There was a limit to the lighting range for the opening sequence because it occurs at sunset and gradually becomes darker.
Audiences were introduced to what appeared to be a ritualistic murder in the Southern heat of the Louisiana delta for the debut of the HBO anthology series True Detective, then headed to the Far North to encounter a bizarre collection of frozen bodies in Alaska for the fourth season titled True Detective: Night Country, which features a cast of Jodie Foster, Kali Reis, Fiona Shaw, Finn Bennett, Isabella star LaBlanc, Christopher Eccleston and John Hawkes. Taking over the roles of showrunner and director was Issa López, who brought on Barney Curnow as Production VFX Supervisor to oversee the visual effects work, with one of the major contributors being Cinesite, which handled 140 shots spanning five of the six episodes that consisted of the series-opening caribou herd, a roaming polar bear and Ennis, Alaska.
“Barney Curnow’s approach to the visual effects on True Detective: Night Country was to have a light touch, respecting the feel and tone of the cinematography and production design. He didn’t want anyone to be talking about the visual effects afterwards because that would mean they had been brought out of the world we were trying to create.”
Extensive environment work was required throughout the season to convincingly recreate the Alaskan territory and terrain.
“Barney Curnow’s approach to the visual effects on True Detective: Night Country was to have a light touch, respecting the feel and tone of the cinematography and production design,” explains Simon Stanley-Clamp, Visual Effects Supervisor at Cinesite. “He didn’t want anyone to be talking about the visual effects afterwards because that would mean they had been brought out of the world we were trying to create. A lot of the work was world-building because the story takes place in this particular environment of Ennis, Alaska, a fictional town. It’s almost its own character, and we were piecing together this environment using disparate locations and set builds, and using visual effects as the glue to bring it all together, and to expand that world.” Snow was a significant natural element ranging from incidental to a blizzard. Stanley-Clamp explains, “The challenge with this type of work is maintaining continuity throughout the sequence, ensuring that the effect builds over time and conveys the story while also incorporating any nuances in the live-action plates. For instance, a small gust of wind catching the hood of Chief Liz Danvers’ [Jodi Foster] car could initiate a slight change in the simulation. The show is predominantly dark with all the exteriors taking place in darkness, which required some adjustment. We integrated environments and extended Ennis town, often using tiny pinpricks of light to guide the viewer’s attention along a road or to the base of a mountain range. We utilized the torchlight beam from Danvers to illuminate the snowstorm she encounters, with much of the background snow fading into complete darkness.”
The caribou sequence underwent a comprehensive development process, starting with the script followed by storyboards, animatics and a cut comprising of live-action natural history footage.
“A lot of the work was world-building because the story takes place in this particular environment of Ennis, Alaska, a fictional town. It’s almost its own character, and we were piecing together this environment using disparate locations and set builds, and using visual effects as the glue to bring it all together, and to expand that world.”
Despite the desolate wintry landscape, animals can be found roaming with some of them deciding to visit the streets of Ennis. “Creating the polar bear was a delightful experience,” Stanley-Clamp states. “We meticulously crafted a detailed sculpt, groom and creature effects. Knowing that she would be prominently featured in a long, lingering shot, we initially designed her to be very skinny, as per the script, but Issa later requested that she be bulked up a bit to enhance her presence and create a more familiar silhouette for the viewers. I view the polar bear similarly to how we perceive foxes in the U.K.; they emerge at night, roam our streets and scavenge for food. In the two scenes where the polar bear appears, it simply wanders through, searching for its next meal. The caribou sequence underwent a comprehensive development process, starting with the script, followed by storyboards, animatics and a cut comprised of live-action natural history footage. We combined footage of caribou, deer, reindeer and any other relevant animals to convey the story. Silver Studios created a refined previs in collaboration with Barney and production, which helped solidify the final concept.”
Cinesite took photographic reference of reindeer in Hampshire as they are similar to caribou, which informed every aspect, from the groom to the lighting to movement.
“Subsequently,” Stanley-Clamp continues, “we commenced work on the sequence, developing still concepts for the environment. We began with production footage and expanded upon it, ultimately retaining only the section of terrain where the hunter was positioned. Integrating this element into our final shot granted us complete control over the lighting of the environment, allowing us to have the sun descend below the horizon by the end of the sequence, heralding the permanent night that persists throughout all six episodes. The charging herd of caribou was a combination of hand-animated and crowd-simulated elements, depending on the number of animals in the shot. Super close-up details of the main caribou showcased the groom, complemented by Houdini breath effects and atmospheric elements.”
“The show is predominantly dark with all the exteriors taking place in darkness, which required some adjustment. We integrated environments and extended Ennis town, often using tiny pinpricks of light to guide the viewer’s attention along a road or to the base of a mountain range. We utilized the torchlight beam from Danvers to illuminate the snowstorm she encounters, with much of the background snow fading into complete darkness.”
No major alternations had to be made to the pipeline. “This was the first show to fully utilize USD at Cinesite, ultimately giving greater flexibility to our pipeline, sharing and tracking work through various packages; it was more of a background change to our internal architecture,” Stanley-Clamp explains. “Principal photography took place in Iceland, doubling for Alaska; which meant that by the time we were looking at sequences, there was already a cutting copy and footage for us to look over. After initially bidding on boards and concepts, we pretty quickly received an animatic and previsualization. For the bigger sequences, like the creature animation, Barney tried to get as much in front of Issa for feedback as early as possible, starting with animatics, timing out the storyboards and then previs before anything was filmed. This worked well for the polar bear sequences, which ended up on screen pretty much as the previs. The opening sequence with the caribou, however, went on more of a journey because, unsurprisingly, we couldn’t find any reference of caribou leaping off a cliff to their death! For the look of Ennis and its surrounds, we had a lot of references from [Production Designer] Daniel Taylor’s art department look book, as well as the photography and drone work from Alaska itself. Daniel had a map of the whole town of Ennis, which we used as the basis for the really wide DMPs, and we also took that map and built it out into a wider environment.”
The effects caches for the polar bear in Episode 404 totalled 15.6 terabytes of data.
Extensive environment work was required to turn Iceland into Alaska. “Distant mountain ranges were added to the background, leading down to the town, to the outskirts of which extend out to the frozen open expanse of sea and to a perpetual snowy wilderness,” Stanley-Clamp states. “A blizzard approaches around the end of Episode 404, which continues into the following episodes. We matched closely what they had created and filmed on set. They had fake snow with smoke pumped into it, blown in with fans, and we needed to augment and extend that. It looked like fine particulate mist rather than snow and we needed it to match it. We created it using volumetric mist, CG effects, adding in snow particulate to bulk it out, and adjusting the speed, density and depth.”
“Besides weather simulations, digital breath was added throughout the season to reflect the frigid, chilly atmosphere. Bears are warm-blooded creatures, and when we see it peering through Danvers’ driver’s-side window, it breathes on the glass, pausing before walking away. It is an unnerving moment; breath was added to the side window, which evaporates to reveal the bear looking in.”
Initially, the polar bear was skinny, as per the script, but later redesigned and bulked up to enhance her presence and create a more familiar silhouette for the viewers.
“Moving away from snow to fire simulations,” Stanley-Clamp remarks, “there’s a sequence towards the end of the season where Danvers is in a warehouse, and there is a fire with sparks floating around. There are embers coming off a bonfire, and when we first see them, they are real. But they need to help tell the story, to lead Danvers through a warehouse, so from a certain point they are visual effects. When she finds an open door, we added the snow blowing through it. Besides weather simulations, digital breath was added throughout the season to reflect the frigid, chilly atmosphere. Bears are warm-blooded creatures, and when we see it peering through Danvers’ driver’s-side window, it breathes on the glass, pausing before walking away. It is an unnerving moment; breath was added to the side window, which evaporates to reveal the bear looking in.”
Initial versions of the groom for the polar bear were more shaggy, long and greasy; however, the final version was cleaner and carefully adjusted not to be too cute or fluffy.
The biggest challenge was the landscape for opening caribou sequence. “The valley was in five shots that we keep coming back to in the cut,” Stanley-Clamp describes. “We were creating an environment, which was based on a plate that didn’t satisfy the brief. We needed to create something new but not completely different, and there was the uncertainty of not knowing whether the client would like it. We needed to find a sweet spot where it looked similar but better. That was tricky because there were a lot of people who have spent a lot of time finding that location, dressing it and filming it. You need to be sensitive to that but do the right thing for the sequence. Of course, the caribou and polar bear were also difficult. Cinesite has created monsters and otherworldly creatures for countless episodic and feature film productions previously. With fantastical creatures, there is no existing audience expectation about what they might see. However, with realism you have the additional challenge that people think they know what something should look like, which is in many respects harder. I am incredibly proud of the whole team for its work on True Detective: Night Country, which I believe raises the bar in terms of quality and realism.”
Production built a relatively small set featuring the Creation Pools and a circle of columns encircling them.
The Pool of Life sequence is rooted in Choctaw lore where the act of drawing water from the Pool of Life starts a transformation within their world and themselves, eventually turning them into humans.
Set five years after the events of the 2021 Disney+ mini-series Hawkeye, the origin story of Echo follows Maya Lopez as she returns to her hometown in Oklahoma where she is confronted with her troubled past. To move forward with her life, she must reconnect with her Native American roots and embrace the meaning of family and community. Alaqua Cox reprises her Hawkeye role as Maya Lopez/Echo for the sequel.
“In terms of the cave’s look and feel, we had initial concepts from our first designs, but we weren’t sure about our final approach, nor the extent of the virtual set we were going to have to build. My priority, working with CG Supervisor David Liu, was to make sure that our environment felt as real as possible, within reason. Creating this mythical cave was tricky, since we were aiming for realism without good real-world references. This balancing act is always a challenge, so we began experimenting.”
—Aladino Debert, Visual Effects Supervisor, Digital Domain
Aladino Debert served as Digital Domain Visual Effects Supervisor on the show, which streams on Disney+ and Hulu. “The show essentially had two incarnations,” Debert explains. “We originally started in the summer of 2022 doing concept designs and some R&D for the main sequences assigned to us at the time; things like building assets for the ‘Creation Cave’ and digi-doubles for the main Choctaw characters. Then, suddenly, the show was put on hold by the studio and production was stopped. We feared the show was gone for good.” Debert continues, “But six months later, around April 2023, after I’d finished work on Citadel for Amazon, production restarted with a different client-side VFX supervisor and producer team. Having previously worked on Ms. Marvel, I was familiar to the studio, and given my previous, albeit brief, experience with part one of the show, I started work once again.”
There were around a dozen ancestors adorned with clay makeup and wearing underwear that needed to be removed by the roto/paint team, led by Cynthia Trevino.
The close-up shot of Chafa’s hands turned out to be the most stress-inducing shot in the entire show for Debert and his team. They studied time-lapses of dried mud to understand the process.
Debert knew that Digital Domain were mostly going to be involved with the main creation sequence for Episode 01. “Those sequences had been shot already, so we had plates, if not necessarily a locked cut.” Debert says. “Production built a relatively small set featuring the Creation Pools and a circle of columns encircling them. The legend revolves around the ancestors, moulded from clay, emerging from the pools and gathering around Chafa, the first to appear. The sequence is rooted in Choctaw lore, where the act of drawing water from the Pools of Life starts a transformation within their world and themselves, eventually turning them into humans. That, in a nutshell, is the essence of the story.”
“In terms of the cave’s look and feel, we had initial concepts from our first designs, but we weren’t sure about our final approach, nor the extent of the virtual set we were going to have to build,” he continues. “My priority, working with CG Supervisor David Liu, was to make sure that our environment felt as real as possible, within reason. Creating this mythical cave was tricky, since we were aiming for realism without good real-world references. This balancing act is always a challenge, so we began experimenting.”
Visual Effects Supervisor Aladino Debert worked alongside CG Supervisor David Liu to make sure that the environment felt as real as possible, within reason. It was a constant challenge creating a mythical cave while aiming for realism, which resulted in some experimentation.
Debert and his team created around 100 visual effects shots for the show. A cultural consultant from the Choctaw people was on set throughout production due to cultural sensitivities and to ensure missteps were avoided.
Debert and his team looked at lots of caves for reference. “We also looked at glow worms for inspiration since we wanted a bioluminescent, almost nebula-like appearance to the ceiling. It was an evolutionary process as designs often are. That’s why we studied real-life elements found in caves, such as crystal formations, stalactites, stalagmites and so on. For the exterior shots, the story required the clay ancestors to become human,so we knew that the process of the clay drying up, cracking and revealing the human underneath was crucial. We primarily studied time-lapses of dried mud to understand the process. From there, our effects artists, led by FX Supervisor Jaymie Miguel, went to work.”
When it came to managing the workload with his team, Debert approached the project the same way he always does. “To start a project well-prepared, a great producer is essential, and I had the fortune to collaborate with VFX Producer Ryan Wilk on this show. I’m systematic about certain things, and once you’ve been doing this for a while, you realize most projects have similarities,” he remarks.
From left: Vincent D’Onofrio as Wilson Fisk/Kingpin and Darnell Besaw as young Maya Lopez.
“First off, when we receive the turnover of plates, our initial steps involve identifying camera roto/paint needs,” Debert adss. “Camera tracking was straightforward, but, for instance, the women playing the clay ancestors had patches on their nipples, and everyone had underwear on, as one would expect. So, although the makeup team’s work was amazing, there was no way to conceal the fact that you could see what they were wearing. So our roto/paint team, led by Cynthia Trevino, got to work on the task of removing everybody’s underwear. There were maybe 12 or 14 ancestors all adorned with clay makeup and wearing underwear that needed to be removed. We also had to devise a system for color correction that could target specific areas of the clay without appearing too obvious. It was a mix of roto and comp tricks to make sure that we could darken or shift the hue of certain sections. Dealing with a single person who wasn’t moving much would’ve not been a big deal, but once you have 12 or more with motion blur, it became quite the challenge.”
Alaqua Cox reprised her role from Hawkeye as Maya Lopez/Echo. (Photo: Chuck Zlotnick)
“We also looked at glow worms for inspiration since we wanted a bioluminescent, almost nebula-like appearance to the ceiling [of the cave]. It was an evolutionary process as designs often are. That’s why we studied real-life elements found in caves, such as crystal formations, stalactites, stalagmites and so on. For the exterior shots, the story required the clay ancestors to become human,so we knew that the process of the clay drying up, cracking and revealing the human underneath was crucial. We primarily studied time-lapses of dried mud to understand the process. From there, our effects artists, led by FX Supervisor Jaymie Miguel, went to work.”
—Aladino Debert, Visual Effects Supervisor, Digital Domain
Continues Debert, “And, of course, we had to create the cave. The clients asked for a sense of infinity, wanting it to seemingly stretch on forever. Which was all good, but, of course, we had to build it and then collapse it! That was a predictably long process. Environments Lead Chris Watkins and his team began with what was built on set and then expanded upon it. Ultimately, it took on a cathedral-like look, but with an organic and natural feel, featuring stalactites, stalagmites and a lot of that bioluminescent light. Additionally, the columns, ceilings and floor had veins of lava running through them, so cooling lava was another reference we studied. We wanted to recreate the effect of charred, blackened exterior contrasted with undulating veins of red, glowing bits. The digital set went on forever and ended up being a massive environment that was at times quite tricky to render.”
From left: Zahn McClarnon as William Lopez, Devery Jacobs as Bonnie, Graham Greene as Skully and Tantoo Cardinal as Chula Battiest.
Debert and his team created around 100 visual effects shots for the show, most of which were for the Choctaw creation sequence. “In the story, Chafa, the first ancestor, drinks from the Pool of Life, initiating the collapse of their underground world, and setting in motion the process that ultimately leads them to become human. As the cave collapses around them, she holds up the ceiling to allow her people to escape. The realism of this sequence was crucial, and I wanted to make sure it felt natural in the way that it was breaking up. The cave couldn’t just collapse into dust. As always, I started by looking at a lot of references of post-earthquake imagery to understand how columns shear and partially collapse without disintegrating entirely. That approach is one that resonates with my work ethos: start with realism as a baseline and then adjust to suit the desired aesthetic or narrative tone. It gives us a solid ground to stand on, no pun intended in this case, while at the same time allows the freedom to deviate artistically when needed.”
Set five years after the events of Hawkeye, the origin story of Echo follows Maya Lopez as she returns to her hometown where she is confronted with her troubled past.
Initially Debert’s plan involved simulating the collapse in a linear fashion, starting a distance away from the Pool of Life and ending at its center where the ancestors were. “The idea was to position cameras strategically and allow the dynamics of the scene to dictate the performance,” Debert explains. “But the edit changed throughout the project, and that plan had to be modified since the jumps in the timeline introduced inconsistencies. Thankfully, we had created custom simulations of ceiling collapses or columns crumbling that would be placed tactically to smooth out any continuity issues.”
“The realism of this sequence was crucial, and I wanted to make sure it felt natural in the way that it was breaking up. The cave couldn’t just collapse into dust. As always, I started by looking at a lot of references of post-earthquake imagery to understand how columns shear and partially collapse without disintegrating entirely. That approach is one that resonates with my work ethos: start with realism as a baseline and then adjust to suit the desired aesthetic or narrative tone. It gives us a solid ground to stand on, no pun intended in this case, while at the same time allows the freedom to deviate artistically when needed.”
—Aladino Debert, Visual Effects Supervisor, Digital Domain
Chaske Spencer as Henry Black Crow Lopez. (Photo: Chuck Zlotnick)
Stunt coordinator Mark Scizak was able to incorporate Cox’s prosthetic leg into her fights. (Photo: Chuck Zlotnick)
“A good illustration of the balance between reality and art involved dust. Initially, our shots featured a significant amount of it, limiting visibility into the distance – something that, to me, felt realistic given the context of collapsing rock. However, the client emphasized the need to see more of the cave collapsing, a crucial part of the story, which in retrospect seemed obvious. So, we ended up pulling back a lot of the atmospherics and finding a good balance between realism and creative choices. Compositing Supervisor Eric Beaver and his team were essential in finding that balance.”
Debert followed up working on Ms. Marvel, where the lead character is a Pakistani American teenager, with Echo, where the main character is a deaf Native American woman – two female heroes in the male-dominated superhero world. (Photo: Chuck Zlotnick)
“[T]hree weeks from delivery, we realized we were in trouble: We didn’t have a clean plate of hands for the entirety of this shot, necessitating the creation of full CG hands. Trouble was, we didn’t have accurately modeled CG hands because we hadn’t anticipated needing them! It’s one of those realizations that only hit you in hindsight. … That particular shot turned out to be the most stress-inducing shot in the entire show, catching us completely off guard. It was our infamous ‘pineapple shot.’ Go ahead and Google that! ”
—Aladino Debert, Visual Effects Supervisor, Digital Domain
Vincent D’Onofrio as Wilson Fisk/Kingpin and Alaqua Cox as Maya Lopez/Echo.
Debert and his team also worked on the Biskinik bird, sacred to the Choctaw people and featured on several shots during the creation sequence (the bird was an asset shared with ILM, which was also working on the show). As complex as the bird shots were however, for Debert the most challenging visual effects shot to create involved Chafa’s hands becoming human. “Our R&D for the clay-to-human simulation primarily had focused on larger sections of the body, such as the head and torso, and we were pretty happy with the results,” Debert notes. “The edit had two shots of Chafa observing her hands as the clay cracks and crumbles, revealing her human hands beneath. In the original cut the first shot mostly featured clay hands, followed by an insert of her observing the crumbling, before cutting to the final shot where most of the clay was gone, revealing the actual plate photography of her hands.”
Alaqua Cox as Maya Lopez and Vincent D’Onofrio as Wilson Fisk/Kingpin.
Continues Debert: “We started working on those shots by making sure we had accurate match-moving and determining the balance between CG hands, clay and plate. It was essential for the hands to appear natural, as inside the cave they were only decorated with makeup, resembling normal hands albeit made of clay. So, we aimed for a thin, almost potato-skin-like appearance to avoid a chunky look, which would not be attractive for close-up hands. But then the editor decided to merge those two shots into one that spanned the entire clay-to-human transition, one that would end up being a long close-up shot of hands. Initially, we thought we would simply use a long simulation of the clay crumbling over the combined plate since the original shots were derived from the same plate with an offset. We assumed it would be straightforward and continued working on the simulation side until, three weeks from delivery, we realized we were in trouble: We didn’t have a clean plate of hands for the entirety of this shot, necessitating the creation of full CG hands. Trouble was, we didn’t have accurately modeled CG hands because we hadn’t anticipated needing them!”
One of the first things Debert did when he joined Echo was forge a collaborative relationship with the show’s well-prepared VFX Producer, Ryan Wilk.
“It’s one of those realizations that only hit you in hindsight,” Debert acknowledges. “None of us considered the potential problems until we were dangerously close to delivery. That particular shot turned out to be the most stress-inducing shot in the entire show, catching us completely off guard. It was our infamous ‘pineapple shot.’ Go ahead and Google that! However, the entire team pulled together and came up with very creative solutions to the problems we were facing, and in the end the client was very happy with the result.”
A cultural consultant from the Choctaw people was on set throughout production due to the cultural sensitivities involved. “We had to make sure that the basic designs of the Pool of Life, for instance, or the Birth Mound where the ancestors emerge from after the cave collapses, met with approval from the consultants, so we would present to them for feedback. There were only a couple of times where changes or tweaks were needed, and they were minor, but, nevertheless, it was crucial for us to receive this feedback because it was a sensitive topic, and we wanted to ensure we handled it with care and avoided any missteps.”
Julia Jones as Chafa. The Choctaw legend of the Pools of Life revolves around ancestors, moulded from clay, emerging from the pools and gathering around Chafa, the first to appear, starting the transformation process from clay to human.
Concludes Debert, “When you are working on a show or sequence based on myths or legends, the approach is inherently subjective, and the challenge lies in creating elements that may not exist while ensuring they appear realistic. This requires a fine balance of artistic interpretation and attention to detail. I’ve been fortunate to work on culturally diverse shows lately. In my previous show for Marvel Studios, Ms. Marvel, the lead character, is a Pakistani American teenager with amazing powers. That show was significant to me as it introduced a different family culture, religion and dynamic to the MCU. So, to follow that up with Echo, where the main character, Maya Lopez [played by Alaqua Cox], is a deaf Native American woman with a prosthetic leg and a total badass, was a real joy. It offered a diverse representation within the male-dominated superhero world we’ve grown accustomed to. I learned a lot about Choctaw history from reading and researching for this show, making it rewarding both on a personal level and in terms of the technical challenges, which I always enjoy.”
It was important that CG creatures like Momo felt like they were making character choices rather than just simply appearing to be cool or cute.
Brought together by Netflix is the visual effects supervisor duo of Jabbar Raisani and Marion Spates who are collaborating on their third series together, beginning with Lost in Space and followed by Stranger Things and Avatar: The Last Airbender. Their current partnership is an epic adaption of the animated series that was previously tried by M. Night Shymalan in a much-maligned feature film that fans and critics would rather burn or bury.
As for what the live-action adaption could achieve that was not possible for the source material, Spates comes up with one word, “Perspective. The cartoon is 2D and hand-drawn perspectives, while this is all done in 3D with proper depth and scale. You are immersed in the show.” Raisani, who also took on the roles of director and executive producer, is in agreement. “Across the board, we tried to represent if this was real, what would this really look like? Hopefully, that allows for a suspension of disbelief that when you’re watching the animated [series], you know that it’s not real, but we tried to make it feel like a real living, breathing world.”
Aang leaves his earthly body and enters the Spirit World.
Aang visits the Fire Nation temple of Avatar predecessor Roku in order to communicate with him.
Spanning eight episodes, the Netflix adaption concludes where the first season of the animated series ended with the Fire Nation laying siege to the home of the Northern Water Tribe as part of its plan to gain global supremacy over the other three nations that have the ability to control water, wind and earth. The main threat is the Avatar, a reincarnated spirit who can master all four elements, who has returned after freak natural accident imprisoned him in a frozen tomb for a century. “We always knew the scale, scope, quantity and quality were going to be difficult because those things never align with the time,” Raisani states. “Specific challenges were Appa and Momo. We knew that we had to nail those characters because how beloved they are, and it took a long time to get them just right. On the Netflix side, working with Ted Biaselli, he was a great resource to look to, talk through the characters and look at the animated series, and he helped us all shape that feeling to get the emotion right for those characters. Once we nailed that, the execution was much faster than we might have anticipated. Bending was hard, too. It was hard to figure out how to do it right. There was a lot of trail and error. It took us awhile to understand exactly what components went into each form of bending.”
“Jared Higgins, who is a Visual Effects Supervisor, came up with the ‘barbershop pole’ as a way to always move the water. We used it to a degree on the other forms as well, but the water is where you see it the most because what we didn’t want was a ball or orb of water. It always feels like it has a current. That you can see throughout the series.”
—Jabbar Raisani, Executive Producer/Director
The Spirit World was shot in the forests of British Columbia and made otherworldly with lens effects such as chromatic aberrations.
A major storyline is watching Katara develop as a waterbender, which had to be reflected in the visual effects work throughout the eight episodes.
Around 3,400 visual effects shots were created for the eight episodes over a period of 18 months by Framestore, Scanline VFX, Important Looking Pirates, Accenture Song VFX, Pixomondo, Image Engine, Rodeo FX, Untold Studios, Outpost VFX, BigHugFX, Cadence Effects, The Resistance VFX, Atomic Pictures, NEXODUS, FABLEfx and DNEG VP. “We looked at the animated series and wanted to mimic everything that we could; however, what do we need to do to ground it in today’s reality?” Spates notes. “We looked at flamethrowers for firebending. For water, we didn’t find a whole lot of reference. We found some water that was in space and a lot of slow-motion buckets of water. You can’t find a water whip online anywhere, but if you do, let us know because we’ll use it for references!” Simulations had to be art directed. “You’re trying to art direct something that is a random event and attempting to use forces to get exactly what you’re after,” Raisani notes. “We understand that you cannot art direct every single drop or drip or element.” A major part of the waterbending recipe was the concept of an underlying force that resembles a twirling barbershop pole. “Jared Higgins, who is a Visual Effects Supervisor, came up with the ‘barbershop pole’ as a way to always move the water,” Raisani explains. “We used it to a degree on the other forms as well, but the water is where you see it the most because what we didn’t want was a ball or orb of water. It always feels like it has a current. That you can see throughout the series.”
Various dangerous beings inhabit the Spirit World, like the angry forest deity known as Hei Bei.
Sokka and Katara witness Aang escaping his century-old frozen tomb.
Getting the glowing arrow and eyes of the Avatar State integrated with the plate photography took a lot of finessing.
Three departments that had to work closely were stunt, visual effects and special effects, all of which had multiple supervisors to manage the workload. “We all start from the moment we are on set,” Spates notes. “We didn’t have an opportunity to come on at the beginning in production, but we were definitely there for the reshoots. The way that Jabbar and I approach things is you get in and work with all of the different departments early on in the process so that way everyone is on the same page of what we’re trying to pull off. They can’t do it without us, and we can’t do it without them.” Easing the communication was an established shorthand. “Fortunately, with people like Jeff Aro, who was one of the stunt coordinators, we worked with him on Lost in Space for years, so there’s an existing relationship that helps to streamline the process,” Raisani remarks. “Nevin Swain was also the prop master on Lost in Space. I know a lot of the crew up in Vancouver from many years of working there.” The special effects team led by Chris Flemington and Mark Gibbard provided some clever solutions. “We had this cool contraption where they could blow wind from a hose,” Spates reveals. “For Aang’s landing, they could just blow the dirt out of the way, so that way we get that effect for free which was great.” Earthbending was mainly digital with exception of some practical debris. “For fire, we had the firelight on their hands to simulate the interactive lighting, and it had to be operated by the board operator, so when someone is bending and doing the firebending all of that has to be timed out and matched exactly,” Spates remarks. “We definitely had some things to figure out for Season 2 because we needed to tighten some areas as far as the interactive lighting and some things that we did on set.”
Along with being a firebender, Princess Azula has the ability to bend lightning, much to the pleasure of her father Firelord Ozai.
A lot of attention was paid to get enough detail between the iris, pupil and sclera for the Avatar State.
“[For the location of the Southern Air Temple] I spent a lot of time in China on another project, but I knew where these amazing mountains [Zhangjiajie National Forest Park] are, which were used in the film Avatar. That’s exactly what we wanted because the scale of those mountains is unbelievable. There is a lot of imagery that we can steal from the Internet, which obviously is what helped us to make such awesome Avatar mountains, because that’s what they have been labeled over the course of the multiple shows that have been there. It was awesome.”
—Marion Spates, Visual Effects Supervisor
Classic scenes were recreated, like when Aang is showing off his airbending skills to a group of children and accidentally crashes into a statue. “It was moments like that where you’re trying to emulate the animated series as well as you can,” Raisana observes. “For that particular shot, Gordon Cormier was on a practical driving rig that drove him around, then we do a swap to a full CG version of Aang. Once he comes to camera, he is digital and full CG, crashes and falls to the ground. We definitely used all of the magic of the practical stuff on set as well as full CG stuff, and pulling from this beloved animated series. Moments like that are fun.”
Something that had to be kept in mind was how and where Katara could summon mass amounts of water that she would be unable to carry.
A fun creature to create was the ostrich horse, which is a mode of transportation for the Earth Kingdom.
In the majority of cases, the earthbending was entirely digital, such as in the fight between Bumi and Aang.
Interestingly, a cinematic franchise that shares the same name but isn’t related provided the location of the Southern Air Temple. “I spent a lot of time in China on another project, but I knew where these amazing mountains [Zhangjiajie National Forest Park] are, which were used in the film Avatar” Spates recalls. “That’s exactly what we wanted because the scale of those mountains is unbelievable. There is a lot of imagery that we can steal from the Internet, which obviously is what helped us to make such awesome Avatar mountains, because that’s what they have been labeled over the course of the multiple shows that have been there. It was awesome.”
“[W]hat do we need to do to ground it in today’s reality? We looked at flamethrowers for firebending. For water, we didn’t find a whole lot of reference. We found some water that was in space and a lot of slow-motion buckets of water. You can’t find a water whip online anywhere, but if you do, let us know because we’ll use it for references!”
—Marion Spates, Visual Effects Supervisor
Acting alongside the live-action cast were CG characters, with two of the hardest being the air bison Appa and the flying lemur Momo. “There was a huge structure that was covered in fur for Appa that the actors are climbing or riding on top of,” Raisani explains. “There was a lot more of a physical representation of Appa on set and less so with Momo. There is a great scene in Episode 105, which Roseanne Liang directed, where Momo finds a little acorn. This acorn represents the fact that this forest has been burned down is going to be rebuilt. That’s a scene that we worked hard to ensure Momo brought an emotion to his performance and a connection, not only to Katara but to Aang, who is in the position of emotional strife, and make it feel like Momo makes a character choice to give this acorn that he wants to eat to Aang because Aang is struggling and he wants to do something for his friend. It’s moments like that we worked hard to ensure that they are giving a performance as opposed to being cool or cute-looking digital characters.”
The throne room of the Fire Nation made use of virtual production.
A fun creature was the ostrich horse ridden by the Earth Kingdom. “I love the ostrich horses,” Spates remarks. “Accenture Song VFX worked on that creature and did such a good job of bringing the movement of the ostrich into the ostrich horse. It’s unbelievable how [they captured] just little nuance motions of how they move around and walk. Also, there was the challenge of how do we make it into a horse and how do we make fur bend into the tail of a horse? Also, they had all of the armor, too. That becomes a big challenge because all of that stuff has to be simulated because there’s movement in the armor.”
Ian Ousley as Sokka leaps over the fur-covered buck for Appa with the help of wires and greenscreen.
Greenscreen props assisted Elizabeth Yu in achieving the acrobatic firebending that Princess Azula showcases in the series.
A classic pose is Aang flying using his staff as a glider which involved Gordon Cormier being shot against greenscreen and suspended by wires.
“Another fun sequence is the Aang-Bumi fight, which is part of the block I directed in Episode 104. I leaned heavily on the animated series and tried to do everything I could to represent that animated series in living, breathing form. For every beat that I could, I would grab the animated series and say, ‘We’re going to do this shot and that shot.’ The crew had a fun time shooting it, and we definitely had a great time in post putting that onscreen.”
—Jabbar Raisani, Executive Producer/Director
On a different plane of existence is the Spirit World, which can be accessed via the Avatar State. “I won’t get into how the original footage was shot because we weren’t there,” Spates states. “That was one area we could get creative and stylized. Normally, Jabbar and I stay away from stylized stuff because we always try to keep it grounded.” It was a tricky balancing act achieving the proper visual aesthetic. “We were trying to come up with something that felt heightened but also photographic, so we were leaning on a lot of photographic elements like chromatic aberrations, treating it as if it was something that was happening with the lens but was also happening with Aang,” Raisani remarks. “Especially in that first scene where he hadn’t been in the Spirit World, and we were trying to make it feel almost out of focus. It’s overwhelming, and he doesn’t know how to process it. We were trying to get that visually into the footage, but also emotionally connected with what Aang is feeling. In terms of the color, Marion worked with our in-house vendor to figure out how we take this forest in Vancouver and make it feel heightened, but don’t break to where it does not feel like a real place at all.”
The stunt work was so extensive for the eight episodes that it was divided between Stunt Supervisors Jeff Avro and Dean Choe.
Clever devices, such as wind hoses that stirred up dirt, were critical in making the landings of Aang look believable.
Gordon Cormier performs alongside a stuffie of Momo.
A signature effect is the Avatar State when the Avatar achieves maximum power. “As far as the Avatar State and the arrow and eyes, that was something we put in a lot of effort into,” Spates reveals. “We figured out with one of our in-house vendors what that would look like. The tricky thing is you’re putting all of this illumination and light on an actual image of a character. It’s easier when it’s all in CG, but we couldn’t make the CG aspect of Aang be so far different than the physical production footage of Aang. We had to figure out how to illuminate his head. We have a little of subdermal that we put around the arrow and his eyes. How much detail between the iris, pupil and sclera? We spent days and hours [figuring that out].”
A partial set build of Agna Qel’a, which is the capital city of the Northern Water Tribe.
A gray proxie for the head of a shirshu is positioned beside Arden Cho, who portrays the professional bounty hunter June.
Nothing would have been possible without the contributions of the other three Production Visual Effects Supervisors: Jared Higgins, Christopher D. Martin and Alex Gitler. as well as the army of vendors. “Scanline VFX did this incredible sequence of Koizilla wreaking havoc on the Fire Nation, and it’s all done through animation combined with simulations,” Raisana states. “Really complex work that is a combination of character, story, performance and technical complexity. It’s a cool sequence.” Spates agrees with his colleague. “Definitely what I want people to see is Koizilla, which is insane,” Spates says. “You talk about simulation — that is a lot of simulations. It gives me chills to my bones every time I see it. The things that we did to it, also in color, to represent what happens in the animated series has turned out fabulous.”
A crane elevates Gordon Cormier as Aang loses control of his Avatar powers upon returning to the Southern Air Temple after witnessing the aftermath of the massacre caused by the Fire Nation.
Getting the cast to interact with the Appa was made easier by the furry gimbal constructed by the special effects team led by Chris Flemington and Mark Gibbard.
Raisani has a personal bias. “Another fun sequence is the Aang-Bumi fight, which is part of the block I directed in Episode 104. I leaned heavily on the animated series and tried to do everything I could to represent that animated series in living, breathing form. For every beat that I could, I would grab the animated series and say, ‘We’re going to do this shot and that shot.’ The crew had a fun time shooting it, and we definitely had a great time in post putting that onscreen.”
Images courtesy of Republic Pictures and Theodor Groeneboom.
The woman (Jodie Comer} and her baby navigate the flooded streets of London with the help of greenscreen. Comer’s compelling performance was one of the anchors of the film.
Mahalia Belo’s remarkable feature directorial debut The End We Start From follows a woman (Jodie Comer) and her newborn child as she embarks on a treacherous journey to find safe refuge after a devastating flood. Based on Megan Hunter’s 2017 novel, The End We Start From is a hauntingly realistic depiction of a dystopian London submerged underwater.
Theodor Groeneboom served as Visual Effects Supervisor on the film. “A friend of mine in London went to film school with Mahalia,” Groeneboom recounts. “Mahalia reached out to me because of him. I used to live in London and worked in a few of the big studios there doing visual effects. Then, I moved back out to Norway a couple of years ago and started my own little company. We do quite a bit of work for the U.K. visual effects companies and some of the independent UK films as well. It felt like an extension of keeping in touch with everything that was happening there. I was involved from the early stages – the screenplay breakdowns, planning on the shoot and throughout the shoot and post-production, so it has been a long journey. I very much enjoyed it.”
Jodie Comer and Joel Fry in British survival drama The End We Start From.
The post-apocalyptic elements in the film are a backdrop in the story. “It’s not a visual effects film,” Groeneboom acknowledges. “That’s very much true for how the book portrays it as well. Production Designer Laura Ellis Cricks and Mahalia were very much into making sure the film has some kind of texture to it, not just visually but the way the landscape conveys through the film that it’s not just front and center that everything is happening.”
“We need to treat visual effects like some kind of story-driven element. They are just sprinkled around to provide texture to what is happening to Jodie [Comer] and her character, which is quite different from making a big scene and point out of it. It just happens to be what they are going through. There are quite a few scenes where we just put stuff in the background that could tell some kind of environmental thing that something has happened and not draw any attention to it. I guess that’s part of the whole textural side of things; they just want to paint the world but not make it completely obvious. I suppose subdued and textual were words that were frequently used about how to make the visual effects integrate.”
—Theodor Groeneboom, Visual Effects Supervisor
A woman (Jodie Comer) and her newborn child embark on a treacherous journey to find safe refuge after a devastating flood.
Explains Groeneboom, “It’s not so much a coherent film that goes from A to B; it sort of drifts in and out of these moments that you take in when you view the film that go away from the whole. We need to treat visual effects like some kind of story-driven element. They are just sprinkled around to provide texture to what is happening to Jodie and her character, which is quite different from making a big scene and point out of it. It just happens to be what they are going through. There are quite a few scenes where we just put stuff in the background that could tell some kind of environmental thing that something has happened and not draw any attention to it. I guess that’s part of the whole textural side of things; they just want to paint the world but not make it completely obvious. I suppose subdued and textual were words that were frequently used about how to make the visual effects integrate. Suzie Lavelle, the DP, was also a big part of that conversation in driving the lighting and the look of everything.”
The End We Start From is a hauntingly realistic depiction of a dystopian London submerged underwater.
Groeneboom and his team collected lots of material for visual references and relied heavily on the production design ‘bible’ that Production Designer Laura put together. “We were just looking at real photos of flooded areas such as farmland and cities around Europe and all from recent events,” Groeneboom explains. “It’s all based on real references that are quite current. The concepts from Laura were amazing, and it was sort of a bible – its own locations and references from both the recce and the [actual] places. There’s a bunch of scenes where there are animals trapped in a bit of mud, and you just see those skeletons sticking out. It’s just in the background and you don’t notice it, but it’s everything that can tell some kind of story. Barbed wires being cut for some of the fences, just whatever environmental storytelling they can think of, we tried to put in the background for some of these shots.”
“There’s a bunch of scenes where there are animals trapped in a bit of mud, and you just see those skeletons sticking out. It’s just in the background, and you don’t notice it, but it’s everything that can tell some kind of story. Barbed wires being cut for some of the fences, just whatever environmental storytelling they can think of, we tried to put in the background for some of these shots.”
—Theodor Groeneboom, Visual Effects Supervisor
The biggest challenge for Visual Effects Supervisor Theodor Groeneboom involved trying to figure out how to do London underwater, specifically Fleet Street. Greenscreen was required to isolate key elements to be added later.
“There were loads of references we were putting into the film,” he continues. “There were references for the textural quality of the rain and how much we should use. Some of it was more on the practical side of things and how to shoot, etc. and elements we want to use. As an overarching production design bible, there was a lot of stuff that came from Laura. A lot of ideas of not strictly stuff they wanted to see in the film, but Mahalia liked the feeling of it. There’s definitely less of the 28 Days Later vibe with the military and trying to keep it a bit more chaotic and grounded in the people around Jodie.”
“[Fleet Street underwater] was all approached from the same angle as everything else, that it needs to be grounded in reality, and you shouldn’t really pay attention to the effects of it. You should just take in the image as this is something that’s happened. We rebuilt the whole of Fleet Street. … I was taking photographs of every single façade, building, element and item that I could find. We later modeled them up in 3D for textures and lighting ornament and rebuilt the street from scratch. There are some obvious liberties taken to make sure that lighting looks as good as it can, so there are gaps in-between the buildings just to put nice eye lights on every other building.”
—Theodor Groeneboom, Visual Effects Supervisor
Groeneboom took photographs of every single façade and building, element and item that he could find of Fleet Street, then modeled them in 3D for textures and lighting, rebuilding the street from scratch.
Belo and Lavelle had a clear vision in their heads of what they wanted to achieve. “It wasn’t specific, but they were after a certain feeling. I think the production design bible picked all the right pieces,” Groeneboom remarks. “It was Suzie who set the real textural film quality to everything with her cinematography. We did really early development, sketches of trying to make things feel like they are underwater, like a suburban submerged in the city. This was all CG stuff that we were playing with beforehand to see whether or not it was doable with a small team and the amount of resources that we had. These were all based off the same references from the production bible.”
The biggest sequence for Groeneboom involved trying to figure out how to do London underwater, specifically Fleet Street. “Underwater in whatever capacity we could do,” he adds. “I think we got there in the end. It was all approached from the same angle as everything else, that it needs to be grounded in reality, and you shouldn’t really pay attention to the effects of it. You should just take in the image as this is something that’s happened. We rebuilt the whole of Fleet Street. I was dangling off a rental bus, one of the old Routemasters, and I was taking photographs of every single façade and building and element and item that I could find. We later modeled them up in 3D for textures and lighting ornament and rebuilt the street from scratch. There are some obvious liberties taken to make sure that lighting looks as good as it can, so there are gaps in-between the buildings just to put nice eye lights on every other building. Once the light hits a certain angle on Fleet Street, it just becomes completely obscured by the buildings.”
Recreating Fleet Street proved to be a challenging task as it’s an iconic street in London that people are very familiar with. The VFX team relied heavily on the production design bible put together by Production Designer Laura Ellis Cricks.
Fleet Street proved to be a challenging task as it’s an iconic street in London that people are very familiar with. “There are so many great photo references of it as well,” Groeneboom details. “It was a matter of bouncing between what Mahalia felt was real, or what she would accept being real, and what Suzie thought of the texturing and lighting of the scene and how she would approach it from a practical point of view. Obviously, she can’t light an entire street, but how as a DP would she approach it from a practical point of view? We had lots of discussions trying to figure out the right angle for the sun, but also blocking out certain elements to create interesting patterns on one side and having the other side a bit more muted. The opening shot of that scene was quite challenging as well, just trying to make it feel like London specifically. It was shot on a little greenscreen.”
There were around 120 visual effects shots in total, with 13 or 14 of those being Fleet Street. “The film is quite slow-paced, especially in terms of number of cuts in the film. Every single little detail and item on Fleet Street was modeled up and painstakingly created. There are some hints of hope in this scene as well. For example, there are few people dotted around in the windows. The bus was a challenge as well because the chassis of the bus was not favorable to any particular lighting. If you see the Routemasters buses in the city and take pictures of them, they are just uniformly red. It’s very hard to see any shading on them. Getting some prospective lighting on them proved to be a little bit difficult, so we had to exaggerate the amount of light and shadow that the material actually has. It’s a combination of plastics and metal, so that was a bit of a faffle.”
Groeneboom studied real photos of flooded areas such as farmland and cities around Europe based on current references.
Continues Groeneboom, “[Lighting was also an issue on] quite a few shots where there is flooding on some of the signs, but it’s all CG. We rebuilt a lot of environments and tried to make it all as integrated as possible. For instance, the subtly of some of the elements, like dead animals floating. Maybe you don’t pick it up when you watch the film for the first time, but there are quite a few of these images where they are driving and there is stuff in the background. I quite like that because a lot of films I’ve worked on previously have been blockbusters and the effects are front and center, but here they are subdued in the background. One of my favorite shots is of a traffic jam. There is a giant boom mic on the windshield of the car, which was a bit of pain to remove. We just extended the whole background with a bit of the M25 in the background, and there are fires and fire trucks and lots of things happening, but you probably don’t see it. In terms of rain enhancements, it was just putting more in. On the day, you can only get rain so far close to certain things before you have to do some augmentation with visual effects because of rain. Working with real effects elements is always a bit unwieldy. We also worked on the little baby bumps as well, which are partially prosthetics and partially visual effects.”
Groeneboom and his team also worked on the little baby bumps, which are partially prosthetics and partially visual effects.
Groeneboom and his team had ample support from every department in pre-production and on set. The riggers and the gaffers were especially helpful in pulling up greenscreens if needed and accommodating for the lighting and tracking markers whenever Groeneboom and his team were able to be on set for supervision. “We were there for the most important days, but they would take our potential work into consideration by just phoning us up and asking if we need tracking markers here, for example,” he adds. “So, in terms of on the shoot, we were quite welcome and an integral part of solving some of these shots. In terms of the post-production side, it was me and my company [Rebel Unit in Bergen, Norway] doing it. SunnyMarch were producing the whole film, and they were our client for the job. We are a small team of 10-11 people. I think we had six people on this at the most. The idea of my company is most of the people working there have worked in larger facilities before, so we are trying to move away from the idea of thinking large pipelines and overcomplicating, or over-engineering things, which we are trying to do as much as we can in off-the-shelf software and just being a bit more nimble about the approach. I’m quite happy with a small team of six people doing the work. There were two of us, including myself, doing the modeling for the Fleet Street elements.”
“We rebuilt a lot of environments and tried to make it as integrated as possible. For instance, the subtly of some of the elements, like dead animals floating. Maybe you don’t pick it up when you watch the film for the first time, but there are quite a few of these images where they are driving and there is stuff in the background. I quite like that because a lot of films I’ve worked on previously have been blockbusters and the effects are front and center, but here they are subdued in the background.”
—Theodor Groeneboom, Visual Effects Supervisor
There were around 120 visual effects shots in total, with more than a dozen of those being Fleet Street.
Groeneboom concludes,“Given the fact we are a small team and what we were able to achieve, I’m quite proud of the work we did. I really enjoyed working with Mahalia. It’s her first film, and I think she’s approached it in such an interesting and inspiring manner. I’m very interested in seeing what she does next. It was also great working with Suzie, as she’s lovely to work with, and working with the production team was one of my favorite parts. Reading good reviews, and the fact that the film has an important backdrop about the state of the world is interesting. From a visual effects point of view, you tend to go with more lackluster ideas of what apocalyptic visions happen to be. I thought this felt more real and important. Also, watching Jodie perform was really cool. She’s absolutely phenomenal.”
A parallelogram was implemented for when Tarak seeks to tame a Bennu, which is a hybrid of a crow, raven and tiger.
As Akira Kurosawa was a major influence on George Lucas’ The Hidden Fortress in particular, Zack Synder was inspired by Seven Samurai for what was initially meant to be a Star Wars pitch that has since been retooled for Netflix as a multiplatform original IP. A feature film was shot that has been divided into two parts with the first being Rebel Moon: Part One – A Child of Fire followed by Rebel Moon: Part Two – The Scargiver. Participating in what Synder has termed a “giant atmospheric space adventure” is Visual Effects Supervisor Marcus Taormina who previously collaborated with the filmmaker known for speed ramping, hyper-real, painterly compositions and lens flares on another Netflix production, Army of the Dead. “What has been nice about working on both movies simultaneously, both shooting them and doing post-production, is that we’re looking at both movies at the same time,” Taormina states. “A lot of what is set up in Part One we use in Part Two.”
Planetary skies were peppered in when needed to give scenes the proper tone.
Nemesis lethally wields two swords which are a combination of molten metal, a streaking light effect and a heat signature.
A flashback of when Kora was a soldier for the Imperium.
Overall, 1,380 visual effects shots were created by Framestore, Luma Pictures, Mammal Studios, Rodeo FX, Scanline VFX and Wētā FX for Rebel Moon: Part One – A Child of Fire, which revolves around an adopted daughter of a despot standing up against him by assembling a gang of notorious renegades to protect a planet that she now calls home. What makes the production somewhat unusual is that Synder doubles as his own cinematographer. “It’s nice to have a director/DP because I only have to go to one side of the set versus splitting time,” Taormina notes. “Days of Heaven was a huge inspiration for this movie, which means organic filming, daylight dependent, lots of lens flares, and we also had a custom one-of-a-kind anamorphic package that Zack created for the film, which in itself was a huge challenge. What was nice was that I could go to him about things that I needed. ‘I love the lens flares, but I need you to do a clean pass as I have to erase that flare and put it back over the work later on.’ He was understanding to that and granted me those opportunities on set.”
A hard job for Framestore was incorporating energy tracers into 300 shots for the Gondival gunfight.
While playing JC-1435 (aka Jimmy) on set, Dustin Ceithamer listened to the voice of Anthony Hopkins to make sure that their two performances were in sync with each other.
Skies set the tone for scenes, and Snyder sent a whole library of them to Taormina. “It would always be, ‘I like this and that reference,’” Taormina explains. “I would pull them together and go, ‘What do you like about this one?’ I would smash them all together. We had a lot of discussions about the gas giant Mara at the beginning of the movie, which is not a sky, but it’s [related] enough that it’s an important part. Zack found a colored look that he liked that was a dirtier orange. Obviously, he had to put the lightbox up there, which was headache in itself because the flare contaminated the lens a lot. There was a lot of compositing needed to put those shots together, but it adds to the believability because when you get this dirty orange wash over Kora [Sofia Boutella] it feels cohesive.” Over 38 worlds had to be conceptualized with the main ones being Veldt, Neu Wodi, Daggus, Castor, Sharaa, Gondival and Motherworld. “It starts with our production designers, Stephen Swain and Sefan Dechant; they sent a lot of reference packages our way. Obviously, if there were practical pieces, we would try to infuse those back into our digital worlds. But trying to make them unique yet familiar was a challenge. Atmospherics, the mood and lighting, all of those things were important and played a role. When going to Sharaan we meet King Levitica. It’s moody because it feels like we’re not supposed to be there as the viewers,” Taormina remarks.
To make Neu Wodi more threatening, rocky spires caused by a collision with asteroid were added to the arid terrain.
While Jena Malone is strapped to a rig to limit her movements, stunt performers dressed in green shift the legs of Harmada.
“It starts with our production designers, Stephen Swain and Sefan Dechant; they sent a lot of reference packages our way. Obviously, if there were practical pieces, we would try to infuse those back into our digital worlds. But trying to make them unique yet familiar was a challenge. Atmospherics, the mood and lighting, all of those things were important and played a role.”
—Marcus Taormina, Visual Effects Supervisor
Clean plates were shot at times with the distinct lens flares caused by the custom-made anamorphic lenses added later in post.
For arid Neu Wodi, the ranch was a real location; however, when the creature known as a Bennu takes flight, the entire environment becomes digital. “We talk about how we wanted to get a lot more claustrophobic,” Taormina states. “When we fly through the spires, it feels like they’re closing in on us, and then the Bennu [nicknamed Beatrice] smashes Tarak [Staz Nair] off onto the cliff. We have to make sure that when Tarak jumps that he jumps down into a huge ravine, which feels threatening. We let it open back up towards the end where there’s this majestic scale and beauty to it. Designing that was fun.” The Bennu harkens back to Pegasus. “It’s neither a raven or crow but both at the same time, and a gryphon, too.” Stunt performer Albert Valladares was placed in the middle of a parallelogram with his colleagues holding on to ropes that were attached to his backpack to simulate what it would be like trying to restrain a rearing Bennu. “Every take I was like, ‘Zack, hang on. I’ve got to give a note.’ I’m giving notes to special effects and creature stunt performers while Zack is giving notes to Staz Nair. On occasion I would say, ‘Staz, just imagine that at this moment that you’re going to get ripped apart, and now you have a subtle moment where you get to interact with him. Live in that moment. And also let Albert do some of the performances and lead you, in a sense,” Taormina says. Nair was subsequently captured sitting on a gimbal setup in a parking lot for the aerial sequence. “I said to Zack, ‘I know that we have these anamorphic lenses, which are great. However, let’s do one camera anamorphic and shoot the other three spherically. It will be super sharp, but don’t worry, we’ll add our optics later on to it to make it feel anamorphic.’ We basically reanimated and recomposed all of those shots and scaled them down so that it feels like he’s flying through.”
Stunt performers provide the resistance on set of a person being captured by ecto-shackle, otherwise known as the ‘Beetlejuice Chair.’
“We talk about how we wanted to get a lot more claustrophobic. When we fly through the spires, it feels like they’re closing in on us, and then the Bennu [nicknamed Beatrice] smashes Tarak [Staz Nair] off onto the cliff. We have to make sure that when Tarak jumps that he jumps down into a huge ravine, which feels threatening. We let it open back up towards the end where there’s this majestic scale and beauty to it.”
—Marcus Taormina, Visual Effects Supervisor
The CG went up to the rib cage of Jena Malone to believably integrate her into the body of a spider to create the Daggus-dwelling creature known as Harmada.
Influencing the aesthetic of the cobalt-mining planet Daggus was Blade Runner. “I wanted it to feel dark, dingy and moist,” Taormina states. “A lot of narrative and production design determined that environment as we had a lot of built pieces to the set.” Dwelling in the basement level is a native spider/humanoid hybrid called Harmada (Jena Malone) which abducts a child and in doing so comes into conflict with Nemesis (Bae Donna). “The stuntvis or previs was a combination of digital shots and stunts in motion capture suits. Because that space was so small, stunts had to be careful about the movements. Jena Malone is on this huge swivel rig, which is best described as a cart that she is strapped to because we didn’t want her body moving too much, as we needed to see her just below the navel or bust to make it cohesive. We had three to five stunt performers swiveling the rig while having it going up and down to the performances. They also have noodles that are interacting with Donna. It was a harmonious integration of everything together because we didn’t want to replace Jena as her performance was too great.” Nemesis wields two swords that avoid being replicas of lightsabers. “When I had that initial conversation with Zack. all we knew is that we were going to have acrylic rods with LEDs in them that had a warmer amber color. I had this light painting of streaking sparklers. I was like, ‘That’s cool. I think we can do that almost like a synthetic shutter or delayed shutter on the swords, add a heat signature and smoke and then add what we call ‘sword popcorn’ as well. It’s those sparks that came off of it.”
Tony Amendola gets transformed into King Levitica.
“Every take I was like, ‘Zack, hang on. I’ve got to give a note.’ I’m giving notes to special effects and creature stunt performers while Zack is giving notes to Staz Nair. On occasion I would say, ‘Staz, just imagine that at this moment that you’re going to get ripped apart, and now you have a subtle moment where you get to interact with him. Live in that moment. And also let Albert do some of the performances and lead you, in a sense.”
—Marcus Taormina, Visual Effects Supervisor
The three massive explosions that occur during battle on Gondival were entirely CG.
Anthony Hopkins voices a robot called JC-1435, also referred to as ‘Jimmy,’ that decides to participate in the rebellion against the oppressive Imperium led by Kora. “I asked Zack if we could video record and do a ADR scratch session with Anthony Hopkins,” Taormina reveals. “If you don’t have your performer listening to the way that Anthony delivers the lines then there may be a mismatch, and when you put them all together in the end, your brain is going ‘something is wrong or odd here.’ The inflections and body movements are not right. We made the Jimmy suit for Dustin Ceithamer that had chest plates in the front and back, shoulder pads, a face plate and some hands, but the hands had to be replaced digitally. When we got into post, Dustin’s performance and Zack’s direction were so great and minimal that it was less robotic and more human. I actually mandated that when we could, which is about 90% of the shots, to keep the practical chest and face plates, which is a lot more difficult to do because it was so beautiful in the way Zack captured them in the available light.”
Augmenting natural elements like mountain ranges and waterfalls helped to make the Southern California location for Veldt unrecognizable.
“When I had that initial conversation [about the swords of Nemesis and avoiding the lightsabers of Star Wars] with Zack. all we knew is that we were going to have acrylic rods with LEDs in them that had a warmer amber color. I had this light painting of streaking sparklers. I was like, ‘That’s cool. I think that we can do that almost like a synthetic shutter or delayed shutter on the swords, add a heat signature and smoke and then add what we call ‘sword popcorn’ as well. It’s those sparks that came off of it.”
—Marcus Taormina, Visual Effects Supervisor
The Bennu gimbal was shot in parking lot while the aerial environment was fully digital.
Another interesting approach was for the restraining devices that have a mechanical base resemble a crab. Explains Taormina, “Those are called ecto-shackles in the script, but we named them ‘Beetlejuice Chairs.’ We have stunt performers grabbing the cast when they get thrown back, and then we swap out and put the practical prop in there. Like for Gondival or in Providence when the gentleman gets captured, we do the stunt followed by the digital version of it and then swap it out, and we had special effects create this RC-controlled base of the ecto-shackle. We put him on that with only the spine and added all of the digital pieces of it walking. Again, with your brain you’re trying to do the trickery of ‘what’s real and not.’ That’s a great example of stunts, props and special effects doing a fantastic job. We get the plates and go, ‘Let’s make this look cool.’”
Michael Fassbender portrays an assassin simply known as The Killer in the latest feature film collaboration between David Fincher and Netflix.
Producer and long-time David Fincher collaborator Peter Mavromates extend their partnership in the The Killer where an assassin seeks revenge after a botched assignment. The Netflix feature consists of 900 digitally-augmented shots that range from shortening the tail of a dog to CG airplanes, tasked to a vendor list that includes Ollin VFX, Artemple-Hollywood, Savage VFX and Wylie Co. as well as an in-house team. “Visual Effects Compositor Christopher Doulgeris and I will go into the color bay with [Colorist] Eric Weidt and talk about some issue that we had,” Mavromates explains. “Even sometimes if it’s an outside vendor, we’ll focus to help problem-solve. It’s this wonderful and fluid atmosphere, and it works for David Fincher because he’s always got ideas flowing. He doesn’t want to be on a clock at a facility where you’ve got from 2 p.m. to 5 p.m. and then it’s overtime. There’s none of that. David will walk the halls and stop in on people to check on stuff.”
Each setting was given a different color palette with the most vibrant being the Dominican Republic.
The Parisian apartment window shots were captured onstage in New Orleans and inserted into a digital recreation of the actual building by Artemple-Hollywood.
“The dog gives a vicious performance but had a tail that is probably about 12 or 14 inches long, which drove David crazy because when it wagged, he looked too cute! David calls me in and says, ‘We’ve got to get this tail down to two inches.’ … Ollin VFX in Mexico doctored the tail. When you look at the movie and see that tail, there is another 10 inches or so that you’re not seeing anymore!”
—Peter Mavromates, Producer
A vintage glass effect had to be created by Artemple-Hollywood for the Parisian apartment footage shot in New Orleans.
Savage was responsible for the gunshot enhancements.
An unusual visual effects situation arose when a guard dog pursues The Killer, played by Michael Fassbender, after its owner has been murdered. “The dog gives a vicious performance but had a tail that is probably about 12 or 14 inches long, which drove David crazy because when it wagged, he looked too cute!” Mavromates laughs. “David calls me in and says, ‘We’ve got to get this tail down to two inches.’ This is a night scene, so in terms of the type of work that you have to do on manipulating an image, it was tough footage. We had 37 shots, and for that we worked with Ollin VFX in Mexico, and they doctored the tail. When you look at the movie and see that tail, there is another 10 inches or so that you’re not seeing anymore!” What has become more common is the reframing of shots in the DI. “That is something David discovered while we were still shooting on film for Panic Room,” Mavromates remarks. “Once you had all of that film scanned and you’re in the DI suite, there is an opportunity to improve on the headroom. You couldn’t move it right or left that much because of the way it was shot on the negative, but you have a lot of north and south. We did about 100 shots then, and that number has continued to go up where it’s more than 50% of the shots in recent movies where the framing is adjusted.”
The stage shoot combined with an exterior matte painting.
The attention to detail was so fine that the shadow of the red cross inside of the scope moves along with the rifle.
[The reframing of shots in DI] is something David discovered while we were still shooting on film for Panic Room. Once you had all of that film scanned and you’re in the DI suite, there is an opportunity to improve on the headroom. You couldn’t move it right or left that much because of the way it was shot on the negative, but you have a lot of north and south. We did about 100 shots then, and that number has continued to go up where it’s more than 50% of the shots in recent movies where the framing is adjusted.”
—Peter Mavromates, Producer
Because of the desire to control the reflections and fractions of the helmet visor, Wylie Co. created a digital double of both Michael Fassbender and his scooter.
A landscaping matte painting was executed by Ollin VFX.
Considering that the entire first reel of the movie has the protagonist surveying the building across the street in Paris, one would have thought that Rear Window would have been an influence. “It’s astonishing how little we talked about that movie,” Mavromates notes. “The movie that David referenced and has nothing to do with the look of it is Le Samourai in terms of the tone and what the character is.” The daytime building in Paris actually exists and has been featured in Emily in Paris. “The initial shooting was in Paris and was in that square,” Mayromates explains. “We had eight cameras rolling so that David could capture the images of the people walking in the square and the façade of the building in the daytime. You could capture them simultaneously with different lens lengths so that the action matches perfectly because it’s literally the same take. Later, in New Orleans, they shot the individual window settings all laid out on a stage for the night scenes. Based on the daytime footage of that building and some nighttime plates, Artemple built an element where they put those windows in that were shot in New Orleans, then added tinted glass on the foreground.”
Bloodstains were added later in post-production.
CG traffic was created by Ollin VFX for the scenes in the Dominican Republic.
“Special effects put a wick in the bottle [of the Molotov cocktail that Fassbender throws] that had these LED lights, which were golden, and Ollin VFX went in and put the flame over that. What was astonishing is Fassbender threw the bottle that far and it landed a little bit to the left of the door. I couldn’t do that, for sure!”
—Peter Mavromates, Producer
All of the planes were fully CG.
A lot of work went into recoloring and creating taxi logos and numbers by Ollin VFX.
A digital double was created for the scooter escape of The Killer through the streets of Paris after the botched assignment. “The scooter and Michael Fassbender are all CG,” Mavromates reveals. “They did shoot Michael Fassbender on a scooter. That was in our early edits. Then Wylie Co. came in and slowly replaced everything. The background is a photographic plate behind the digital character and scooter in the foreground. If you were doing that all from scratch, that’s a big ask. At least when you have those plates, a lot of lighting decisions are made inherently.”
LED lights were placed in a bottle that was thrown by Michael Fassbender and later turned into a Molotov cocktail by Ollin VFX.
“There might be a few Fitbits that are actually photographic. I doubt it, because we created an interface in post for it. The interface that you see is not one that is exactly right for a commercial product as with the little music player that he has. Somebody asked me, ‘What is that MP3 player? Is that the Microsoft one? What is that?’ I answered, ‘No, that is the Fincher pod.’”
—Peter Mavromates, Producer
An unexpected visual effect was having to shorten the tail by 10 inches to avoid undermining the vicious performance of the dog.
Even the Fitbit that Fassbender wears got a facelift. “There might be a few Fitbits that are actually photographic,” Mavromates observes. “I doubt it, because we created an interface in post for it. The interface that you see is not one that is exactly right for a commercial product as with the little music player that he has. Somebody asked me, ‘What is that MP3 player? Is that the Microsoft one? What is that?’ I answered, ‘No, that is the Fincher pod.’” The Molotov cocktail that Fassbender throws was also digitally augmented. “Special effects put a wick in the bottle that had these LED lights, which were golden, and Ollin VFX went in and put the flame over that. What was astonishing is Fassbender threw the bottle that far and it landed a little bit to the left of the door. I couldn’t do that, for sure!”
An effort was made to heighten the fear by bringing Godzilla closer to the characters.
Not since Neill Blomkamp released District 9 in 2009 has an international production received receive Academy Award and VES Award nominations for its visual effects work. But Takashi Yamazaki has repeated the feat by stomping through the box office beyond Japan along with an iconic kaiju that has been cinematic staple since 1954. Godzilla Minus One revolves around a World War II kamikaze pilot suffering from survivor’s guilt having a re-encounter with the title character, which has gone through further mutation because of American nuclear tests at Bikini Atoll.
It was always important to convey the proper scale, which meant at times only showing parts of Godzilla in the frame.
“In the current digital era, we tried to use technology that could only be used digitally. We have a lot of close-up shots of Godzilla to instill fear in the audience because it’s quite rare in Godzilla films for Godzilla to appear in the same scenes as people. We made it possible because of the high level of detail we included in the CG.”
Visual and special effects have dramatically evolved like the creatures in the Godzilla franchise. “In the current digital era, we tried to use technology that could only be used digitally,” notes Yamazaki, who was previously responsible for the live-action adaption of Parasyte. “We have a lot of close-up shots of Godzilla to instill fear in the audience because it’s quite rare in Godzilla films for Godzilla to appear in the same scenes as people. We made it possible because of the high level of detail we included in the CG. On the story side, 1954 Godzilla does a great job balancing the human drama with the Godzilla scenes; therefore, we were mindful in trying to have strong story and character development, and to make sure that it’s woven together with what Godzilla is doing on screen.”
The art department created a period-appropriate street surface, sidewalks and storefronts in a parking lot.
Along with being the director, Yamazaki was the Visual Effects Supervisor on the project. “Let me add screenwriter to that as well! Being all three had its benefits, although having said that, when I went to shoot on location, I wanted to ask the writer why he wrote in that specific scene because it was so difficult to shoot! When we went into post, I wanted to ask the director why did he shot the scene in that particular way because it made the visual effects that much more challenging! But of course, I only have myself to blame for all of it!” The different roles had an influence on each other. “Normally, when I write a screenplay, I have to pay some consideration to the visual effects team. Can they achieve this scene? However, in this instance I decided to trust my future self for the sake of efficiency. In post-production, because the director was the one and same as the visual effects supervisor, it allowed for more trial and error in the same amount of time. We were able to avoid any miscommunication or difference in creative direction when it came time for approvals.”
Atmospherics were a big part in creating the proper mood for shots.
Godzilla was treated as both a god and monster, which had to be reflected in the movements and physique.
“[I]n this instance I decided to trust my future self for the sake of efficiency. In post-production, because the director was the one and same as the visual effects supervisor, it allowed for more trial and error in the same amount of time. We were able to avoid any miscommunication or difference in creative direction when it came time for approvals.”
“We watched various Godzilla movies again and learned what makes everyone think, ‘This is Godzilla,’” Yamazaki explains. “We analyzed a great deal of photos and videos for historical background. The assistant director’s team collected a variety of background materials, and I remember being terrified that we could no longer use existing materials. Once we had a clear picture of what was going on at the time, we couldn’t just fudge it.” Storyboards drove the design process. “I drew everything that involved visual effects. It was a huge amount of work. The assistant director [Kôhei Adachi] and Kiyoko Shibuya [Visual Effects Supervisor at Shirogumi, which was the sole vendor] were very impatient with me! Basically, there was no such thing as concept art. Based on the storyboards, I set up the scenes and created previsualization with some staff members using simple CGI. From that point on, I sat next to the CG artists and gave them direct instructions if they were not going in the direction I was aiming for. If something is closely related to the shooting, I made it before the shooting starts. However, if it was necessary to include it in the editing, after the shooting is over [for example, a full CG shot], I made postvis in the same way to set the rhythm of the editing.”
A lot of time and effort were spent developing the walk of Godzilla.
The dorsal fin was made more acute and the legs thicker to emphasize the ferocious nature of Godzilla.
The camera circling around Godzilla while its holding and crushing the heavy cruiser Takao was an extremely complex undertaking. On land, trains got the same treatment, though no water was involved.
The overall silhouette of the creature is based on the previous Godzilla suits. “The dorsal fin is more acute and the legs are thicker to give a more ferocious impression,” Yamazaki remarks. “We tried to heighten the fear by making Godzilla closer to the characters, so we included many fine details to allow the camera to get closer to the characters.” No motion capture was utilized in the animation of Godzilla. “However, to help define Godzilla’s look, the animator and I spent a lot of time testing Godzilla’s walk. In Shin Godzilla, Godzilla’s posture feels very straight and uptight. In Hollywood, Legendary’s Godzilla feels more aggressive, like an animal ready to pounce. But we wanted something different from both of those. In Japan, Godzilla represents both God and Monster, so we wanted its movement to feel almost divine or God-like. We adjusted the height of its waist, how it moves and its posture many times before arriving at its current design,” Yamazaki states.
“Basically, there was no such thing as concept art. Based on the storyboards, I set up the scenes and created previsualization with some staff members using simple CGI. From that point on, I sat next to the CG artists and gave them direct instructions if they were not going in the direction I was aiming for.”
Breaking the down the destruction that Godzilla causes in the Tokyo shopping district of Ginza.
As for the world-building, it was important to transport audiences back to 1947. “We collected a large number of photos and videos from that time and were conscious of recreating the atmosphere of that period,” Yamazaki explains. “We could not use any existing open sets, and we did not have the budget to construct new buildings, so we created a composite of a digital building on a simple road set. It was difficult to make the two fit together.” The visual effects shot count is misleading. “Although there were 610 cuts, screentime amounted to two thirds of the entire film. Production time was roughly eight months after the shoot was over and in full swing. Although several people were involved in modeling and scene design before the shoot.”
“In Japan, Godzilla represents both God and Monster, so we wanted its movement to feel almost divine or God-like. We adjusted the height of its waist, how it moves and its posture many times before arriving at its current design.”
The first ocean battle was the most complex scene to execute. “We wanted to shoot this on location at sea because I felt it gave the picture this cool documentary style,” Yamazaki reveals. “What I didn’t expect is that everyone got seasick, and the weather was quite unstable, which made filming difficult. Once we took the footage back to the office, the natural waves that we captured were both beautiful and complex, which made it difficult making a giant creature swim through it creating its own waves. With that said, filming on one location and overcoming this challenge unified the team, and that natural imagery we were able to capture made the shot more powerful and convincing. Would I write an ocean scene into my next screenplay? That’s debatable!”
Compositing explosion and environmental elements together to create the final shot.
Simulating the ocean was hard because of the amount of data and work to make it appear believable. “A young staff member showed us a simulation of the ocean that he had made as a hobby using his home-made computer,” Yamazaki recalls. “It was so good that we rewrote part of the scenario and increased the number of ocean scenes considerably. However, in the latter half of the work, I regretted why I did that. We didn’t have a server with plenty of data to store it, so we had to make do by deleting cuts as they became available. I was astonished when I was told that the total amount of data exceeded one peta!” A personal favorite is Godzilla emitting a heat ray and destroying the entire Ginza area. Yamazaki comments, “Including the gimmick of the dorsal fin and the depiction of the area after it is destroyed, I believe I was able to create a heat ray that is more powerful and more horrific than ever before; that is a proper metaphor for the atomic bombing.”
Images courtesy of Apple+ and Legendary Entertainment.
Cinematographer Jess Hall decided to go with anamorphic lenses because they compress perspective thereby bringing the creatures even closer to the viewer.
The AppleTV+ series Monarch: Legacy of Monsters provides the backstory for the mysterious organization formed upon the discovery of kaiju through a family drama where two half-siblings learn of each other’s existence and their father’s connection to Monarch. The MonsterVerse production created by Chris Black and Matt Fraction on behalf of Legendary Entertainment, Toho Company and Warner Bros. Entertainment consists of 10 episodes that required Visual Effects Supervisor Sean Konrad to craft over 3,000 shots with the help of Rising Sun Pictures, Rodeo FX, Framestore, FuseFX, Outpost VFX, Crafty Apes, Wētā FX, MPC, Storm Studios, Vitality VFX, BOT VFX, Mr. Wolf, Scarab Digital, The Third Floor, Proof, MPC Visualization and an in-house team.
MPC, Rodeo FX, Rising Sun Pictures and Wētā FX worked on Godzilla, which appears in two different forms over the course of the series.
The Frost Vark is a cross between a giant star-nosed mole and pangolin, and has the ability to suck the heat out of objects.
Integrated into the narrative are previous MonsterVerse installments that appeared on the big screen. “What’s interesting about the show is the scene in the beginning of Episode 101 has this Kong: Skull Island [2017] classic adventure movie tone that is a bit off-the-wall crazy and every second has a new amplification of stakes through the action,” Konrad notes. “Then you get back to Kate Randa’s [Anna Sawai] perspective later on in the episode, and you’re going to Godzilla [2014] and you’re having that serious tone of this is a city being destroyed. You need to communicate those ideas visually in a way to people that is meaningful and serious. Then you have the final creature scene in the episode, which is a bunch of new monsters coming out of the ground and attacking our protagonist. Each one of them has a different tone.” Do not expect shots from the kaiju point of view. “A lot of the series is constructed around a subjective point of view of our characters experiencing the action from their perspective and reinforcing that with the visual effects design. A lot of times we knew the kind of creature we wanted and the terrain was immaterial to what the creature was doing, but it did influence how and where we shot it,” Konrad says.
The Endoswarm nest is lighted by the hole in the ceiling of the reactor.
Adding to the mystery of the Ion Dragon is it being an aquatic creature with wings living in the middle of a jungle.
The Frost Vark is one of the new additions to the MonsterVerse.
Taking advantage of the physical location rather than rely heavily on bluescreen was the mandate. “We went to a bunch of locations in Hawaii for Episode, 101 and one of them was Lānaʻi Lookout [on O’ahu],” Konrad recalls. “It is this beautiful volcanic rock cone that points out into the ocean. If you’re running away from a monster that’s a great place to be heading towards. We looked at the terrain and the action we wanted to plan. There is a big bamboo forest in the corner of this landscape, and we let that take you through Bill Randa [John Goodman] being chased by the Mother Longlegs spider from Kong: Skull Island to a single point on that landmass, and this giant crab, which is made from the same volcanic rock, comes out of the ground. It was difficult because we prevised the scene based on some storyboards before scouting it, which is always a dangerous thing. We didn’t have a crab designed, so we grabbed The Third Floor graphic crab out of their archive and animated that for the previs. Simultaneously, I was doing the concept for the crab itself. All of that happened within a five-week period where we concepted, re-prevised and re-storyboarded the whole thing. It’s so much better than trying to shoot that into a bluescreen. It’s a hard process and definitely time-consuming. People did some brilliant work to get that done. We wanted the characters to feel in the action.”
The lighting was naturalistic for the contemporary scenes in Tokyo.
The Mother Longlegs makes a reappearance in what feels like a cut scene from Kong: Skull Island.
The design of the Mantleclaw was inspired by the volcanic environment where the scene takes place.
“There is a big bamboo forest in the corner of this [volcanic Hawaiian] landscape, and we let that take you through Bill Randa [John Goodman] being chased by the Mother Longlegs spider from Kong: Skull Island to a single point on that landmass, and this giant crab, which is made from the same volcanic rock, comes out of the ground. It was difficult because we prevised the scene based on some storyboards before scouting it, which is always a dangerous thing. We didn’t have a crab designed, so we grabbed The Third Floor graphic crab out of their archive and animated that for the previs.”
—Sean Konrad, Visual Effects Supervisor
A pivotal location is the nuclear reactor that experiences a meltdown, which has become as portal where monsters can enter Earth.
Television production happens at a quicker pace than movies. “When you’ve got one movie, you have over six months to do an hour and a half episode as supposed to 30 days to shoot a movie,” sates Special Effects Supervisor Paul Benjamin. “The setups have to be doable to make it into TV land. We had a bit of prep time for the first two episodes. It helps if the directors are on beforehand to know if you have some bigger builds. However, it’s always hard to get the directors before the episode starts.” Some visual research was done regarding the MonsterVerse. “I took a quick view of what they’ve been up to and been doing. When you watch the movies, sometimes it’s hard to figure out how they did everything, or how you block it out and film it. You get a general sense of what you’re up against or what they’re going to be looking for. But as far as pulling builds from watching the movies, it’s quite difficult,” Benjamin adds. Atmospherics were not a significant part of the visual language. “We did a couple of episodes of heavy smoke when they went to the Lost Lands to give a different look to the environment. We definitely did some snow but didn’t do a lot of exterior snow dressing, except for the base camp.” The weather was not always agreeable. “We did a snow dress and had a heavy rain that night, but luckily it held up and we didn’t plug any drains. We had somebody there watching just in case all of our paper snow came down and plugged one of the drains,” Benjamin remarks.
Originally, the Endoswarm was suppose to resemble a millipede, but the decision was made to make it appear more alien.
“We did one shaky gimbal set and that was for the hallway scene in the USSR when the ship was shaking. The monster comes in there and starts bashing around. We built that whole big deck on a floor and made it flip back and forth and tilted it up to whatever angle we wanted. We had big shaker motors on it and rocked it back and forth this way and tilted it that way. We shook that one pretty good.”
—Paul Benjamin, Special Effects Supervisor
Keiko getting attacked by the Endoswarm is made more horrific by them piling onto each other to cause her to fall.
Airbag decks were favored over hydraulic gimbals, such as when the school bus is tipping over the severely damaged Golden Gate Bridge. “We did one shaky gimbal set and that was for the hallway scene in the USSR when the ship was shaking,” Benjamin explains. “The monster comes in there and starts bashing around. We built that whole big deck on a floor and made it flip back and forth and tilted it up to whatever angle we wanted. We had big shaker motors on it and rocked it back and forth this way and tilted it that way. We shook that one pretty good.” It was not all about shaking things. “For the last few episodes we did a vortex, so we had a lot of big wind machines and ratcheting things and pulling things into the vortex. I want to see that portion of it. For the vortex in Alaska, we were shaking the trucks and equipment. But when the creature was chasing them, we didn’t do any explosions for that. The only thing that we did was blast air cannons to have some snow flying around. We did some pyro for the seismic charges that were set off at the power plant. Then we had Kurt Russell running through the lightning field. We had a bunch of mortars going off around them at that point, too.” After being in special effects for 23 years, Benjamin learned a particular lesson. “A lot of times, I find that the smaller gags are trickier than the bigger ones, like the dripping goo coming down from the ship. Something like that can be a lot of work, and testing to the desired look that everyone wants for that is sometimes more work than flipping a car over.” The practical elements are critical in making the stunts and visual effects believable. “We’re trying to do anything to help give the set some life so that the actors can get into it a bit more. You don’t have to fully act when you have the set moving around.”
A Fletcher Class Destroyer is found inland.
“A lot of times, I find that the smaller gags are trickier than the bigger ones, like the dripping goo coming down from the ship. Something like that can be a lot of work, and testing to the desired look that everyone wants for that is sometimes more work than flipping a car over.”
—Paul Benjamin, Special Effects Supervisor
One of the challenging special effects to get right was the goo that belongs to the Ion Dragon.
Collaboration is pivotal to the success of any project. “Ultimately, my attitude is that visual effects are a big part of the show,” states Jess Hall, Cinematographer, Episodes 101 and 102. “The CG has to be integrated into the photography, so I take it as my responsibility that those things have to work together. That means being collaborative and also organized about how you light; for example, on greenscreen matching lighting and doing the work in advance in terms previs and storyboards. But, ultimately, I treat it as a collaboration for which I bare a lot of responsibility for the end result. It’s not like I’m going to shoot someone on a greenscreen, hand it over to visual effects and let them do their thing; that’s not going to produce a good result.” A different color palette was adopted for the series. “We scaled back a little bit on the gaudier and pulp elements of some of the movies. We tried to bring it more into the dramatic cinematic space. Even if you look at our version of Skull Island. my reference for that was more Apocalypse Now. It was the golden warm light but naturalistic approach. Then we go to Tokyo and you have these cool tones, but the lighting was always naturalistic. The composition was reasonably consistent. The lenses I would shoot the faces on were a similar composition. You’re building this thread of visual language that is bulletproof in a way. You can apply these period looks or more action-sequence elements in there, but it doesn’t feel out of place. That was the challenge of the show, and a lot of thinking around design for me was about bringing them together enough, but having them different enough because you also had to understand these timelines. It was important that Skull Island did look different from the 1950s content, otherwise I don’t think you understand where you were.”
The wings of the Ion Dragon had to increased to get a flying cycle that looked believable.
“We scaled back a little bit on the gaudier and pulp elements of some of the movies. We tried to bring it more into the dramatic cinematic space. Even if you look at our version of Skull Island. my reference for that was more Apocalypse Now. It was the golden warm light but naturalistic approach. Then we go to Tokyo and you have these cool tones. but the lighting was always naturalistic.”
—Jess Hall, Cinematographer
A prevailing challenge for visual effects was conveying the proper size and scale of the creatures.
Hall partnered with filmmaker Matt Shakman on Episodes 101 and 102. “Matt is a dramatist and a real actor’s director,” Hall describes. “Having to try to pretend that things are moving around you, and you’re on a bluescreen and saying, ‘Okay, the crowd is coming from the right.’ Or, ‘Now turn to look at the crowd 300 feet away.’ ‘Follow the tennis ball.’ We’ve all seen how that can be quite tough for actors and performers. Matt is always looking to put the actors in the position where they’re comfortable and can give the best performance, but also feel the scene. We went to practical photography. There were a lot of visual effects but a lot of photography on location, and a lot of in-camera stunt action and real effects work that went on in all of these scenes that added to the sense of realism, which is what we wanted.” Atmospherics like smoke were never utilized without intention. “You have to be careful about how much you put in because quickly you lose the contrast of the shot. It’s something that you rely on special effects to operate. Ultimately, I’m the one who has to say, ‘Turn the smoke on or off.’ The whole show had this low-level haze. I was going for a softer, more dramatic look with a bit of texture in there and in the shadows.” The legacy of what has come before loomed large over the production. Hall observes. “You’ve got this huge IP and franchise and so many different elements to it. How do you take that, respect that and do that justice, but also do something that is distinct and appropriate for the show that you’re making and is your own work. Threading that needle was hard.”
France’s heritage of abandoned buildings provided vacant hospitals, schools and churches for zombies to be found. (Photos: Emmanuel Guimier. Courtesy of AMC)
Following the events of the final season of The Walking Dead, Daryl Dixon washes ashore in France and must undertake a perilous journey in order to find a way home in the series The Walking Dead: Daryl Dixon. Jao M’Changama served as Overall Visual Effects Supervisor on the show, with Sébastien Voisin and Justine Paynat-Sautivet working as VFX producers. “Excuse My French is the French supervision company that hired me for the show. The show’s French line producers, Raphael Benoliel and Augustin de Belloy, found the Excuse My French team, and AMC hired them. It was unreal for me at the beginning. having the Walking Dead come to Paris and getting the chance to be the Visual Effects Supervisor – and getting to destroy Paris. I was finishing a day on a cute CGI commercial spot with friends, and we were aiming to go to a bar when I got the call. That was surprising because we weren’t expecting this big of a show to come over to France, and being selected to work on it was like a dream come true,” M’Changama says.
When it came to the initial conversations about the look of the show, M’Changama and his team set up a Zoom call with creator and showrunner David Zabel and the AMC team. “They were asking not how I see the show but questioning me about my strengths and what I like and how I feel about zombies,” M’Changama adds. “I explained that I come from advertising. I’ve been supervising advertisements for 10 years for both big and small campaigns. They were very pleased to know that I worked in various worlds and with different types of narratives, including the Ubisoft live campaigns, exploring sci fi- gladiators and war action styles. It meant that I can easily change worlds, which is one of my strengths. It was really cool to be only focused on the Walking Dead world and to transfer the 15 years of Walking Dead that I’ve been watching to France and know that I have a huge part to play in that role. I wanted to create trust with AMC, and I know it’s the first time they’ve worked in France, so that was mainly the first exchange. Then, the week after there were some tech recces in the south of France. David [Zabel] was there as well as the director, Dan Percival, and Executive Producer Greg Nicotero, father of the Dead. It was great to switch between the U.S. TV show and being part of it [in France] in the best way we could.”
France doesn’t have the same variety of weapons as the U.S., and they tend to be historically older, so the VFX team designed weapons that weren’t too old school for The Walking Dead universe. (Photo: Emmanuel Guimier. Courtesy of AMC)
In terms of visual references, M’Changama looked at France’s urbex (urban exploration) culture to define the apocalypse in France. “There are still a lot of abandoned buildings left here in France, which we can’t destroy because they’re national treasures,” he notes. “The government won’t clean them, so they just stay there until something happens to them. One of my goals was to chase a lot of those urban exploration references. There are tons of Youtubers and photographers that goes everywhere, so I look for those dead hospitals, dead schools and dead churches. It gave us visual satisfaction because a lot of those places haven’t been touched and are still there waiting to be seen. We have this huge heritage In France. That was one of my first directions.”
Visual Effects Supervisor Jao M’Changama looked at France’s urbex (urban exploration) culture to locate and define the apocalypse in France. (Photo: Emmanuel Guimier. Courtesy of AMC)
“There are still a lot of abandoned buildings left here in France, which we can’t destroy because they’re national treasures. The government won’t clean them, and so they just stay there until something happens to them. One of my goals was to chase those urban exploration references. … so I look for those dead hospitals, dead schools and dead churches. It gave us visual satisfaction because a lot of those places haven’t been touched and are still there waiting to be seen.”
M’Changama paid close attention to weaponry as it’s such a large part of the Walking Dead universe. “France doesn’t have the same variety of weapons as the U.S., so this was an important part of our research,” he details. “For the visual effects, we shot specific plates because we have a heritage with older weapons on France. We wanted to design something that wasn’t too old school and fit into the Walking Dead universe. It was the same thing for Norman’s [Norman Reedus portrays Daryl Dixon] mace. He’d already used a mace in Season 10. In France it’s smaller, so we needed to put the green tape on the mace and ask Norman to do it a bit slower to make it seem heavier. We couldn’t slow down the movement with VFX. We needed to adapt a bit.”
The boat scene was initially located only at sea, but the script was changed just before shooting to make part of the scene happen in a harbor – which changed the way the show was filmed. (Photos: Stephanie Branchu. Courtesy of AMC Networks)
M’Changama worked closely with Series Production Designer Clovis Weil. “We went to the same school and hadn’t seen each other for about 15 years. At the first meeting about the set decoration, we remembered when we were in school and how we built a frame and a picture, which was something learned at school,” M’Changama explains. “It was great to work with Clovis as a friend and very talented individual. His team was working on the show around three months before I arrived, so they’d already been thinking about the show. It was a real collaboration between the set design and the VFX department.”
Norman Reedus (Daryl Dixon) used a mace in Season 10 of The Walking Dead, but in France the mace was smaller. Green tape was placed on the mace so VFX could enlarge it in post to match. Reedus also had to wield the mace slower to make it seem heavier. (Photo: Emmanuel Guimier)
“David has a great knowledge of France culture, but when it came to destroying it, he put a lot of trust in set decoration and VFX and instructed these departments on how to do that best. It was a very smart move,” M’Changama adds. “Expectations were high. We wanted to get out of the Emily in Paris perfect world and show how we, the French, see the apocalypse. It was all about telling little stories in the background that helped us build the world around the main characters.”
“[Creator/showrunner David Zabel] has a great knowledge of France culture, but when it came to destroying it, he put a lot of trust in set decoration and VFX. … We wanted to get out of the Emily in Paris perfect world and show how we, the French, see the apocalypse. It was all about telling little stories in the background that helped us build the world around the main characters.”
There were 740 VFX shots in total, and over 400 artists worked on the show. “We managed the workload with confidence,” M’Changama says. “It wasn’t an issue, but we knew that we weren’t the usual Walking Dead team. We had to show everyone that we could bring something new to the show. Sébastien, like me, has a solid background in advertising. On the other end, Justine had one in feature films. We are used to holding a huge workflow and doing a lot of work in a small amount of time. We knew that working in that way was achievable because we had the team needed to do the job. What is specific to our way of working is that we prioritize everything. Every single frame is important and every shot is important. ‘Scope’ and ‘details’ were the words from David with all the teams. We just wanted to build a consistent and imaginative show. We want the first episode to be as good as the last episode and all the fights done with the same love and care.”
Creator/showrunner David Zabel, Executive Producer Greg Nicotero, director Dan Percival and Overall Visual Effects Supervisor Jao M’Changama scouted potential shooting locations in France, including Mont-Saint-Michel and its bay in Brittany. (Photo: Emmanuel Guimier)
M’Changama worked with five top Paris studios: BUF, MPC, Mathematic Light and Mac Guff. “Paris is a fairly small city, so we knew each other and each other’s work. I worked at MPC for 10 years before, so I knew that MPC had solid strength in environmental work and digital matte painting. So, for the deconstruction of the city, we just wanted them to work on it very closely. We exchanged lots of concept art. BUF just made Eiffel, so we knew that they had all the assets of the iron lady. We knew it would be fun for the team to destroy what they’d built. We also knew that Mathematic had a solid comp and craft vision that is very elaborate, and they are fast at adapting a lot of simulation techniques and lighting. We felt that they were the best guys to work on the zombies. The French zombies needed a lot of love and ingenuity. Greg Nicotero brought some incredible concepts of new species appearing in the Walking Dead universe. I think the VFX team succeeded in bringing a gorgeous update to zombies: Pulsating veins, burning blood, and more details not to be spoiled here. One of the supervisors with Light is also a flame artist – like me, and we knew they could craft technical shots, including 2D and CGI, very quickly. This process allows us to quickly share the steps with David Zabel and the AMC team. Mac Guff is a studio known for their generalists who can adapt to reconstructing towns to matte painting. They handled several shots successfully. So, by knowing our studios’ strengths, we managed the shot dispatch with accuracy, and this also helped us to build trust with David and AMC.”
Mathematic Light handled work on the zombies. The VFX team wanted to get away from the “Emily in Paris perfect world” image of France and show a contemporary French view the apocalypse. (Photo: Emmanuel Guimier)
“The French zombies needed a lot of love and ingenuity. [Executive Producer] Greg Nicotero brought some incredible concepts of new species appearing in the walking dead universe. I think the VFX team succeeded in bringing a gorgeous update to zombies: Pulsating veins, burning blood and more…”
When it came to filming the streets of Paris, the Eiffel Tower was, of course, the main event, but for M’Changama and his team, every street was important. “The most challenging locations for us involved the locations with bluescreens because we faced last-minute changes on the script,” M’Changama remarks. “For the bluescreens scenes, there was the rooftop camp, the cargo ship and the Eiffel Tower. The screenplay wasn’t completely finished as we were going to shoot. The good ideas from the showrunner and the director came in very late in the process, and as they were amazing ideas, we needed to adapt our initial plans. For example, the location of the boat was initially only in the sea and finally a part of it happens in a harbor, What could we do regarding the visual effects in the harbor? It changed the way we would film. It was challenging because we changed our vision to the good ideas that sometimes came 10 minutes before shooting. The on-set VFX team provided a large panel of solutions, not only on bluescreen but all along the road trip we made in France. Then, when we were in the VFX post-production process, we were honestly excited and impatient to share our vision with David and all the team.”
