started work on a book trailer. All right, I’ll confess, it’s really just an excuse for me to fool around with some new animation techniques – well, new to me, anyway. Before you ask, no, I still can’t reveal what the book is. The best I can offer at this early stage is the above enigmatic video clip that represents my latest animation test. It’s just four second long, so blink and you’ll miss it.

Filed Under: Books, Fantasy, Fiction

Annihilation

March 22, 2018 by Leave a Comment
Left to right: Natalie Portman and Tessa Thompson in ANNIHILATION, from Paramount Pictures and Skydance.

Left to right: Natalie Portman and Tessa Thompson in ANNIHILATION, from Paramount Pictures and Skydance.

“It’s making something new.” So says biologist Lena (Natalie Portman) about the alien infestation occupying an area of coastal swampland in Annihilation. ‘Something new’ is exactly what writer-director Alex Garland has delivered, in his adaptation of the acclaimed science fiction novel by Jeff Vandermeer.

I read the novel a few years ago, shortly after it won the 2014 Nebula Award and some time before it was announced that a film was in the offing. In his strange tale about a party of unnamed scientists exploring Area X, a restricted zone that may or may not have been contaminated by an otherworldly presence, Vandermeer serves up a banquet in which every dish is full of extraordinary flavours, yet somehow you’re never quite sure about what it is you’re eating. You’re grasping, constantly, for a meaning that always eludes you, yet somehow this is never frustrating. Quite the opposite, actually. It’s the only meal I’ve ever eaten where I’ve ended full to bursting, yet hungry for more.

Annihilation posterIf you’d asked me then, I’d probably have said the novel was unfilmable. To my delight, Alex Garland has no truck with that notion. Structuring the human stories in  way that’s accessible to a movie audience, he’s mapped a narrative course that provides the sense of resolution that the novel deliberately avoids, without losing any of the tantalising weirdness. Right at the end, there’s even a suggestion this film is but one facet of the growing body of work that Garland began with his cautionary tale about artificial intelligence, Ex Machina.

Portman leads magnificently, but her co-stars Jennifer Jason Leigh, Tessa Thompson, Gina Rodriguez, Tuva Novotny and Oscar Isaac are as immersed in their roles as their characters are immersed in Area X. However, it’s with its visuals that the film shine – often quite literally. I frequently couldn’t tell where Rob Hardy’s caustic cinematography left off and Andrew Whitehurst’s visual effects took over. From the soap bubble glare of the ‘shimmer’ – a kind of barrier that conceals Area X from the outside world – to the bizarre flora and fauna beyond, Annihilation brings you the very best kind of sights: those you’ve never seen before.

Best of all, Alex Garland isn’t afraid to celebrate the strange. The film’s climax builds around a decidedly peculiar encounter with something that almost makes sense, yet which you know is just a tantalising glimpse of something ineffable. Throughout, Garland allows his camera to linger on some of the most intriguing images I’ve ever seen in cinema. Even after just one viewing, I’m convinced Annihilation belongs among the sci-fi greats. Am I overstating it? I don’t think so.

It’s a shame the film didn’t get a theatrical release outside the U.S., where it was distributed by Paramount Pictures. Everywhere else it’s on Netflix. Don’t get me wrong, Netflix is fine, and my TV screen was big enough to give me a reasonable sense of what it might be like to venture into Area X. Still, given Garland’s penchant for holding the camera back and offering long, wide views of remarkable things, I’d love to see Annihilation on the big screen.

Filed Under: Films, Science Fiction Tagged With:
Next Page»
%d bloggers like this: