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stirlingmoss · 2 years

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DOUGLAS FLYING SELF PORTRAIT, 1975

Douglas KIRKLAND

Douglas flying self portrait, 1975

Original photography

Pigment print on archival paper

Signed, numbered and titled on the back by the artist

50,8 x 61 cm / 20 x 24 inch, edition of 24

Douglas KIRKLAND was born in 1934 in Toronto. Child, he has been amazed by Photography and his kith and kin became his very first models. Douglas KIRKLAND still does not know that during the next years, the most prominent Hollywood celebrities will pose in front of his camera.

In the early stages of his career Douglas KIRKLAND worked in a small photo studio, in Richmond (Virginia). Thanks to his meetings, he discovered the photographs of Irving PENN. That was a revelation. Douglas KIRKLAND was fond of it, he sent several letters to the famous photographer and succeeded in becoming Irving PENN’s assistant. He is a quick learner but the meager salary was not enough and Irving PENN refused to increase his wage. We were in 1957, Douglas gave himself one year to carve out a place as photographer by his own mean. The road had been a bit longer. He constructed his portfolio step by step through collaborations with small publications. Then, Douglas KIRKLAND started to work with LOOK magazine. The same year, he learnt French in the contact of Coco CHANEL and, just before that, in June 1961, he was appointed to portrait Elizabeth TAYLOR.

Elizabeth TAYLOR had accepted an interview for LOOK, not a photo shoot. The young Douglas KIRKLAND explained her, what would the opportunity to have a photo session with her represent for him. Elizabeth TAYLOR gave her agreement and, thanks to that, launched Douglas KIRKLAND’s career. In this same 1961 year, Douglas KIRKLAND photographed Marilyn MONROE. The session happened around a king size bed, a bottle of champagne and a Frank SINATRA’s record. The beautiful pictures of Marilyn MONROE, with splendid pastel tones, let have a glimpse of the good vibes between both of them. “She was not like the Marilyn I expected, she was easy and light, and almost playful, and very disarming for me” explained Douglas KIRKLAND in an interview for CBS.

Douglas KIRKLAND became the photographer of the celebrities

Charlie CHAPLIN, Audrey HEPBURN, Jack NICHOLSON, John TRAVOLTA, Michael JACKSON, Brigitte BARDOT, Andy WARHOL or Marilyn MONROE are among the numerous personalities he portrayed. While photographing actors and film directors in the intimacy of the studio, Douglas KIRKLAND has also done film set photography including 2001: A Space Odyssey, Sophie's Choice, Out of Africa, Butch Cassidy and the Kid, Romancing the Stone, Titanic, The Great Gatsby and Moulin Rouge. Thus, Douglas KIRKLAND’s photo archives reflect the different sides of the world of cinema.

Of course portraits have a special place in Douglas KIRKLAND’s photos, but he also worked on various subjects such as Astronomy in Chile, The Trans Siberian Railroad or fashion in Bali. Douglas KIRKLAND has taught at the Smithsonian Institution, the AFI Conservatory in Hawaii and Los Angeles, the Art Center College of Design in Pasadena and the Kodak centers Hong Kong, Singapore and Taiwan. His career has been worth him a wide recognition. He kept on photographing the world of film and to conduct his own projects, like a work on his archives to publish a new book, on his black and white photos, called “When We Were Young”.

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entertainment · 5 years

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Entertainment Spotlight: Teach Grant, IT Chapter 2

Best known for directing, co- writing, and acting in the mystery drama, Down Here, Teach Grant’s star continues to rise. He is set to star as the adult Henry Bowers in IT Chapter 2, which premieres tomorrow, September 6th. Before IT Chapter 2, he starred in variety of Tumblr favorite shows including Once Upon A Time, Supernatural, Lucifer, iZombie, and The 100. We got the chance to ask some questions and learn more about Teach. Check it out:

Were you scared when you saw IT Chapter 2 for the first time, despite seeing It in the making?

I have yet to see It Chapter Two, but will get my chance at the premier in a few days. But to answer the question, I'm already scared. It's an inherent fear all actors have, how much of me will be left in it, lol. Not to mention the fanfare, people have heavy expectations of this sequel and I really want to measure up to that. In the theatre, I expect to be scared…even though I have read the script, worked on set, I honestly won’t know what's coming next.

If everything that you did was narrated, whose voice would you want narrating your life?

I think Jack Nicholson for sure. The amazing thing about Jack is that you only need to say his first name and everyone knows who you're talking about. Some days his tone is "Here's Johnny" and others it's "Dear Indugu" but it always works.

What advice would you give to the younger Henry Bowers if you could?

Honestly, as me and not as Henry Bowers of the future, I'd try to let him know that we run in circles, if you hate your father for what he's done to you, don't let him make you become him. There is only further isolation and turmoil down that path. You're not the paper man kid, your old man is.

Do you think that blooper reels should follow scary movies to lighten the mood?

I'm neither for nor against and could likely argue both sides of it. I think it might be weird after something like The Exorcist though. It is kind of tone specific, with regards to us, I think we could get away with that if we chose to.

What’s a fun fact about the making of IT Chapter 2 that you think would surprise people?

It felt more like an independent movie than a mega blockbuster. Obviously they had all the toys at their disposal and it was certainly grande on all levels...but the set tone had a family feel. I think that is important to both Barbara and Andy Muchietti. That's been a huge take away for me.

If IT Chapter 2 was a musical, what songs do you think would be included?

I think Henry would do a version of Wanted Dead Or Alive by Bon Jovi. -That or Welcome To The Jungle by GNR. Cue up the pyro.

What’s the first thing (movie, show, musician) that you remember being a fan of?

As a kid, my first theatrical memory was of O.G -Star Wars, 1978. Wallpaper, bed sheets and anything Star Wars related soon followed.

Without any spoilers, what scene or moment from IT Chapter 2 are you most excited for fans to see?

I think I’m most excited to see fans get blindsided by a few story lines that sucker punch them in the emo-chords when they least expect it.

Thanks, Teach! Catch IT Chapter 2 in theaters on September 6th.

Photo: Maarten de Boer

#entertainment spotlight #it chapter two #teach grant

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architectnews · 3 years

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New Zealand Houses: NZ Homes, Property

New Zealand House Photos, Architecture, NZ Residential Buildings, Properties, Homes, Architects

New Zealand Houses: NZ Property

Contemporary NZ Properties : Residential Architecture Photographs

post updated 17 Feb 2021

New Zealand House Designs

NZ Residential Architecture – latest additions to this page, arranged chronologically:

25 Jan 2021 Quarters Place, Christchurch

21 Jan 2021 To Keep You Home, Westmere

19 Jan 2021 The Stage and Cave, Auckland

18 Jan 2021 The Blackbird, Auckland

3 Nov 2020 Ruby Ridge House, Wanaka, Otago region, South Island Design: Condon Scott Architects photo © Simon Larkin Ruby Ridge House, Wanaka With a bold mask to the suburban street, this house leaves all the pleasure for the people who reside within its walls. Located on an elevated site in a relatively new subdivision overlooking Lake Wanaka, the house is a place to privately and comfortably indulge in the extensive mountain and lake views the alpine town is known for.

28 Oct 2020 Hidden Hills Retreat, Wanaka

24 Sep 2020 Idris Road Home, Christchurch

7 Aug 2020 Karekare Bach, Waitakere Ranges Design: Stevens Lawson Architects photo : Simon Devitt Karekare Bach New Zealand beachfront Residence Stevens Lawson Architects collaborate with designer and surfer Dean Pool on a spectacular beach-front cabin.

16 July 2020 Herne Bay Hideaway near Auckland

7 July 2020 Longbush Ecosanctuary Welcome Shelter Gisborne

21 June 2020 Matakana House near Auckland, NZ

19 May 2020 The Brae Houses in Pine Harbour Marina, Auckland

13 May 2020 Headland House, Waiheke Island Design: Stevens Lawson Architects photograph © Mark Smith Headland House on Waiheke Island

12 May 2020 Rawene House in Auckland

11 May 2020 Te Kaitaka House on Lake Wanaka, NZ

9 May 2020 Shibui House, Tamahere, Waikato District, on the outskirts of Hamilton, North Island Design: Red Architecture photo : Larnie Nicholson Shibui House in Waikato In Japanese culture, the word “shibui” describes the aesthetic of studied restraint. Shibui is the art of knowing when to stop. It is achieved through simplicity balanced with decisive complexity. The August 1960 issue of House Beautiful described shibui as a “profound, unassuming, quiet feeling.

8 May 2020 Sandy Bay House on Waiheke Island

7 May 2020 + 24 Aug 2011 Te Mata House Design: Stevens Lawson Architects photograph © Mark Smith Wanaka Crib in the Otago Region, South Island This NZ residence sits on a promontory amongst the foothills of Te Mata Peak overlooking Hawkes Bay. The clients had run a sheep station at Parongahau and wanted to establish a new home at Te Mata.

28 Apr 2020 Wanaka Crib, Wanaka, Otago Region, South Island Architects: Pac Studio photograph : Simon Devitt Wanaka Crib in the Otago Region, South Island In a wood lined field, near Wanaka’s lake edge, this NZ property is composed of two gables and a chisel roof slipping past one another to make three enclosed courtyards. Each courtyard creates a specific relationship with the interior.

28 Apr 2020 Scarborough House, Christchurch Design: Borrmeister Architects photograph : Sarah Rowlands New House in Scarborough, NZ

13 Apr 2020 Park Terrace House, Christchurch, South Island Architects: PRau photo : Simon Devitt Park Terrace House in Christchurch This project investigates loss, the loss of an archetype, the loss of adaption amongst the Tabula rasa of post disaster Christchurch. How can a project designed upon a clean slate embody time and adaption?

13 Apr 2020 Lake Hawea House, Wanaka, South Island Architects: Condon Scott Architects photography : Simon Larkin and Simon Devitt Lake Hawea House in Wanaka, South Island This modest timber-clad home is located on the shores of Lake Hawea, twenty minutes’ drive from Wanaka, this newly constructed house capitalises on breathtaking views of the lake and Southern Alps.

4 Mar 2020 Rewa Beach House, Wellington Design: KebbellDaish Architects photograph : Andy Spain Rewa Beach House in Wellington The new Rewa Beach House brings some of the playfulness, informality and communal living we associate with beach culture to a Wellington suburb.

10 Oct 2019 Garden House, Christchurch Design: Borrmeister Architects Ltd photograph : Sarah Rowlands Garden House in Christchurch The brief required a home for entertaining and rest that would seamlessly integrate with the neighbourhood, it also called to maximise a dog-legged site to capture sunlight and views. The resulting house is sympathetic to its neighbours, providing privacy through the careful composition of building form and light.

27 Sep 2019 Castle Rock Beach House, Auckland Design: Herbst Architects photography : Patrick Reynolds Castle Rock Beach House, Auckland The site is situated 3 hours north of Auckland on the east coast. The site has 2 special features, a crescent shaped beach that it overlooks and a craggy mountain peak that overlooks it. The water view is south and the mountain view is north.

23 Sep 2019 Bach with view to the Sound in New Zealand

21 Sep 2019 Holiday Home on Kawau Island

15 Sep 2019 Scrubby Bay House in Pigeon Bay

22 Jun 2019 Best New Zealand Lodges: design led accommodation

12 Jun 2018 Scarborough House, Christchurch Design: Borrmeister Architects photograph : Sarah Rowlands New House in Scarborough, NZ A rock-face / hillside home resulting from a brief that required a relaxed playful home open to the sun, with good views to the beach and uphill park, environmentally conscious design, providing shelter from the prevailing winds and incorporating easy driveway access and parking.

24 Apr 2018 Bridle Path House, Christchurch Design: Borrmeister Architects image from architecture studio New Property in Christchurch A modest family home nestled amongst the foothills of the Port Hills in Heathcote Valley, Christchurch. This project was a rebuild option for clients who were keen to stay within their community after the 2011 earthquakes.

New Zealand Houses from 2017

25 Oct 2017 Local Rock House, Waiheke Island, Hauraki Gulf, North Island Architects: Patterson Associates photo : Simon Devitt House on Waiheke Island A Summer residence on Waiheke Island, a place famous for fine vineyards with illustrious names such as Cable Bay, ManOWar and Passage Rock. This home is located on a steep coastal escarpment above a tree fringed white sand beach on its northern coast.

23 Jan 2017 Castle Rock Beach House, Auckland

New Zealand Houses from 2016

9 Nov 2016 Kopua House on Waiheke

1 Nov 2016 Elizabeth Street House in Auckland

24 Oct 2016 Kirkmay House in Kohimarama

23 Oct 2016 offSET Shed House in Gisborne

14 Oct 2016 Easterbrook House in Titirangi, Auckland Property

11 Oct 2016 House Under Eaves, Point Wells, North Island Design: MRTN Architects photograph : Anthony Basheer New House in Point Wells Located in a new subdivision less than an hour from Auckland this new house was one of the first built on a flat site that has been split up to create well sized semi-suburban semi-coastal sections on what was once pastoral land.

2 Oct 2016 Holiday Home on Kawau Island

30 Sep 2016 Boatsheds on Takapuna Beach

2 Feb 2016 Korokoro House, Wellington, North Island Design: tse:wallace architects photograph : Paul McCredie Korokoro House in Wellington This new house located adjacent to a conservation area of well-established native bush, endeavours to make the most of its dramatic siting. It is organised around two central axis, one to the Korokoro Gorge and the other to the Cook Straits.

New Zealand Houses from 2013 and beyond

3 Oct 2013 Waterfall Bay House, Marlborough Sounds, New Zealand South Island Design: Bossley Architects photo : Kieran Scott Waterfall Bay House In a remote bay in the Marlborough Sounds this house emphasises the steepness of the topography. Set close to the water it runs along the contour as a two storey primary element incorporating living areas above and guest rooms below. Linked by a glazed bridge is a main bedroom raised above the cliff on visually unstable legs to emphasis its eyrie-like relationship to the tree tops and sky.

3 Oct 2013 Beach Retreat, Bay of Islands, New Zealand North Island Design: Bossley Architects photo : Patrick Reynolds Beach Retreat On a waterfront site in the Bay of Islands, five separate wings are located to reinforce the natural typography and create a sense of community around the central living area.

2 Oct 2013 Brown Vujcich House, Herne Bay, Auckland, North Island Design: Bossley Architects photo : Patrick Reynolds Brown Vujcich House This residence is located on a narrow site in the heart of Herne Bay. The entry space is protected by a vertical cedar screen. Interior spaces use hoop pine cabinetry and externally materials include fine vertical cedar shiplap and double skin bagged brick. The design and materials aim to reflect the clients’ love of fifties and sixties architecture.

14 Aug 2013 Under Pohutukawa, Piha, North Island Design: Herbst Architects photo from architect Piha Beach House The Pohutukawa is New Zealand’s national tree, it is known as the NZ Christmas tree as it flowers bright red is summer. Pohutukawas are protected under local authority regulations.

14 Aug 2013 Timms Bach, Kaitoke Beach, Great Barrier Island Design: Herbst Architects photo : Jackie Meiring Timms Bach This bach is chronologically the fourth in a series of 7 baches that we’ve designed on great barrier island. In is located in a small residential strip which t junctions with a wild east coast beach namely Kaitoke.

14 Aug 2013 Compson Bach New Zealand, Great Barrier Island Design: Herbst Architects photo from architect Compson Bach, Great Barrier Island This NZ Bach is a continuation of an exploration into a model of building that is dedicated to a specific function that of summer holidays at the beach.

20 Mar 2013 House in New Plymouth, North Island of New Zealand Design: Saunders Architects photo : Mark Harris House in New Plymouth Situated up a long driveway far from the road this home is in a private setting surrounded by trees and with a beautiful distant view towards the Tasman Sea. The owners’ brief called for a large two storey home that was “different” but functional and easy to live in. The huge living area can be divided into rooms by means of an ingenious sliding door system which converts the space into dining, lounge and music room spaces around a double sided open fireplace.

Te Kaitaka House, Lake Wanaka : Stevens Lawson Architects

Westmere House : Stevens Lawson Architects

Te Mata House, Hawkes Bay The house sits on a promontory amongst the foothills of Te Mata Peak overlooking Hawkes Bay. Our clients had run a sheep station at Parongahau for many years and were looking to establish a new home at Te Mata. They are also actively involved in the Hawkes Bay art scene, as collectors and administrators.

Karaka Bay House, Glendowie : Stevens Lawson Architects

Onetangi Beach House : Stevens Lawson Architects

Great Barrier Island House : Crosson Clarke Carnachan Architects

Southern Architecture Awards – images of houses amongst the winners

New Zealand Homes

We’ve selected what we feel are the key examples of New Zealand Homes. We aim to include NZ residential projects that are either of top quality or interesting, or ideally both. Most projects are contemporary in style. Homes don’t need to be completed for inclusion – proposals welcome.

Key NZ Properties, alphabetical:

The Barn House : LID Architecture

Corinth St House : Daniel Marshall Architect

Cox’s Bay House : Stevens Lawson Architects

Herne Bay House : Stevens Lawson Architects

Hobson Bay House : Stevens Lawson Architects

Hot Water Beach House : Stevens Lawson Architects

Mai Mai : Patterson Associates Limited World Architecture Festival Awards 2008 – Private Housing Category

Mountain Retreat : Fearon Hay Architects

Omaha Beach House : Daniel Marshall Architect

Omaha House : Stevens Lawson Architects

Onehunga House : Stevens Lawson Architects

Onehunga Studio : Stevens Lawson Architects

Tamahere House : Stevens Lawson Architects

More New Zealand Homes welcome

Location: New Zealand

Key New Zealand Houses with no images

XSite Architecture Ltd – Beach house, West Coast Andre Hodgskin Architects – House, Bay of Islands, Paihia Sheppard & Rout Architects – Red Rock Lane House, Redcliffs, Christchurch

Modern House

New Zealand Buildings

New Zealand Architect

Auckland Buildings

Buildings / photos for New Zealand Houses Best NZ Properties page welcome

Architecture

The post New Zealand Houses: NZ Homes, Property appeared first on e-architect.

#e-architect

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jurassicparkpodcast · 5 years

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On the Set of Jurassic World: Fallen Kingdom | Part Three | Moving Deeper into A Fallen Kingdom

Welcome back to the third and final part of my sit-down with Andy Nicholson – Production Designer on Jurassic World: Fallen Kingdom.

If you missed the first part of our sit-down, you can check it out HERE and you can also check out the second part HERE.

Last time, we were talking about the Lockwood Manor museum-style displays which appear in Jurassic World: Fallen Kingdom, and we touched on some of the inspirations for the dinosaur choices such as the Dimetrodon and the Dilophosaurus. Continuing to talk about the set design for the Lockwood Manor dioramas, Andy spoke a little about the lighting:

“We noticed that if you stood inside any of the dioramas because they were much brighter than the room beyond you couldn’t see out, J.A. decided to take the opportunity to explore some of the finer details in the sequence, when Maisie, Owen and Claire are in dioramas and they can’t see whether the Indoraptor is outside - which was nice.”

We also touched on the Mattel model of the Concavenator at one point – with Andy noting how lovely it looks and how accurate it is to the model on the set. We also touched on the LEGO version of Lockwood Manor and how LEGO got some concept art beforehand, alongside some phone calls, to design the Lockwood Manor set. It was nice, as it this point, I could show Andy the LEGO Dimetrodon which features as a little nod in the LEGO set which was cool!

Andy explained that very early on, they knew that the diorama room idea would be an important part Lockwood House.

“I remember going to the Natural History Museum as a kid and seeing all the dioramas. They were amazing and incredibly detailed, so I had always wanted to tackle them and it really made sense to try that here. Originally, the Diorama Room was only scripted as containing fossils and skeletons – but once JA and I started talking we developed the room you see in the film. I did a lot of photographic research – including photos of the Los Angeles Natural History Museum and studied other museum dioramas in detail. We used scenic artists to paint the backdrops, which was lovely. As much as possible we placed each of the dinosaurs in environments which were authentic for them. The Mononykus were interesting as there has been a lot of discussions as to whether they were feathered, so we used porcupine spikes and added them to the tail to hint at that.

Until a few years ago we couldn’t have done these individual dino dioramas to the cost. But, with a 3D Printer and 3D sculpting software like zBrush we could sculpt the dinos, then print in pieces, assemble and paint them. Each piece of the the Concavenator, for example, took up to sixty hours to print but it allowed us to manufacture one-off dinosaurs at fraction of the price of traditional sculpting and casting. The one dinosaur which we did fully sculpt and cast was the Ceratopsian Skull as it needed to be very robust.

An interesting fact – all of the other dinosaurs in the room (The Skeletons) were hired from a company in Arizona for the shoot.”

I then wanted to change from the grandiose nature of Lockwood Manor, to look more at the other indoor sets – so we chatted a little bit more about the spaces which were used for Lockwood Manor before we then moved onto the other sets – like the DPG office. One interesting thing to note here was the Diorama Room was the same room as the Auction Room – albeit remodelled drastically to appear much different on screen.

“We took the balcony out and filled all the dioramas in with glazed tiles, but if you look at the ceiling at the top of the room you’ll be able to see that it’s the same room. When you’re designing sets you’re always trying to maximise what you can do with your budget, so if you can reuse or adapt something you do. We painted all the woodwork black, changed the floor to concrete and added the large metal door where the original door to the diorama room was. Wu’s laboratory and the Dino-Containment set filled another whole stage.

The DPG office was a completely contrast to this. It was in San Francisco, and it went from a very run-down office in the script to something which was slightly more operable and buzzing. That set was built at a warehouse in Langley which was quite a low space to start with which even with a large scenic backing out of the windows leant itself nicely to our eight foot ceilings, creating a low office space feeling. We made the space look repurposed, but also keep it looking slightly run-down, the DPG didn’t have a lot of money! The background for San Francisco outside was painted. The key feature here was the elevator though, and having an environment which we could use to introduce Claire’s character & replay the gag from the first Jurassic World film.

The key focus here was to contrast to what Claire was doing before – so the DPG office needed to reflect a charitable organisation that was just getting by, with half the space falling into disrepair because they didn’t have the high-end budgets of the Masrani corporation. We also wanted it to emulate a functional office – so it had a lot of areas like a break area, computer desks, etc. It was important to structure the office around the script and what needed to happen in the space.”

We discussed the bunkers which we saw constructed in Hawaii. I asked why these buildings had a slightly older, more run-down feel to them, I was interested as to whether this was a conscious decision which Andy and his team had made:

I liked the idea that there are service tunnels running throughout the island and that they have been a part of the infrastructure since Jurassic Park. When Jurassic World was built, they upgraded some of this so that it could work as part of the new park.

“The idea was we weren’t saying whether they were from Jurassic World or Jurassic Park. They have elements of architecture from both. I liked the idea that there are service tunnels running throughout the island and that they have been a part of the infrastructure since Jurassic Park. When Jurassic World was built, they upgraded some of this so that it could work as part of the new park. The transition of time was also important on Main Street. We needed to show that time had passed since Jurassic World and events had occurred! A lot of the damage you see – such as the Monorail – has been caused by caused by the volcano’s the seismic activity. There is a lot of damage, much more than could be caused by something like say, a rampaging T-Rex.

However, that does not explain the movement of the hotel complex on the far side of the lagoon from Main Street. That was a conscious decision. We evaluated how many times you see the hotel complex in Jurassic World – and we then decided to move it slightly to allow us to create the gate. This was important as we had decided against sending the Mosasaur down a tunnel but rather gave it direct access to the ocean through the gates. Design-wise I took inspiration from the original Jurassic Park gate, but on steroids! I also used the Three Gorges Damn and the Panama Canal as reference for the gates themselves and the new waterfront section for the park. Because we were shooting all of the opening Main Street sequence at night we were able to work with bold shapes and the more dynamic elements of the buildings, rather than have to worry about details. At night, in the rain, you just wouldn’t see them.”

I asked Andy how he tackled the difference between creating static locations, like the buildings we see on main street, to a mobile location like the interior of the Arcadia.

“I looked at the US Military vessels which have well-decks to house and deploy armoured personnel carriers, landing craft and hovercraft. I liked how these decks could be flooded and thought about using that idea as a way to get vehicles on and off the Arcadia. The truck-stunt sequence was developed and the rest of the space was used as you see it (although we never used the flooding idea). We re-arranged the trucks a couple of times to create the illusion of a much longer ship interior that we had space on stage. The exterior of the Arcadia was carefully designed as well – it had to feel capable of high speed considering the journey it needed make in the time. But I didn’t want it to feel too Science Fiction in nature. I looked at the bow-forms of high-speed vessels that transport crew to Oil Rigs and started there.

We did originally have some shots written in for the engine room, and the bridge, but eventually we just had the sequence with the T-Rex and Blue, so we only needed the big cargo bay. We thought it would make sense to use big shipping containers for the transportation for the dinosaurs here as well – as it isn’t exactly a legal operation, so it made sense that the antagonists transporting the dinosaurs would want something a little more covert. We made sure to do research here to make sure that the dinosaurs would be able to fit in the containers and cages we had designed for them in the film. I imagined children being driven home from the cinema, noticing a container truck drive past them, and wonder whether there was a dinosaur inside! Considering the transportation also influenced the choice of the big Russian cargo plane seen at the end of the film – it flew in from the Ukraine. We really wanted it to look like it would belong to a villain or a least be heading somewhere a bit dodgy.”

We then moved on to touch on my favourite location – which was the Jurassic World perimeter fences. I loved how rugged and utilitarian they felt – but I was never quite sure if they were part of the old park infrastructure, or were a temporary haven for Wheatley’s crew.

“The fences had to feel like they were keeping something BIG out. In Jurassic Park, the wire fencing was big and electric, but I felt we needed to update this for existing Jurassic World infrastructure. We used a sturdier design and one that would work with many different sizes & species of dinosaurs. This was a contrast to the Jurassic Park T-Rex paddock, which was designed with large gaps as obviously, it was only expected to hold the T-Rex. I also wanted the gate to be is setup like an airlock, and once they enter the space between the gates and the first gate shuts behind them, it suddenly becomes serious! They are heading into the wild parts of the park. It makes a big impression and has a sense of scale and helps with the sense of fear & suspense.”

One set we hadn’t touched on at this point was the secret, almost Sci-Fi-esque laboratory, which is where we see Doctor Henry Wu for most of the film.

“The idea behind the lab was that it was the same space that Lockwood and Hammond had used when they first cloned dinosaurs. The space had been kept on after Wu went to work with Hammond, with Lockwood continuing to work there on his own projects. As Wu had then returned I designed the lab to look refitted with more high-tech elements for their development of the Indoraptor. We brought back a few key JW props such as the incubators as Wu had then returned with some of the tech he used in Jurassic World .

We were also able to use the Lab to introduce sequences like Owen training the Baby Raptors. For that location, we used a very small space which utilises a mural inspired by the mural which is on the wall in the Visitor’s Centre from Jurassic Park. The Mural in Jurassic Park has two species of dinosaurs on it, but we removed them for the backdrop of where Owen trains Blue. It was fun, we got to make it feel like a mesh floor in a Zoo, and we also got to think about the toys that the Baby Raptors would play with (we used toys for BIG dogs!). JA & Chris shot many different & very funny takes of Owen training the Raptors with Blue biting his arm.”

I asked Andy what his favourite set or location had been on the film.

“Well – there all so different, I don’t think I have favourite! A lot of work went into the Diorama room to get it looking right. It was also nice that the Diorama room had so much functionality within the script. I also was happy with how well the transformation to the Auction Room worked. The auction room was inspired by a crazy Victorian house I visited near Nottingham that has an underground ballroom, complete underground two elevators for carriages. It was a fascinating, eccentric building! We decided to make the Auction room feel like a repurposed underground carpark (or ballroom) which had been quickly re-purposed to host the auction.

The Dinosaur Containment and Lab set had a lot of work which went into it to make it feel like something which could have many different functions to it. There was a lot demanded from it, so it had a lot of functionality within the scene. Owen’s log cabin was a simple set but fun as it had a lot of direct input from Chris Pratt – who is very much an outdoors man!

I was very happy with how the Arcadia turned out as well.”

We finished our chat by talking a little bit about the Stygimoloch. He mentioned how it was fun getting to destroy the set with Stiggy – and we spoke a little about how popular it was. I also took the opportunity to show Andy one of the Mattel versions of Stiggy – why not! I then asked Andy if, to finish our chat, he could offer some feedback for anyone looking to get into a similar role in the film industry.

“Having a background in architecture was beneficial for me, but a lot of it is learning on the job and being really interested in films and art in general. There’s a lot of drawing involved – so it’s important to have a knowledge of draughting and maybe teach yourself some of that. The real important thing is embracing opportunities and learning as much as you can. Get hands on with software if you can, embrace it and learn how it works.

Whatever the scale of project you work on it will teach you a hell of a lot. Getting into the industry can take a long time, but if you’re committed to what you’re doing and you’re willing to listen and learn you’ll do well. There’s rarely a boring moment, it’s usually enjoyable, always educational & an interesting way to make a living. I worked on Jurassic for fourteen months, and then moved onto Captain Marvel - a completely different Design challenge! It really highlights the variety this job can offer.”

Wow – what an incredible discussion about Andy’s experience working on Jurassic World: Fallen Kingdom. It was an absolute privilege getting to talk to Andy, and I really, really appreciate his time.

I hope you have all enjoyed this three-piece behind the scenes look, and please make sure you are following Andy on Instagram and that you check out his website to see the full portfolio of incredible films he has worked on.

As always – stay tuned to The Jurassic Park Podcast for more great dino-themed content soon!

Written by: Tom Fishenden

#article #andy nicholson interview #andy nicholson jurassic world #andy nicholson production designer #andy nicholson set photos #andy nicholson #tom fishenden #jurassic world fallen kingdom set design #behind the scenes #fallen kingdom behind the scenes

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themurphyzone · 6 years

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Oneshot: Briefing

Takes place in a roleswap AU where the BOTT become middle schoolers and the middle schoolers are the BOTT! We had a lovely chat on Discord about this.

“Amanda, we’ve been sitting in this photo booth for half an hour now,” Melissa complained, swatting at Zack’s thigh when he shifted and almost ripped her favorite skirt. “Can’t you forward all the damage control reports to our mailboxes? Besides, it’s Valentine’s Day in the 21st century and there are some very angry couples waiting on us to finish.”

Milo opened the curtain to apologize to the crowd again, only for someone to throw a bag of marshmallows at his head. “Thanks! I was kind of craving these actually!” Milo said with a grin, scooping up the bag and offering some to Melissa and Zack.

Melissa chewed on one while the 187th page printed from the slot. Amanda groaned, adjusting the screen on her end so it focused on her while she slumped on the floor. “You were right. I should’ve forwarded these. Why is everyone so bad at time management here? And worse, it’s affecting me too! Your procrastination skills are infectious, I’m telling you!”

Zack shuffled through the papers as they came out, desperately trying to organize the stack in his lap and grab new ones as they popped out. “Exactly how many pages of these do you have?” Zack yelped, almost spilling the pile onto the floor.

Amanda didn’t reply.

“Aw, cheer up, Amanda!” Milo exclaimed. “Besides, you’re the best boss I’ve ever had. Remember how established Taco Tuesday and completely reformed the cafeteria so the food was actually good? And how you hit that one guy with a digital planner when he tried to force you to change your schedule? That was awesome!”

She glanced up at Milo. “You really think so?” she asked, blushing and staring at the ground.

Melissa rolled her eyes, deciding to cut in before they got all Valentine’s Day mushy on each other. “Yeah, at least you finally managed to get the health department to recognize cutonium mixed with Andy’s durian cocktail equals fire, health, and potentially corrupt adorableness hazard. I still can’t believe that was a thing.”

“I’m going to need the three adults in the photo booth to come out so we can escort you off the premises,” a tinny voice crackled through a megaphone. “Please be considerate of other lovers.”

Zack blushed. “Who said anything about lovers?” he yelped. “That guy’s crazy!”

“Let’s see, we’re three adults taking an awfully long time in a private, enclosed space that prints cheesy slogans on commemorative photos during Valentine’s Day at the largest mall in Danville,” Melissa supplied. “What a ridiculous conclusion.”

“Nice sarcasm,” Zack said.

Melissa gave him a cheeky smile. “I’ve been upping my game lately.”

“Melissa Chase. Zack Underwood. Flirt when I’m not on the line, please. I want to keep things moving along in a timely, professional matter,” Amanda scolded. “Anyway, now that the entire damage control report is in your possession, I will now give you three your mission. Bradley will send you the case file.”

She glanced at the slot, but there wasn’t a file there. They stared at the screen awkwardly. “MR. BRADLEY NICHOLSON!” Amanda shouted, her eyebrow twitching. “YOU GET YOUR TEMPORAL BUTT OVER HERE AND SEND THEM THAT FILE!”

Strawberry ice cream dripped down Bradley’s chin as he stumbled onto the screen. He must’ve been near Carla again. So far nobody at the Bureau had figured out a way to break him out of that rather unhealthy habit.

“Hi, Bradley! Happy Valentine’s Day!” Milo exclaimed.

Bradley grumbled to himself as he sent the file. “Murphy. I’m filing a restraining order on behalf of Carla against you.”

“Only Amanda has authority to revoke ice cream privileges,” Melissa said. She retrieved the folder, holding it up so Amanda knew they’d received it.

“And if you don’t want me to revoke yours, you’ll do your job in a timely manner,” Amanda threatened.

Bradley waved her off, casting one last suspicious look at Milo before he stomped back to the cafeteria.

“I will not ask again,” the tinny voice repeated. “Come out now so we can escort you off the premises.”

“If they insist, we can always take a few supplies....” Melissa mused. Sure, they wouldn’t have anything fancy, but anything could be used as a weapon when they were creative about it.

Zack glanced up from stuffing all the damage control reports in Milo’s backpack, not caring if they wrinkled from the way he was stuffing them. “Can’t you do anything that doesn’t involve the possibility of being arrested?” he complained.

“Well, it’s not exactly arrest if she gets away while they’re in the process of it,” Milo said, slipping on his backpack. “Okay, all the papers are safe in here! We parked the Caninemobile on the north side, right?”

“No, we parked it east side,” Zack corrected. “You almost got carried off by that entire party heading to the huge arcade.”

“Which is on the west side,” Melissa corrected, opening a pamphlet that detailed the mall layout. “You boys need to brush up on your cardinal directions. Anyway, we’ll look at the file and make a plan in the Caninemobile. We really shouldn’t keep all these people waiting. That’s just rude. Now come on.”

Melissa didn’t know what Zack was worried about. The security guards didn’t notice her pickpocketing the tasers out of their belts at all. It was so easy to slip them into the sleeve of her jacket.

And unlike the Underground Tribe of the 24th century, they weren’t blind and deaf.

She was right that the Caninemobile was parked on the west side of the mall. Milo had taken care of the paint job when the Bureau gave it to them. Melissa and Zack had mostly made sure that tarp covered everything in a five-hundred foot radius.

She smiled, remembering how excited Milo was to paint a vehicle in honor of Diogee. It resulted in all of the time vehicles being splashed in tan spots despite their best efforts.

Once they were piled in the back of the Caninemobile, Zack began sorting through the all the damage control reports. “Caused destruction of Pompeii in 79 AD. Destroyed Earth’s second moon. Tech tycoon Victor Verliezer suing the Bureau for defamation of character. Yeah, he brought that on himself. How was that one our fault?”

Melissa shrugged. “Pretty sure he just wanted monetary compensation for losing C.I.D.D. I don’t know corrupt CEO logic. So what’s the job this time, Milo?”

Milo slid the file over to her. “Investigate a rumored fortune that Rasputin hid in a vast network of caves. Set coordinates for Leningrad, Russia on November 23rd, 1970. Good thing I bought that insulated sweatervest! And you thought I would be too hot in it.”

“Don’t flatter yourself,” Melissa teased. “Okay, so a bit more dangerous than our last mission. But doable. You guys ready to find that fortune?”

“Let’s do it!” Milo exclaimed.

Zack hopped in the driver’s seat and set their destination.

“Living up to your middle name,” Melissa grinned, fist-bumping Milo.

#melissa chase #milo murphy's law #zack underwood #bureau of time travel #roleswap au

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theliterateape · 3 years

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A Troubling Hare

by Paul Teodo

I have a lot of problems. Let me restate that. A lot of problems have me. Having a problem is an illusion. It implies I have control over that problem. I don’t. The problem has control over me. When the problem has me it makes sense to get some help, indicating that this problem must receive more help than I alone can muster up. If a medical problem has me I go to a guy who went to school and has a license to cut me open without getting into too much trouble. If a mental problem has me I go see a shrink, or at least a good friend with a ton of patience for my whining or who can look stuff up on the internet and help me feel better. If my car starts jacking me around I go to a mechanic and spend a lotta dough, especially if I have an Italian or German model.

Let me tell you about a few problems that have me.

BPH. Benign Prostate Hyperplasia. It’s got me big time. Some days I piss 20 times. I know, I’m closing in on seventy and it’s normal for stuff to be going on down there. But damn, it’s a nuisance.

What is BPH? It’s got to do with a guy’s prostate gland. The prostate gland plays a major role in male reproduction and ejaculation. A normal prostate is about the size of a walnut, mine’s about the size of a fucking cantaloupe.

An enlarged prostate blocks the flow of pee from the bladder to the urethra and when that happens a man becomes obsessed with locating places to piss because he always has to piss. And the problem with pissing a lot is you begin to lose your inhibition about to where to go. Bushes, trees, dark alleys, well lit alleys, Starbucks, libraries, building lobbies, bottles strategically stashed in automobiles, lamp posts, anyplace a dog lets loose, all are fair game.

So what do you do if this problem has you? Talk to the guy who went to school and do what he says. And he’ll say No COFFEE, and a few other things. I love coffee. But since I quit I’m down to pissing about 10 times a day, and only once or twice at night.

Well done, Doc.

I got more.

Technofuckingphobia Yes, that’s a real word, except for the F-part, and more importantly it’s a very serious condition, especially in the 21st century, and it’s got me bad, real bad. Ask me to copy and paste, download an app, stream, or how much RAM I have, and my bowels turn to foam, my knees wobble, and my teeth chatter like a naked man perched upon an iceberg.

And having a cell phone has made it worse. I’ve become dependent on the damn thing; emails, texts, photos, weather, music, directions, how many steps I take going from one stupid place to the next, all have become obsessions. I read a study a few months ago that said the average American, while awake, checks his cell phone every 72 seconds (less frequently when not awake). So most of you have already checked your phone since starting this little piece, or worse yet, are reading it on the damn thing now.

C’mon!

Was I leading a miserable existence before I spent nearly a grand on a hand held computer that scares the shit outa me? I think not. And my techie friends tell me it needs to be encapsulated in a protective cover,(the difficulty of installation akin to stuffing an offensive lineman into a gymnast’s leotard), in case I drop it, or more likely throw it against a fucking wall when I can’t figure out how to use it, with a special ring tone for special people, which I have no idea how to set, with alerts for everything I’m supposed to do that I would prefer not to. And now I receive texts from people standing right next to me, which for the life of me, despite my protestations, I can’t ignore.

And to highlight my total lack of control, if I misplace this electronic demon, I panic like a junkie jonesing for his next fix.

And then there’s the Tinnitus. Remember I’m almost seventy. What? 70…Tinnitus. What? Catch my drift?

I am condemned to a constant ringing in my right ear that varies in decibels depending on where I’m at and who I’m with. Put me in a reverberating room with a few people talking all at once (meaning anyone who has a speck of DNA that identifies them as having a trace of Italian or Jewish ancestry dog-paddling around in their cells) and I feel like I’m struggling to awaken from the depths of a coma. I’m foggy, befuddled, helpless, and morose. I lean forward with a twisted look of confusion splattered across my face feeling like I’m in a therapy group facilitated by Nurse Ratchett with Jack Nicholson at my side.

A few years ago I read that bananas helped tinnitus, so I began to consume 4, 5, 6 a day. The only change was the massive wads of hair that began to sprout from my back and the uncontrollable desire to scamper up a tree and swing from its branches.

OK I overplayed it with the tree.

And now, pray tell, I have been stricken with Leporiphobia. This malady is exhibited by a deathly and uncontrollable fear of rabbits. I shudder and become dizzy when I think of or encounter the tiniest of bunnies or a full grown big eared Jack. This condition is a rarity in the medical journals.

However, a point of note; in a 2012 survey the Journal of American Psychology polled 100 professional athletes concerning their fears or phobias. Hands down Andy Roddick, player on the men’s Pro Tennis Tour and winner of over 30M$ took the grand prize for weirdness. Leporiphobia has him! He admitshe is terrified of rabbits. All he has to do is think of one and he panics. Seeing just a tiny bunny brings him to his knees. He’s actually withdrawn from matches where he was heading for the winner’s circle and then regressed into “rabittual” thinking (OK I made that word up but it’s a great fucking word.)

Allow me to digress.

I met Lydia in a coffee shop; my kind of coffee shop. No internet. People were talking. I was not sure if they were Jewish or Italian. I couldn’t hear. She leaned closer. I still couldn’t hear. We stepped outside. A truck rumbled by. I couldn’t hear. Finally, she stood on her toes, cupped her hands, and hollered.

“I’m Lydia.” I could hear…fairly well. We talked about the theatre and I asked her to a play. We went. We sat in the front. I could hear. It was great.

We went to dinner, a very quiet place. I gazed across the table into her gray-blue eyes. That was greater.

Afterwards she came to my place. It was very quiet. That was the greatest!

After a few of those datey kinds of experiences we wanted to do normal stuff; stuff we were interested in day to day._

She asked, “What do you like to do that is somewhat normal?”

“Bike,” I responded, enjoying her directness.

“I don’t own a bike.” she replied.

“I’ll buy you one,” I said thinking I was gallant.

She said, pursing her lips, her hands perched on very shapely hips, “I can buy my own.”

She did. I liked that.

“Do you want to go for a ride?” I asked.

“Yes,” she said, “But it’s so hot.”

“We won’t go far,” I said once again, trying to be gallant.

“We’ll go as far as I want,” she said.

“OK,” I said knowing that attempting to be gallant was no longer a good idea.

So I put air in my tires and waited to see if she wanted any.

“Could you put some in mine?”

“I’d love to,” I said.

“Thank you.”

Off we went down a dusty path of crunchy gray limestone; thick bushes bordering each side of the trail.

We came to a clearing in a small town. The bank sign read 97 degrees-1pm. The sun broiled my back, sweat puddled in my navel, and my hands slid from the rubber grips of my silver Trek.

“It’s so hot.” Her voice rose over the noisy limestone. “Are you hot?”

“What?” I couldn’t hear her.

“Hot!” she screamed.

I was near death, my head ready to explode. “I’m fine,” yelling over my shoulder.

“Wait!” I heard her voice. It must have been very loud.

I jammed the brakes, my bike twisting sideways.

We skidded to a dusty stop. She was huffing and puffing.

“Are you OK?” Salty sweat stung my eyes.

“This is your idea of fun? How can you stand it? This is normal?”

“What?” This time I pretended I couldn’t hear.

“Hot!”She wiped her brow with the back of her hand.

“I try to stay cool: water, and stuff.”

“What stuff?” Her indignant voice rose.

I had to pee.

“Sometimes I take off my shirt.”

“Go ahead. But I can’t take off mine.”

I had to pee more.

“Go ahead,” she repeated.

I removed my shirt.

“Let’s go,” she said. “It’s too hot to stand here and talk.”

We started once again, crunching along the shimmering trail.

And that’s when it happened.

Two dark blurs darted from the brush directly in front of my bike; the one in front larger than the one who trailed. The larger one turned and glared with his devil-red eyes, into mine. And without any notice, he leapt off the ground, a full four feet, and went for my throat. My legs froze. I gasped and choked on my own spit. He was on me screeching a high pitched hideous rodent like noise; fangs gnawing at my flesh, his bristly fur scraping my chin. I yanked my right hand away from the brake and threw him off, his pin-like nails scratching my sun burnt skin. His body thumped to the ground. I jammed on my brakes. My wheel turned cock-eyed and my torso flew over the handlebars.

I landed next to him; so close I could see his whiskers and his pinkish nose twitching with a sense of evil.

He wriggled his nose again, paused, and scampered into the brush.

“It was a rabbit!”I think Lydia screamed. While I was aware of that, tinnitus is accentuated in a panic situation, and I needed to pee even more.

“I can’t believe it!”

I could. I lay on the limestone gazing up at her.

“Why did you bring me here?”

“You wanted normal.”

She stepped off her new bike, whose tires I had just put air into, trying not to be gallant.

“Are you OK?” she asked.

I wasn’t. I could be extra gallant and say fine. “I’m…” I paused, “hurt. Severely.”Trying to gain some sympathy.

“Oh my God,” she said.

Shards of gravel were imbedded in my tender skin. Bloody chunks of flesh dangled from elbows and knees. My left shoulder was locked tight, conspicuously off-kilter to its twin; pounding with a sledgehammer heartbeat.

“What can I do?” she asked tears welling in her eyes.

I lay there, my fears, problems, and pain running away with me.

My cell phone was shattered. How would I text myself a reminder to buy a new one?

I needed to pee.

But there was Lydia standing over me, offering to help. We met in a coffee shop, my kinda shop. No internet.

My ear ringing like the 3 o’clock dismissal school bell at St. Frances.

“How can I help?” she repeated.

I thought I saw the rabbit peek out from the brush. Leporiphobia had stricken me.

“Kill the fucking rabbit.”

She smiled a deep warm smile. She made me feel better.

She touched my cheek. “I will.”

I believed her.

#aging #rabbits

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joedphotography · 4 years

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Clean white Research Clean White Research David Bailey British fashion photographer David Bailey is most known for his portraits of celebrities and musicians, his debut publication “Box of Pinups” solidified his reputation as a photographer. This book featured many portraits of high profile musicians and other celebrities in the clean white style, such as The Krays, David Bowie and Andy Warhol. Bailey’s portraits are all quite intimate and Separate themselves from the just a Picture and tell a story just from his images Why I selected these images There is a real sense of personality of the subjects in Bailey’s photographs. For example the first photograph captures Himself in a self portrait and then that signature Jack Nicholson smile, There is a casual sense of personal touch in addition to this, casting no shadow over over jacks face to highlight his personality. This drew me to the image, because the Picture captures his personality so well it tells more about the Actor just by looking at this image. clashing with the happy setting of the smile. It also brings in his sense of style with the clothes of the time in a fashion sense of a more relaxed personal Photo. Bailey also doesn’t shy away from unconventional Pho’s either, in the below picture of The Kray Twins and his shot of a tribes person with which i liked as to the face where you can see all there life in one Photo it speaks to you about how they have got to this stage and with life work etched on there hard working face.

#cleanwhite #hndphoto1

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leelewishnd2c · 4 years

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Clean White Research

David Bailey

British fashion photographer David Bailey is most known for his portraits of celebrities and musicians, his debut publication “Box of Pinups” solidified his reputation as a photographer. This book featured many portraits of high profile musicians and other celebrities in the clean white style, such as Mick Jagger, David Bowie and Andy Warhol. Bailey’s portraits are all quite intimate and Separate themselves from the style of Avedon, who is my other photographer I’ve selected for my inspiration.

Why I selected these images

There is a real sense of personality of the subjects in Bailey’s photographs. For example the first photograph captures that signature Jack Nicholson smile, There is a casual sense of drama in addition to this, casting a shadow over the right side of his face. This drew me to the image, because the dramatic shadow could be interpreted as a nod to his roles in horror films, clashing with the happy setting of the smile. It seems very reminiscent of the bar scene in the shining.

Bailey also doesn’t shy away from unconventional focal lengths either, in the below picture of Andy Warhol and his shot of Mick Jagger which I’ve not included. He seems to use this to accentuate the subjects lips and nose, a technique I may play with in future.

Richard Avedon

Avedon is considered one of the pioneers of the “clean white” look in portrait photography. Although he’s been named a fashion photographer his work has a documentary feel to it, this is especially the case for his “In the American West” series. Avedon took the studio set up to the streets or anywhere he could set up a white background, as he was initially denied a studio by Harper’s Bazaar. I feel like this was a big influence on his subject matter.

Why I Selected these images

These images fall into the documentary side of his work, the subject’s themselves donning a tasteful amount of tattoos and a rugged look which would attract any photographer of the time. However, these are the two men, Perry Smith and Dick Hickock were criminals involved in the brutal murder of the Clutter family in 1950′s Kansas.

These mugshot style photos were taken by Avedon in collaboration with his friend Truman Capote, for his novel accounting the grisly murders. Something seems to capture the coldness behind the eyes of these two men, the prison style clothes and the sullen faces just complete the photos in my opinion.

#cleanwhite

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cinemaitaliano-italiancinema · 4 years

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Sul set di Apocalypse Now

I veri maestri, quelli da cui moltissimi – se non tutti – hanno imparato l’arte del cinema non sono poi davvero molti; uno di questi è senza dubbio Vittorio Storaro. Nato a Roma il 24 giugno 1940, figlio di un proiezionista, inizia a studiare fotografia sin da bambino. Oltre a numerosi premi cinematografici ha vinto ben tre Oscar, il primo per Apocalypse Now e gli altri due per Reds e L’ultimo imperatore. Coppola (4 film), Beatty (3 film) e soprattutto Bernardo Bertolucci (8 film) sono proprio i registi più importanti della sua carriera, insieme a Carlos Saura (6 film), Alfonso Arau (3 film) e Woody Allen con cui ha girato gli ultimi 3 film. Uno delle sue prime pellicole fu l’esordio di Dario Argento, L’uccello dalle piume di cristallo.

Sul set de L’ultimo imperatore

Da quel giorno Vittorio Storaro ha illuminato i volti di Marlon Brando, Laurence Oliver, Robert De Niro, Al Pacino, Jack Nicholson, Dustin Hoffman, Gene Hackman, Woody Allen, Elisabeth Taylor, Madonna, Peter O’Toole, Donald Sutherland, Gerard Depardieu, Jean-Pierre Léaud, Jean-Louis Trintignant, Warren Beatty, Diane Keaton, Burt Lancaster, Alida Valli, Massimo Girotti, Laura Betti, Sterling Hayden, Charlotte Rampling, Richard Burton, Vanessa Redgrave, Gianmaria Volontè, Giancarlo Giannini, Debra Winger, Elliott Gould, Geraldine Chaplin, Martin Sheen, Robert Duvall, Harrison Ford, James Caan, Dennis Hopper, Stefania Sandrelli, Renato Salvatori, Roberto Benigni, Franco Nero, Laura Antonelli, Carlo Verdone, Sergio Rubini, Maria Grazia Cucinotta, John Malkovich, Kate Winslet, Nastassja Kinski, Isabelle Adjani, Anne Parillaud, Sharon Stone, Joan Chen, Rutger Hauer, Stellan Skarsgård, Michelle Pfeiffer, Maria Schneider, Kristen Stewart, Jude Law, Halle Berry, Keanu Reeves, Jeff Bridges, Timothée Chalamet, Francisco Rabal, Placido Domingo e persino Andy Warhol (sul set di Identikit). Scusate se è poco.

Sperando di non aver dimenticato altri nomi molto celebri, si può dire che – a differenza di grandi suoi colleghi come Gregg Toland, Sven Nykvist o Roger Deakins – Storaro abbia lavorato con tutti i migliori attori della sua generazione a livello internazionale oltre che a grandi nomi di quella precedente e di quella successiva. Anche questo fa di lui un Numero Uno assoluto della storia del cinema. Per celebrare gli ottant’anni di questo genio della cinematografia non ci resta che lasciare spazio alle sue immagini e alle foto che lo ritraggono al lavoro.

Pronto per le riprese aeree con la musica di Wagner

Il maestro Vittorio Storaro ha lavorato in diversi settori al di fuori del cinema ( e non solo serie TV come quella su Caravaggio qui sotto) e ha progettato l’illuminazione anche dei Fori Imperiali a Roma.

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Leggi anche > Ennio Morricone, 70 Greatest Soundtracks

Apocalypse Now

On the set of the film Apocalypse Now, directed by Francis Ford Coppola and based on Joseph Conrad’s novel Heart of Darkness. (Photo by © Caterine Milinaire/Sygma via Getty Images)

No Merchandising. Editorial Use Only. No Book Cover Usage. Mandatory Credit: Photo by Zoetrope/United Artists/Kobal/REX/Shutterstock (5886120w) Marlon Brando Apocalypse Now – 1979 Director: Francis Ford Coppola Zoetrope/United Artists USA Scene Still War

The conformist / Il conformista

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L’uccello dalle piume di cristallo / The bird with the crystal plumage

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Vittorio Storaro Best Images

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Vittorio Storaro Cinematographer

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Vittorio Storaro al lavoro in post-produzione

Cafè Society al cinema Arcadia di Melzo

Il Sorpasso Cinema sui social: FACEBOOK , INSTAGRAM , TWITTER, YOUTUBE

Vittorio Storaro: il maestro della luce in 200 immagini I veri maestri, quelli da cui moltissimi - se non tutti - hanno imparato l'arte del cinema non sono poi davvero molti; uno di questi è senza dubbio Vittorio Storaro.

#best storaro images #storaro best shots #storaro genio del cinema #storaro maestro della luce #Vittorio Storaro

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fullspectrum-cbd-oil · 4 years

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Four Police Shot in Violent Protests After Trump Vows to Bring in US Military

Four St Louis police officers were hit by gunfire late on Monday during violent protests over the death of a black man in police custody, hours after President Donald Trump vowed to use the U.S. military to halt the spreading clashes.

Trump deepened outrage by posing at a church clutching a bible after law enforcement officers used teargas and rubber bullets to clear the way for him to walk there after he made his remarks in the White House Rose Garden.

Demonstrators set fire to a strip mall in Los Angeles, looted stores in New York City and clashed with police in St Louis, Missouri, where four officers were taken to hospital with non-life-threatening injuries.

“Officers are still taking gunfire downtown & we will share more info as it available,” St Louis Police said on Twitter.

Trump has condemned the killing of George Floyd, a 46-year-old African American who died after a white policeman pinned his neck under a knee for nearly nine minutes in Minneapolis on May 25, and has promised justice. But he said rightful protests could not be drowned out by an “angry mob”.

“Mayors and governors must establish an overwhelming law enforcement presence until the violence has been quelled,” Trump said. “If a city or state refuses to take the actions that are necessary to defend the life and property of their residents, then I will deploy the United States military and quickly solve the problem for them.”

Following his address, Trump walked through an area that had been cleared by police to nearby St. John’s Episcopal Church, where he posed for pictures with his daughter, Ivanka, and U.S. Attorney General William Barr.

The presiding bishop of the Episcopal Church diocese in Washington D. C., Michael Curry, was among those who criticized Trump’s use of the historic church for a photo opportunity.

“In so doing, he used a church building and the Holy Bible for partisan political purposes,” he said on Twitter. The church suffered minor fire damage during protests on Monday night.

The White House said it was clearing the area before a curfew.

A few hours later, thousands of people marched through Brooklyn, shouting “Justice now!” while cars drove alongside, some drivers honking in support.

Television images showed crowds smashing windows and looting luxury stores along Fifth Avenue in Manhattan before the city’s 11 p.m. curfew. Mayor Bill de Blasio said the curfew would be moved to 8 p.m. on Tuesday.

Two police officers were struck by a car at a demonstration in Buffalo, New York, on Monday night. Officials said the driver and passengers were believed to be in custody. It was not immediately clear whether the incident was intentional.

FIRE IN HOLLYWOOD

In Hollywood, dozens of people were shown in television images looting a drug store. Windows were shattered at a nearby Starbucks and two restaurants.

Anti-police brutality marches and rallies have turned violent after dark each night over the last week.

A second autopsy ordered by Floyd’s family and released on Monday found his death was homicide by “mechanical asphyxiation,” or physical force that interfered with his oxygen supply. The report says three officers contributed to his death.

The Hennepin County Medical Examiner later released autopsy findings that also called Floyd’s death homicide by asphyxiation. The county report said Floyd suffered cardiopulmonary arrest while being restrained by police and that he had arteriosclerotic and hypertensive heart disease, fentanyl intoxication and recent methamphetamine use.

Derek Chauvin, the 44-year-old Minneapolis police officer who kneeled on Floyd, was arrested on third-degree murder and second-degree manslaughter charges. Three other officers involved in the arrest have not been charged.

Floyd’s death was the latest case of police brutality against black men that was caught on videotape and prompted an outcry over racism in U.S. law enforcement.

It reignited simmering racial tensions in a politically divided country that has been hit hard by the coronavirus pandemic, with African Americans accounting for a disproportionately high number of cases.

Dozens of cities are under curfews not seen since riots after the 1968 assassination of Martin Luther King Jr. The National Guard deployed in 23 states and Washington, D.C.

Most Americans were just emerging from weeks of strict “stay-at-home” orders imposed over the pandemic.

On Monday, dozens paid their respects to Floyd outside Cup Foods, the scene of his death, leaving flowers and signs. A little girl wrote, “I’ll fight with you,” in the road.

Terrence Floyd, the victim’s brother, told the gathering he wanted people to get educated and vote rather than resort to violence and destruction. “Let’s do this another way,” he said.

James Pool, a 31-year-old former Marine, said he hoped peaceful protests would make a difference.

“I want to see more community and this country come together and stop letting the powers that be divide us,” he said.

(Reporting by Lisa Lambert, Andy Sullivan, Maria Caspani, Peter Szekely, Lucy Nicholson, David Shepardson, Michael Martina, Brendan O’Brien, Sharon Bernstein, Lisa Richwine, Aakriti Bhalla and Dan Whitcomb; Writing by Dan Whitcomb; Editing by Howard Goller, Bill Tarrant, Cynthia Osterman, Lincoln Feast and Timothy Heritage)

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architectnews · 2 years

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MM House, Vaucluse Sydney

MM House, Vaucluse Property, Sydney Home, NSW Real Estate, Australian Architecture, Images

MM House in Vaucluse, NSW

29 Apr 2022

Architects: KA Design Studio

Location: Vaucluse, New South Wales, Australia

Photos: Katherine Lu

MM House, Sydney

MM House developed from the desire to make specific connections with Sydney Harbour’s iconic landscape. A heightened sense of transparency articulates a thick plan – situating domestic life against the sublime natural and urban backdrop of the harbour and city skyline.

The orientation and configuration of the house curate a series of view points that link the domestic realm to the landscape beyond. The subtle level changes uncover new aspects of the harbour landscape and provide delineation of space within the plan.

The house is formally geometric – but is punctured by courtyards and breaks that offer unexpected vistas, and lend complexity to the section. Stripped of enclosing walls living spaces orientate outward, diffusing thresholds through a series of operable glazed doors. Double height voids in the living and courtyard spaces extend this connection, with the view presented as a ‘series of moments’ when making one’s way through the home.

The project has been designed to be robust and endure the setting of a coastal environment. With the advancements in material technologies realised in bionics, the external facade is enveloped in a self cleaning render. Allowing nature to clean and revitalise the facade whilst repelling harsh abrasive salts from the harbour.

In order to move away from a predominately flat surface resolution, characterised by contemporary applications of render, we adopted a hand crafted technique. The render is applied by spraying the substructure then hand pressing with a trowel, giving depth and irregularity to the strong geometric form.

Internally the house materialises as an arrangement of refined surfaces and details, layered against the raw and elemental nature of concrete, marble and timber. This play, balances the homes reduced external palette and invites warmth and tactility to the project.

MM House in Sydney, Australia – Building Information

Architects: KA Design Studio – https://kadesignstudio.com.au/

Project size: 800 sqm Site size: 1100 sqm Completion date: 2019 Building levels: 3

Photographer: Katherine Lu

MM House, Vaucluse Sydney images / information received 290422

Location: Vaucluse, Sydney, NSW, Australia

Architecture in Sydney

Contemporary New South Wales Buildings

Sydney Architecture News

Sydney Football Stadium Building, Moore Park Architects: Cox Architecture image courtesy of architects Sydney Football Stadium Building

The Brass House, Newcastle, New South Wales Architects: anthrosite photo : Jon Reid Contemporary House in Newcastle, NSW

NSW Properties

Sovereign Houses, Sylvania Architects: Tony Owen Partners photo : John Gollings Sovereign Houses in Sylvania

Escarpment House, Gerringong, Illawarra region, New South Wales, Australia Architects: ATELIER ANDY CARSON photograph : Michael Nicholson Escarpment House in Gerringong

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Comments / photos for the MM House, Vaucluse Sydney designed by KA Design Studio page welcome

Website: Vaucluse

The post MM House, Vaucluse Sydney appeared first on e-architect.

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jurassicparkpodcast · 5 years

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On the Set of Jurassic World: Fallen Kingdom | Part Two | Building A Jurassic World

Welcome back to the second part of my sit-down with Andy Nicholson – Production Designer on Jurassic World: Fallen Kingdom.

If you missed the first part of our sit-down, you can check it out HERE!

Following the introduction to Andy’s work and how he got into the industry, we then, of course, had to dive into some deep Jurassic World talk. Andy did an incredible job nailing the sets for the film – with lots of intricate details that I really wanted to take the opportunity to pick apart. We talked a little bit about my experience about my visits to the Fallen Kingdom sets in the UK – particularly those at the the MOD (Ministry of Defence) site in Minley and how the logistics of such a location work when getting assets, etc. to where they are needed for filming.

“It’s quite good using a military location as they run the place like clockwork, and they also tend to have quite good infrastructure so vehicles, etc. can access the location for training exercises. I do remember, however, that we turned up for one location scout and found ourselves in the middle of a battle. We were walking through our future exterior Lockwood house when suddenly, fifty infantry emerged from the bushes, charging and screaming, firing blanks at fifty other infantry who were about a hundred and fifty yards away. The Officer who was overseeing the exercise had just told them to ignore us, we all kind of stood there, like lemons, in the middle of a very loud battle exercise...it was memorable!

Minley was a great location. Lockwood House in the film is in Northern California as it made sense for the animals to be transported there from Nublar, they’d have a big country to escape to at the end of the film! The challenge therefore, was finding redwoods and Northern Californian-style nature in the UK. There isn’t a lot of that kind of stuff in the here but much of the property owned by the MOD in Surrey has the Scots pine trees and they work. We also needed to find a building to use as the exterior of Lockwood House. We ended up finding this at Cragside, a National Trust property in Northumberland. Cragside was an amazing location! We had looked at a lot of alternatives but wanted something which could double for Victorian American architecture. Cragside was built in 1863 as a country getaway for industrialist and inventor William Armstrong. An engineer, scientist, and philanthropist, Armstrong is remembered as the father of modern artillery. In 1880 Baron Armstrong called upon architect Richard Norman Shaw to transform his house into a state of the art mansion, an elaborate country house in Tudor style, incorporating a science laboratory and even an astronomical observatory! Armstrong was also a passionate Americanophile. He had visited Northern California, and loved Redwoods, Sequoias and the other flora alongside American architecture. He got his architect to incorporate features of both in the interior and the exterior of the building, and then planted Redwoods and Sequoia around the entire area of his home. So, turning up there one hundred and fifty years later all you can at first see is empty Northumberland moorland but then suddenly it’s as if someone has just dumped a load of Northern California in the valley. It was incredibly surreal & it was perfect!

The next thing we then had to address was the driveway at Lockwood House. The driveway that Cragside had wouldn’t have worked as it was all a little bit too tight, which would have prevented us from getting the camera angles that we really wanted for the scene. So, we then needed to find somewhere which had a large amount of space. Luckily, Minley has a ex-runway (built for Spitfires during WWII) cut through a wood. It was the perfect location for us, it had a slight uphill slope so we could put the portion of the house we built on location at the top of the hill, and then have the road sloping down from there – allowing us to go away and CG in the rest of the house in post production. We were also able to built the back of the house, where you see the dinosaurs being unloaded in the film around the corner from this location which was essential. Currently, if you look on Google Earth at the location, you can see the set going together which is really cool.”

At this point – I mentioned how the stuff which was filmed at Blackbushe Airport in the UK had made it onto Google Maps, which Andy Chuckled at as he mentioned they had only actually filmed there for a day.

“With big builds you do sometimes see them on Google Earth. Minley is great because it currently shows up. You can see both of the sections of Lockwood house that we built and all of the parked film vehicles. It’s been similar with some other productions I worked on – like Band of Brothers – If on GE you go back in time you can see sets some that were built on locations which have now been totally transformed. Its the same in Hawaii where we built the security gates and damaged main street. If you still go to that location and look at the clearing, you can still make out where things were constructed.”

While we were talking about Hawaii, Andy shared some interesting facts about Blue’s Nest with the Ford Explorer.

“Where we built Blue’s Nest is the same location which was used for the sequence where Owen is riding with the Velociraptors on his motorcycle in the first Jurassic World. It’s a jungle, so obviously, it’s very hard to tell that it’s the same location. We cleared back a lot of stuff for the Nest, so we had space for a bit of a clearing for Blue, but when they shot there before in Jurassic World they had brought in a lot more materials to make the location denser with foliage. It’s funny thinking about that location as it’s only about 50M from a main road – but it’s so dense that you really can’t tell. It was also useful, because the other side of the road was the Marina where we had the dock and the sequence with the truck jumping onto the Arcadia ramp. It was all so close to Blue’s Nest – so it was useful in allowing us to move between both locations quite flexibly. By chance I found out while researching the dock that my friend, the Production Designer Rick Heinrichs, had built a full Galleon in the water for one of the Pirates of the Caribbean movies!”

We then proceeded to touch on the photos which Andy has been uploading to his Instagram of the production, and Andy wanted to say the following before we explored them:

“I’d like to say a big thanks to Universal for letting me share these photos. I’ve seen a fantastic response from fans, and it’s nice getting to highlight some of the smaller details that weren’t necessarily as prominent on screen.

“I wrote Universal a formal letter asking what I could show, and they were receptive of me doing this which was nice. They really want to keep the interest in these movies going as much as is possible.”

It was quite funny as well, as at one point we were talking about requests for photos, and Andy mentioned how us Jurassic fans are notorious for asking for the smallest and most intricate details which won’t mean much to anyone unless they are a massive fan of the franchise and want to know every little intricacy. We then proceeded to talk about one of Andy’s most nostalgic touches – the model of Jurassic Park which features in Lockwood’s room.

“The room that was Lockwood’s Bedroom was also used for Mill’s Office, so it was a really big room to transform into a bedroom which suddenly had a lot of space. We had lots of discussions on set about small details which we could fill the space with – and I then suggested a model of Jurassic Park. It was partly inspired by the model of the Sanctuary Island which was in the Diorama room, but also partly inspired by the fact that at one point in the script, Maisie was playing with a model of the original Jurassic Park in her bedroom. It kind of got moved and changed from that, which eventually came to him having it in his room. It was nice, as we were then able to get these old photocopies of the original blueprints from the first film. So, we used the original blueprints of the Visitors Centre and Raptor Pen which were built in Hawaii. Everything from the layout of the lake and the other detail were based on this Blueprints as well.

It was a shame that some of the background of the stuff we built in Hawaii isn’t there anymore, as we originally had a lot of set dressing for the entire way down to the log they hide behind in the stampede sequence which is barely glimpsed in the background of the shots in the final film. The idea was that there were service tunnels across Isla Nublar – so I really wanted to play with the ideas of those. We also had a Gyrosphere Service Bay right by the treeline, and we then destroyed about ten Gyrospheres to add to the backdrop – showing some of the chaos which had occurred since Jurassic World. It was interesting as originally, we also had a lot of carcasses – like the carcass Owen passes in the River. We really wanted to show the progression of time on Isla Nublar – so we made sure to hint at the natural order of things which had been occurring on the island since the dinosaurs broke free. There was a massive skeleton of an Apatosaurus laid next to the bunkers on the set as well, which you barely see in the film, but which hinted again at the passage of time. A lot of this was trimmed down for running time – but we really tried to place carcasses and other details which would help to tell the story of what had happened to the location since the events of Jurassic World. I think it’s nice as you have the people who pause when they have the Blu Ray, and go through scene by scene, so hopefully there’s a lot of little smaller details which people will notice as the film ages. Part of the justification for leaving small details in is that there is always something which someone will notice.”

I then touched briefly on the carcasses – in particular, the skeleton Owen walks past in the Behind the Scenes footage, which is believed to be a Deinosuchus. Andy touched on it:

“It was one of many skeletons we hired which we added into the film. Being able to add dinosaurs which hadn’t been seen before was the reason why I enjoyed working on the diorama room so much. I mean – if you were into dinosaurs, wouldn’t you recreate scenes and have these sculpted things made for you? There was some talk about them being taxidermy dinosaurs at one point I think, but that wasn’t the idea behind them. The idea was that they were fake recreations. The Concavenator, which is my favourite, came from when I was doing some research and discovered that the only fossil had been discovered near Barcelona, so it was a Catalonian dinosaur. With JA being from Spain and being Catalonian, I thought it would be a nice touch to add to the film as a nice tribute to him. That’s why this dinosaur really became the focus of the display. It’s a cool dinosaur – and I’m glad that we managed to get that one in.

“There was some talk about them being taxidermy dinosaurs at one point I think, but that wasn’t the idea behind them.”

There’s a couple of other species which we were glad we could get in – one of which is the Dimetrodon. When my supervising art director and myself were discussing what other dinosaurs we wanted, we knew that the Dimetrodon must be one of the ones in there as it’s a favourite – especially with Jurassic fans. The one with the Dilophosaurus and the Velociraptor was more down to my creativity, as it was originally scripted as a Dilophosaurus skeleton. Over time, this gradually evolved into different dioramas. While we were creating dioramas, the writers were still finalising the sequences at the manor – so gradually, what we constructed changed to accommodate the final sequence where the characters run through the back of the display. This, of course, influenced how much space we needed in the displays – and it explains how we went from two Dilophosaurs, to one, and then the final diorama that you see on screen. We originally had three Dilophosaurs and one Velociraptor, but we had to get rid of one as soon as we knew about the stunt, as we knew we would need more space in the diorama. When the stunt happens, we ended with one Dilophosaur as we needed the extra space to facilitate the stunt.”

Make sure you come back for the third and final part of our chat with Andy soon.

Whilst you wait for the final part – make sure to check out Andy’s website, and follow him on Instagram for more behind the scenes insight.

Written by: Tom Fishenden

#article #andy nicholson interview #andy nicholson jurassic world #andy nicholson production designer #andy nicholson set photos #andy nicholson #jurassic world fallen kingdom set design #set design #fallen kingdom set design #behind the scenes #fallen kingdom behind the scenes #tom fishenden

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rnrmarineservices-blog · 7 years

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The purist's America's Cup the story of the seven-strong J Class Regatta in Bermuda

A record fleet of seven J Class yachts in Bermuda represented the purer form of the sport for many America's Cup fans. Toby Hodges reports.

Seven J Class yachts hit the startline for the first time ever. Photo J Class/Carlo Borlenghi.

Inviting the J Class fleet to sail in Bermuda during the America's Cup finals was one of the smartest decisions made by Russell Coutts and the organisers of the event. The largest J fleet to ever assemble in the 88-year history of the class put on a true yachting spectacle sailing at its finest.

The America's Cup catamarans divide opinion sharply among long-term sailing fans. For all those who love the high speed, high adrenaline format, it appears to repel at least an equal number. Hosting the J Class in Bermuda proved the ultimate foil to the foilers. It was an exhibition of timeless design and sail handling skill that the modern Cup lacked.

When five Js raced for the first time in 2012, it signalled the true renaissance of this incomparable class. But the sight of seven Js on a startline, racing over the calm, turquoise waters of Bermuda was sensational. It was the picture-perfect showcase for these graceful 1930s designs and a demonstration of the precise choreography of the large teams of skilled hands needed to get them safely and speedily around a race course.

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All nine existing Js are in prime condition, upgraded and optimised to the nth degree (although both Rainbow and Endeavour are for sale and were not competing). The seven-strong racing fleet carries carbon sails, for example, as used by grand prix race yachts. The sight of these black sails on classic yachts made for a strange sight as they cast dark shadows over the clear water.

Lionheart, a 2010-built Hoek design that is taken from one of the lines plans made for the Ranger syndicate in 1936, proved the star performer. She won both the Superyacht Regatta, which comprised six Js and 14 superyachts, and the seven-strong J Class Regatta.

But the latter was only decided in the final stages of the final race (more on that later). As with most J Class racing in recent years, places were often separated by mere seconds on the water.

JK3 Shamrock V, the oldest J and the first built for the America's Cup in 1929, changed hands last year and underwent a refit to get her race-ready for this season. Her teak planked construction means she can't take the high rig loads of the other steel and aluminium Js. She is shorter and around ten per cent slower so can only compete on handicap.

JS1 Svea, the newest and longest J, is the polar opposite. Her blend of J Class lines and maxi class technology makes her one of the most exceptional new yachts of modern times. Impressively, she got a 3rd place on her first ever race, and a 1st on the second a phenomenal achievement for a virtually brand new yacht.

Ultimate exhibition of sail

The Js held their own regatta either side of the first weekend of the America's Cup finals and an armada of local and visiting boats followed the fleet out to the racecourse.

Those ashore were given the chance to see the fleet in action too. The shallow waters of the Great Sound are too restrictive to set proper courses for the J Class, hence the races were held off the north coast of the island. On the day of the first America's Cup match, however, the Js performed an exhibition race that saw them set off at 30-second intervals on the Cup course on the Great Sound.

The footage and live commentary was beamed to the big screens and watched by thousands of fans assembled in the America's Cup village. It created a carnival atmosphere and a tangible link to the history of sport's oldest trophy.

The J Class were originally designed and raced for the America's Cup during the 1930s. Sir Thomas Lipton commissioned the first J Class yacht, Shamrock V, for his fifth challenge for the Auld Mug. The Js signalled the change from the big boat class, to one where the size and displacement of the yachts were controlled for more even racing. Fittingly, it was the adoption of the Bermudan rig that enabled Js to carry their vast sail plans.

Just three of the ten J Class yachts originally built survive today the rest are replicas or new builds of original designs. It still requires around 30 race crew to get these 180-tonne yachts around the marks, just as it did during the 1930s.

You only have to look at the start sequence, with everyone within a second of the gun, it's very close, said Shamrock's skipper Simon Lacey. It's vital to have the skill set to sail these boats safely at this level.

Photo J Class/Carlo Borlenghi

Lionheart leading the fleet.

Velsheda

The green hull of Shamrock V. The the oldest J in the fleet is in great condition but her smaller size and sailplan mean she can only compete on handicap. Photo J Class/Carlo Borlenghi.

Cup sailors on ex-Cup yachts

The huge pool of decorated sailing talent aboard the J Class yachts in Bermuda made for a stark contrast to the modern America's Cup format, where sailing roles are limited. The Js need the pros and the pros increasingly need the Js.

The pit and forward ends feature serious muscle power, ex-grinders with nicknames like 'Meat', 'Animal' and 'the Tractor'. A glance at the afterguards shows that this class holds the cream of collective experience and provides longevity to the careers of some of the sport's greatest sailors.

The crew of Ranger, for example, under long-term helmsman Erle Williams, included four times America's Cup winner Brad Butterworth calling tactics. Tony Rae, manning the mainsheet, is a seven-time Cup veteran who sailed in every Team New Zealand line-up from 1987 until 2013.

For me there is no sailing role now for a 55-year-old, Rae explained. It has all changed and that is one of the reasons we have so many ex-America's Cup sailors on these J Class yachts.

Hanuman is helmed by ex-Puma skipper Ken Read, who is supported by his Volvo Ocean Race navigator Stan Honey and eight-time America's Cup sailor Warwick Fleury trimming.

Svea's strategist is North Sails CEO Tom Whidden, a three-time Cup winner, sailing with navigator Peter Isler, his fellow crewmember from Stars & Stripes. Andrew Taylor is the crew boss, a powerhouse who has won the America's Cup three times twice for Team New Zealand and in 2010 with Oracle Team USA.

The pros are used in pivotal positions on Js and the other crew and permanent hands absorb their knowledge and experience. Lionheart's Bouwe Bekking, a seven-time Volvo Ocean Race veteran, stressed that although the pros are vital, every hand is really important. One of the strong points of Lionheart is that we have been sailing together for four years.

Velsheda's crew has sailed together for a decade and includes top Kiwi pros such as Tom Dodson as tactician, Campbell Field navigating and Carsten Schon trimming. Mainsheet trimmer Don Cowie made the point that it is actually difficult to find younger crew these days who are used to racing on yachts with such phenomenal loads.

Stu Bannatyne, Shamrock's helmsman and a three-time winner of the Volvo Ocean Race, doesn't think that there is a danger of these skilled roles dying out however. Who knows what will happen with the next round of the AC? It may revert to boats that do require a little bit of sail handling I think that would be nice.

Shamrock's crew included Olympic and Volvo sailor Chris Nicholson on tactics and four crew from three current Cup teams.

Olympic Tornado sailor Pim Nieuwenhuis mans the huge Harken primary aboard Svea. Charlie Ogletree and Francesco de Angelis flank her owner-driver. Photo J Class/Studio Borlenghi/Butto'.

Hanuman's long-term helmsman is ex-Puma skipper and America's Cup television commentator Ken Read. Photo ACEA 2017/Studio Borlenghi.

Hanuman's owner, Australian model Kristy Hinze-Clark, takes the helm. Photo J Class/Carlo Borlenghi.

Olympic Finn sailor Peter Holmberg at the helm of Topaz, with double Olympic medal winner Ross MacDonald on tactics. Photo Studio Borlenghi.

Seven J Class yachts race

On the first day that all seven Js actually raced, Shamrock's skipper Simon Lacey, the only person to have skippered all three original Js, invited me to join Shamrock's crew.

At the start, we were the only boat to cross the line on port tack a tactical decision to take the transoms of the fleet and keep out of their dirty air. Shamrock is smaller than the other Js and restricted by her older systems and rig, so has to sail her own race. We have 30 per cent less stability and 200sq m less sail area for the same weight as Hanuman, says Jeroen de Vos of Dykstra Naval Architects, who was trimming.

De Vos has worked on the design and optimisation of six of the Js over the last 20 years, including Hanuman, Ranger and Shamrock last year. Hanuman and Lionheart in particular underwent extensive work that specifically targeted the light winds of Bermuda.

De Vos said that ten tonnes was stripped out of Hanuman and that the forestay was moved forward a rigging change that was also made to Ranger. Hanuman also has a furling forestay and is the only J to use a snuffer on the kite to allow for late drops and quicker mark roundings.

Shamrock's size difference is certainly noticeable on deck and below. While she was clearly slower and less agile around the track the upside of which, for me at least, was a prime view of the mark roundings of six other Js ahead Shamrock was still expertly handled during the windward-leeward races that day.

During the first beat our crew boss Andy McLean, a Kiwi sailor who worked on the control systems for Land Rover BAR, admitted that he hadn't sailed with a spinnaker pole since the 2007 Cup.

As we approached the top mark, however, the bear-away set he oversaw was a lesson in clockwork efficiency. Eight crew manhandled the spinnaker pole into place, while two more set the jockey pole. As we powered around the offset buoy, the sheets were eased, before the spinnaker rocketed aloft and burst open. Crew then scurried to the foredeck to grapple down the genoa, the kite was trimmed and calm restored.

Unfortunately the sight of all seven Js racing together only lasted for one and a half races. While coming into the top mark during the second race, the top fitting of Svea's headstay furler parted with a frightening bang. The genoa dropped instantly to the water and, were it not for quick crew work, they could have dismasted.

The runners and sheet were immediately eased and halyards cranked onto the foredeck. No one was hurt and Svea made it back to dock safely for her official christening party that evening. But it was a crushing blow for Svea's crew, who had worked so hard over the last two years to get her ready for this summer's J events.

Svea is a remarkably stiff yacht with carbon sails and rigging that directly transmit the wind's force through the boat. An astonishing 35 tonnes of load can be cranked onto the forestay. That this failure happened in 11 knots of wind and flat water, at less than half the safe working load of the fitting (55 tonnes), is highly concerning. Captain Paul Kelly says the rig will be inspected in Newport and that they hope to be back racing in time for the inaugural J Class Worlds in August.

The Js may sail at a pedestrian pace compared to the America's Cup foiling catamarans, but as this fleet increases in size, so too does the potential for drama and position changes. One bad layline call, one poor gybe, or a mistimed entry to the windward mark even by a few seconds and the race positions get shaken up.

This was proven during the final races, when Hanuman and Ranger went into the last day sharing the lead but finished 3rd and 4th. Lionheart had a poor final start and was in last place going up the first beat it looked like Hanuman's regatta was sealed.

But when a penalty was issued to Hanuman for a rule infringement on a port approach to the last windward mark and Lionheart then managed to pass Topaz on the downwind leg, Lionheart snatched the regatta win in the final moments.

The crew were ecstatic. On receiving the trophy, Lionheart's owner said the crew had been gearing up for this event for over two years. That both Lionheart and 2nd-placed Velsheda have owner-drivers is also good for the future appeal of the class.

The crew of Lionheart celebrate their victory.

All spare hands grapple with the 950m2 spinnaker aboard Svea, the latest addition to the J Class fleet. Photo J Class/Studio Borlenghi/Butto'.

The future of the J Class and the Cup

Might such an event happen again or was it a once in a lifetime? And will the Js continue this formal link to the America's Cup?

The Js are all private yachts used for racing and cruising, so such a decision lies squarely with each owner. But would the owners be keen on going to New Zealand for the next Cup for example?

Yes, I would say so, says J Class Association secretary Louise Morton. Certainly the invitation was there.

It is very unusual (and expensive) for the class to do standalone events yet recently they have competed in Falmouth, Bermuda and their first worlds will be in Newport in August. Next year the class plans to attend the St Barths Bucket and three key Med superyacht regattas.

The success of this Bermuda event also begs the question of whether we will ever see more than seven Js race? If Endeavour and Rainbow change hands it is certainly possible. And there are still a number of original lines plans that could be commissioned as new builds.

It's in the hands of the owners to maintain the longevity of the class, says Dykstra designer Jeroen de Vos. Now the class is growing it will only appeal more to potential owners.

Whatever becomes of the America's Cup racing class in the next edition of the Cup, it would be a prudent decision for the new defenders to get an early invitation in to the J Class fleet to join in. That's how to guarantee a spectacle.

The post The purist's America's Cup the story of the seven-strong J Class Regatta in Bermuda appeared first on Yachting World.

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jurassicparkpodcast · 5 years

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On the Set of Jurassic World: Fallen Kingdom | Part One | Becoming A Production Designer

Recently, I had the opportunity to sit down and talk to one of the members of the crew who worked on Jurassic World: Fallen Kingdom. Now I am sure that some of you may already be familiar with this person – as he has created an absolute storm on Instagram by sharing some fantastic behind the scenes pictures from the production of the film. I am of course, referencing Andy Nicholson – the Production Designer on Fallen Kingdom.

Andy was kind enough to lend me some of his time on a Friday night to talk about his work in the film industry, and his work on the set of FK. What follows will be some highlights from the conversation we had – offering some interesting insight into the movie making magic that goes into a Hollywood blockbuster like FK.

Now we started off talking a little bit about Social Media – which was cool. When talking about how Social Media and how our fan base influenced the production, Andy mentioned how: “Colin and JA are great at engaging with the fans and maintaining an online presence.”

Andy also discussed how the presence of fans, both on Social Media, and online, influenced the decision-making process for Fallen Kingdom. Small details were considered in great length as the production team knew fans would pick up on them: “When it came to the Ceratopsian Skull which takes centre stage in Lockwood Manor, we were quite conscious that it couldn’t be a Triceratops because it wouldn’t have been big enough to kill the Indoraptor. With that in mind, we created a new genus which was an amalgamation of 2 different Ceratopsians. In the film, all of the other skeletons in the Diorama have name plaques. We never showed one for our new-genus just to keep the online audiences guessing.”

Andy then touched on the piece of Set Design which took the internet by storm. Many of you may remember that when Main Street was first built Pua'ena Point in Hawaii, there was some discussion about the fact that the orange glass of the souvenir shop was still intact. Well, Andy touched on this during our discussion, saying that: “We had built the main street in Hawaii using the same construction team who had built main street in the first Jurassic World. I hadn’t arrived yet as I was still with the crew in the in the UK and they had built the souvenir tower intact as that was how they had left the set when it was filmed in 2015. The tower was never actually destroyed on set; it was destroyed in post-production. I remember getting an email from Colin letting me know that fans had noticed on this on some leaked photos! It was a while before we would be filming yet so we had plenty of time to fix it!

The tower was never actually destroyed on set; it was destroyed in post-production. I remember getting an email from Colin letting me know that fans had noticed on this on some leaked photos!

At this point we touched a little bit on the culture of people photographing while they were filming. Andy explained that while security was tight in the UK, the popular filming locations in Hawaii are easily accessible by the public and productions in Hawaii often have set photos leaked and shared on the internet. Drones especially can be real issue. Andy touched on the presence Jurassic had – particularly when shooting in Hawaii: “People knew we were coming months before we arrived. There are several, well-known & frequently used filming locations on Oahu, so people usually know when something is going on. Especially when you’re building something big - our Main Street was 115M/375ft long!”

We then discussed my visit to some film locations – mentioning an article I had shared with Andy a few weeks beforehand about my time visiting the FK locations in the UK. He shared some interesting insight into the filming at Pyestock, and how that area had to be transformed for filming: “We had quite an unusual problem at that location. If you look back in the film, all the Palm trees which feature in that sequence are quite short. In the UK, you can hire Palm trees, which is what we did with a lot of greenery and plants. You can’t, however, hire loads of big Palm trees. To get around this we would usually import long Palm fronds from Morocco or Spain. They get shipped in, and you dress the tops of fiberglass tree-trunks to create Palms. When we were, filming Fallen Kingdom, however, there was a ban on importing Palm Trees due to a disease that was going around. All we could get were different, much shorter fronds which weren’t ideal.

Things like that can often happen on shoots though – and we had to do a lot for this sequence because we were building part of Main Street which hadn’t heavily featured in Jurassic World while also showing parts you were familiar with. We also adapted that whole section and worked with vfx as it would be to extended in CG afterwards. We shot the whole things using both a real helicopter and a dummy helicopter ‘buck’ on a crane – allowing us to get some tracking shots of the real helicopter. Our Special Effects department used a massive 15 metre by 15 metre scaffold water-sprinkler rig suspended from a crane in that sequence to create the rain, a lot of rain – Film rain has to be much more prominent than real rain so that you can see it on camera.”

Andy then welcomed me to ask him a few of my nagging questions about his time as the Production Designer on the film. As someone who has a passionate interest in the film industry and the different ways people can get into the roles they find a love for, I wanted to first ask Andy a little bit about how he got into the film industry – particularly in the artistic roles he finds himself in today.

“I studied Architecture at Brighton, and couldn’t decide what I wanted to do. I started by working for a small boutique design company on fairly exclusive houses, then I went into the other end of the industry in Canada, working for a big much more commercial company, working on multi story buildings and large scale land development schemes. I did this for a couple of years but ultimately decided that it wasn’t for me. Large buildings can take years to design and build and that just wasn’t a speed that worked for me!

In the early nineties there was also a real turn down in the Architectural industry. I came back from Canada and decided that I’d take a look at a career that I’d always been Interested in. I had some friends from College who had gone on to take a 1 year Production Design course at Kingston Polytechnic and I went to see their end-of year show – I loved what I saw! I was aware at this point, however, that I didn’t want to go back to College for another year! I found out that a lot of the group had been doing voluntary work at the National Film & Television School in Beaconsfield. It’s one of the only film schools in the world where you can go and study specific areas of filmcraft. So, when you receive an interview, you’ll be interviewed based upon an area which you are interested in – which can be anything from editing, directing or production design.

I turned up and looked around, not wanting to go back to college – but it wasn’t like that. They were making a lot of films, so they were always looking for a crew members to support the projects. I decided to put my name down on one of the crew volunteer sheets, and about a week later I got a phone call saying, ‘One of our films is going up to Scotland for two months – are you free?’. I was! I tried out the camera at first but the Art Dept looked much more fun so I switched. It was an amazing introduction to the industry especially as we were staying on location on the Isle of Mull. For a Student film, we built a lot of sets (19th Century Crofts, props and even improvised salmon ladders and diverted streams). It was October and the weather was brutal and Production notorious (two Film school vans were written-off and our Salmon ladder was washed out to sea by a cloudburst, never to be seen again) but we survived – with the help of Whisky!...I was hooked.

I came back and basically slept on the school film floor for six months, often staying overnight, working on whatever project needed a crew. They were all small projects, but I was learning a lot about what an art department does and I got a lot of hands-on experience which was beneficial. Through some of the established film-industry ‘mentors’ (who were regularly involved in projects). I made good contacts in the industry and was able to get work on smaller-scale productions like commercials and music videos, getting more experience with each job. It was really a case of building a portfolio, gaining experience and making contacts. My Architectural degree had given me a decent training in Architectural drafting, which is a lot of what an Art Department produces & meant that when someone asked me to draw something in an art department I could just get on with it. I think the first thing I ever drew for a movie was a set of wooden gallows. Eventually, I phoned the right person at the right time and became part the Art Dept for the 1994 production ‘Restoration’. I just carried on working in film after that. Once you start working, it’s very much about your quality of work and being recognised by other individuals within the industry. I worked my way up through the Art dept on different productions and different films. On Sleepy Hollow, I got my first opportunity to work as an Art Director. From there I worked on other big US Studio films until I was asked by Director Alphonso Cuaron to work as the Production Designer on Gravity, which was my big break, I even got an Oscar Nomination for my work, which was amazing!

I’ve been designing since 2010, and I spent about fifteen years getting there. I was lucky – I got there fast, but there is no easy way of doing it. It’s really all about the contacts you make and making sure that the work you do is memorable. And, of course – there is an element of luck to it too! The key thing to note is there is no direct in – there are new people who come from all different backgrounds but can come into the industry. The industry is incredibly welcoming of new people – as long as you’re talented, enthusiastic, listen and take a hands on approach to learning.”

So, that’s a look at how Andy got to where he is today – and it provides a lot of interesting insight into how the film industry works and how Production Designers work their way up from the roles of Draughtsman all the way up to those more senior roles. Make sure you come back and join us for the second part of our chat with Andy – where we will take a deeper dive into the world of Jurassic World: Fallen Kingdom.

Whilst you wait for the second part – make sure to check out Andy’s website, and follow him on Instagram for more behind the scenes insight.

Written by: Tom Fishenden

#article #andy nicholson #andy nicholson jurassic world #jurassic world fallen kingdom set design #tom fishenden #andy nicholson production designer #production design #fallen kingdom production design #andy nicholson interview #on the set of jurassic world fallen kingdom #part one interview #andy nicholson set photos #jurassic world set photos #falle kingdom set photos

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Twenty95, Manly Mixed-Use Development

Twenty95 Mixed-Use Development, Manly Commercial Premisses and Parking, Australian Architecture Images

Twenty95 Mixed-Use Development in Manly

4 Apr 2022

Design: CHROFI Architects

Location: Manly, New South Wales, Australia

Photos: Clinton Weaver and Katherine Lu

Twenty95 Mixed-Use Development, NSW

CHROFI was engaged by GROCON to undertake the design for Twenty95 mixed-use development at the gateway to central Manly comprising 26-units, ground floor retail, Telstra exchange and Ausgrid substation. The challenge was to improve the overall commercial viability of the project while enhancing the architectural integrity and expression of the project.

The development is located on land with an existing Telstra Exchange and features a new building that completely envelopes the existing unsightly facility to create a new architecture and set in place the transformation of this gateway site. Key constraints included a requirement to keep the exchange operational throughout the construction as well as meeting demands for parking that led to incorporation of a 49-vehicle car-stacker system.

A landscaped awning mediates between the more traditional charm of Manly’s retail shopfronts, and residential units above. A recessive concrete grid sits quietly on the corner, providing privacy and solar protection to the units. A central courtyard permeates the building to the North, with upper-level apartments opening to the sky.

Critical to the project’s success was our ability to value engineer a financially viable outcome. This included rationalising the design in all respects including internal circulation, façade design and consolidating building structure and services. More importantly, the work resulted in optimised apartment layouts with a higher total sales value.

Twenty95 Mixed-Use Development in New South Wales – Building Information

Design: CHROFI – http://www.chrofi.com/

Project size: 2300 sqm Site size: 2850 sqm Project Budget: $20000000 Completion date: 2020 Building levels: 4

Concept Design: Fitzpatrick + Partners Landscape: McGregor Coxall Engineering: AECOM

Photographer: Clinton Weaver and Katherine Lu

Twenty95, Manly Mixed-Use Development images / information received 040422

Location: Manly, NSW, Australia

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Comments / photos for the Twenty95, Manly NSW Mixed-Use Development design by CHROFI Architects page welcome

Website: Manly

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