Zombie blood and how the zombies are killed – specifically, the exploding head in the arena towards the end of the series – was one of the most creative aspects of the show for M’Changama and his VFX team. (Photo: Emmanuel Guimier)
One of the biggest challenges for M’Changama was matching their work with the rest of the Walking Dead universe. “We had a vision of how the zombies work, but we are not doing another show about zombies, we are bringing the Walking Dead to France. We can bring something new to it, but we need it to match what already exists and we need it to be accurate. The zombie blood and how we will kill the zombies has been one of the most creative aspects for us. Specifically, the exploding head in the arena towards the end of the series. Greg Nicotero brought in several SFX components to make the pumping zombie skin and other makeup FX magic. But one of the biggest challenges was shooting in a national treasure area where we were not allowed to put blood on the walls and the ground. The lights were changing, and it was becoming dark, and the blood was very specific. We needed to make those little details match. That one single shot was very fun to do, and we did a great job. It wasn’t too digital or too gory, but it was 100% CGI.”
“The zombie blood and how we will kill the zombies has been one of the most creative aspects for us. Specifically, the exploding head in the arena towards the end of the series. Greg Nicotero brought in several SFX components to make the pumping zombie skin and other makeup FX magic. But one of the biggest challenges was shooting in a national treasure area where we were not allowed to put blood on the walls and the ground. … It wasn’t too digital or too gory, but it was 100% CGI.”
Clémence Poséy as Isabelle in Paris. BUF made the Eiffel Tower and all associated assets – and enjoyed destroying what they built. (Photo: Emmanuel Guimier)
M’Changama and his team also faced issues with anachronism. For one of the flashback sequences, Notre Dame’s spire, which was destroyed in the recent fire, had to be recreated. For M’Changama, working on these fine details was an important part of the process “I’m happy that Hollywood trusted France’s VFX ecosystem. I think we did a great job, and I’m proud of what we’ve achieved. We’re eager for the next challenge!”
Many different iterations were attempted for the reveal of the Heroes of the Horn before settling upon what appeared in the show.
Essential for any successful digital augmentation is having a member of the visual effects team present during the live-action shooting to ensure that are the required elements, whether it be plate photography or LiDAR scans of sets, are acquired and provided to vendors, thereby establishing a solid foundation for the work to be done in post-production. In the case of the second season of The Wheel of Time, the on-set visual effects supervision was equally divided between Roni Rodrigues and Mike Stillwell.
It was always important to have practical plate photography to build from when creating CG environments.
“When living away, you start immersing yourself in the project 24/7,” explains Roni Rodrigues, On-Set VFX Supervisor. “I did block one which was Episodes 201 and 202 and then straightaway did block two which was Episodes 203 and 204. Then Mike Stillwell did blocks three and four. When shooting block one, you will do some scenes from Episodes 201 and 202 together because we’re revisiting a lot of those locations. For block one, we had Thomas Napper as the director and for block two Sanaa Hamri as the director, so the team changed as well, including the DP and 1st AD.”
No matter the type of element, an effort was made to incorporate the weaving associated with channeling.
“We did previs and then postvis [of Heroes of the Horn] with the stunt team trying to work out how these heroes would appear and be involved in a battle. We wanted to shoot in a visceral handheld -in-amongst-it way, but it didn’t lend itself to shooting one plate with them and shooting it again without. We thought going back to the smoke gave them that ethereal quality without looking like Casper the Friendly Ghost.”
—Mike Stillwell, On-Set VFX Supervisor
Location shooting took place in the Czech Republic, Italy and Morocco.
Overseeing the fantasy series is creator and showrunner Rafe Judkins. “Rafe’s position was important to give consistency on the visual identity of the show,” Rodrigues notes. “Even though the directors changed, we always kept everything in the same universe. That’s one of the reasons why it was so important for us to spend quite a lot of time in pre-production, because we managed to plan ahead for many of the details in every single scene. It was easy for us to transfer that information from the first block to the second block and achieve the desired results.” A lot of time was spent developing relationships with other departments, “from the collaboration with the DP discussing on-set light interaction to the production designer and how we want to build sets so there is a seamless line between what is practical and a CG extension,” Rodrigues adds.
A major new environment in Season 2 is the city of Falme.
“The relationships that Roni had started in the first four episodes made it so much easier for me because I was able to come in and build upon on what was already there,” remarks Mike Stillwell, On-Set VFX Supervisor. “The stunt guys would be showing me their stuntvis before they’ve shown other people and asking, ‘What do you think? Is this going to work?’ Jan Petrina, the Stunt Supervisor, would do incredible stuntvis with fantastic After Effects work in it. It paved the way for what we wanted to do. It was a constant dialogue. He never promised something that we couldn’t deliver and vice versa. We had each other’s backs wherever possible.”
Waygates are important means of travel – and tricky to pull off, especially when horses are involved.
The smoke reveal of the Heroes of the Horn was not the original idea. Stillwell observes, “We did previs and then postvis with the stunt team trying to work out how these heroes would appear and be involved in a battle. We wanted to shoot in a visceral handheld -in-amongst-it way, but it didn’t lend itself to shooting one plate with them and shooting it again without. We thought going back to the smoke gave them that ethereal quality without looking like Casper the Friendly Ghost.”
Witness cameras capture every single body gesture and finger movement to get the proper channeling interaction.
“It was nice to work with Andy Scrase [Visual Effects Supervisor] as he was on the same page about the details, and the more information that we actually give to the post-production team, the more they can do,” Rodrigues states. “The cyberscan booth was there [in the studio] 24/7 for us. Hats off to the visual effects production team, production manager and production coordinators because we wanted not just everyone being scanned, every time our lead actors changed their clothes, we wanted that variation as well.” A variety of exterior locations were found in the Czech Republic. “The whole city of Cairhein was built, and was so vast and rich in details that it was incredibly helpful,” Rodrigues notes. “Also, we went to Italy and Morocco. There is a scene where the guys are riding horses, and those epic mountains in the background are real. Obviously, we as visual effects did enhancements that make it better. However, having a good location and production designer are not just good for the showrunner but for the actors as well, as it’s easier for them to perform and to get into the character.”
Practical and digital smoke were combined to create the dramatic reveal of the Whitecloaks calvary just before it attacks Falme.
“[In addition to the Czech Republic] … we went to Italy and Morocco. There is a scene where the guys are riding horses, and those epic mountains in the background are real. Obviously, we as visual effects did enhancements that make it better. However, having a good location and production designer are not just good for the showrunner but for the actors as well, as it’s easier for them to perform and to get into the character.”
—Roni Rodrigues, On-Set VFX Supervisor.
Killing Turak (Daniel Francis) was not as easy for the production team as it was for Rand al’Thor (Josha Stradowski). “When Rand is approaching the tower and Turak [Daniel Francis] has his heron-marked blade and does some fancy moves, we had so many meetings where I was presenting different ideas on, ‘How do we kill Turak?’” Stillwell recalls. “Rand has unbelievable power and is pissed. How would he do this? We were talking about turning someone to stone and then shattering them. Or having Rand fill them with lava and they explode from within. Or Rand whipping through these blades of air and doing the classic thing where they look fine and then slowly slide apart because of being sliced in half. What Rand ends up doing is so nonchalant, but it shows the power that he has. We spoke to Josha about it. Josha even plays it like he didn’t expect it to be that easy.”
Hardened air can be effective in producing weapons and shields.
Lessons were learned, in particular, when it came to characters channeling the One Power, which involves manipulating intricate illuminated weaves of water, fire, earth, air and spirit. “They used interactive light on Season 1, and when we received the plates, the lighting was baked into the plate, and it was too much,” Rodrigues explains. “We ended up painting out interactive light from all of those scenes. We wanted the showrunner to have a full scope of flexibility to decide in post-production which direction he wants to go. What we did was to do a performance take without interactive light and then we did it again, but with interactive light. The idea was once they decided on the take to use, we would get the plate with the interactive light and paint light in. In this way, we had the flexibility to paint the light as many times as we wanted in any position we wanted.”
The fire dragon required careful attention to detail to stand out properly in the daylight.
“It was a case of myself, Rafe, directors and writers throwing ideas out. No idea is a bad idea. ‘What if every time we see him it’s a different person, but they all have his face?’ And then we would discuss how possible is that? How good is it going to look? We wanted people to be as confused as Matt was. We looked at a lot of different concept art from different shows, and we watched a lot of different films, like those of Gasper Noé. We were trying to get reference from not-obvious things.”
—Mike Stillwell, On-Set VFX Supervisor
Prosthetic makeup was digitally enhanced for the Trollocs.
Hallucinations allowed for surreal imagery. “For the psychedelic visions Matt Cauthon [Barney Harris] has after drinking the tea, we did a lot of work on how things would work with the mirrors, how it would look when his hands and veins are becoming distorted and enlarged,” Stillwell states. “There were lots of discussions about how to make that trip look terrifying, and the switching out of him and his mother. It was a case of myself, Rafe, directors and writers throwing ideas out. No idea is a bad idea. ‘What if every time we see him it’s a different person, but they all have his face?’ And then we would discuss how possible is that? How good is it going to look? We wanted people to be as confused as Matt was. We looked at a lot of different concept art from different shows, and we watched a lot of different films, like those of Gasper Noé. We were trying to get reference from not-obvious things.” A character gets turned into stone and dissipates into the air. “The art department did a couple of busts for us to use as reference. I remember having so many show-and-tells about dust and discussions about how fine a grain we wanted for the ashes. We shot a load of reference of all of this stuff blowing away and being shattered and thrown around. But the main thing was to make sure to get clean plates because we had to have a tight body track with witness cameras to create a good CG model.”
Rather than be a straight white light, the Waygates reflected the environment about to be entered.
“[For a character that gets turned into stone and breaks up] the art department did a couple of busts for us to use as reference. I remember having so many show-and-tells about dust and discussions about how fine a grain we wanted for the ashes. We shot a load of reference of all of this stuff blowing away and being shattered and thrown around. But the main thing was to make sure to get clean plates because we had to have a tight body track with witness cameras to create a good CG model.”
—Mike Stillwell, On-Set VFX Supervisor
A dramatic moment occurs when Moiraine does fire channeling on a beach that goes through the water like torpedoes to destroy the Seanchan fleet.
One of the cool visual effects are the shields created by channeling air. “The ideas for that were still broad when we were actually shooting,” Stillwell reveals. “It was a case of talking to the actors and giving them something to work with, because so often they’re having to do all of this channeling and having to imagine what it is and how it’s affecting them. When Marcus Rutherford [Perrin Aybara] is protecting them from Ishamael [Fares Fares] at the end when we were rehearsing it, I asked if it was okay for me to go and show something. I was slamming my body onto his shield and saying, ‘This is the weight of what’s hitting you. You’re not just deflecting bullets like Captain America. These are massive large forces, not little pinpricks.’ I was just trying to give him something to work with so he can imagine it, because if the actor’s performance works, the visual effects work so much better.”
New Zealand
Kia Ora and Welcome to VES New Zealand
With an active and growing membership throughout New Zealand we are pleased to be able to bring you a wide range of events.
The locally elected board are based in Wellington and Auckland. They bring a broad variety of skills.
Please feel free to touch base should you have any queries.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ GHOSTBUSTERS: FROZEN EMPIRE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, April 6, 2024 at 2:00PM (RSVPs close on Friday, April 5 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 Click here for a map
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DUNE: PART TWO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, March 9, 2024 at 1:30PM (RSVPs close on Friday, March 8 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 Click here for a map
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
The 22nd Annual VES Awards season is underway, and it’s going to be more exciting than ever! Nomination Event to be held worldwide on Saturday, January 13, 2024.
This year we will have virtual and in-person Nomination Events. Current VES members can apply to judge on ANY in-person event that you can travel to or or ANY virtual panel in ANY time zone. This is the must-attend event of the awards season. You will see exclusive behind-the-scenes clips of the most striking visual imagery of 2023, and you’ll enjoy the single best networking opportunity of the year! Don’t miss your chance to meet the best and brightest in the VFX field, catch up with old friends, and learn about new VFX techniques. Plus, you’ll have the satisfaction of helping to decide the best work to be presented to our colleagues in the industry and the press, as well as fans across the globe.
The Nomination Event is an all-day event and judges will receive details about specific times closer to the event. Please apply to a specific in-person location, or a particular time zone of a virtual panel (view the Region Map for the time zone that best fits your schedule). Please submit your Judge Application early to make this year’s VES Awards Nomination Event successful.
-The 22nd Annual VES Awards Committee
JUDGE APPLICATIONS ARE CLOSED please contact cassidy@vesglobal.org with any questions
Get ready to mingle because the most fabulous time of the year is here! We’re thrilled to invite you to our exclusive VES Member’s Holiday Party on Dec 3rd, kicking off at 3:30PM at Seatoun Bowls Club.
Join us for a family friendly event filled with camaraderie, laughter, and plenty of cheer. We’ve got some delicious nibbles, a bar that’s ready to sleigh, and of course, the chance to hang out with the fantastic folks that make up our VES community.
We can’t wait to share this wonderful afternoon with you.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Apple TV+’s KILLERS OF THE FLOWER MOON
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, October 21, 2023 at 2:00PM (RSVPs close on Friday, October 20 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Friday, October 13, 2023, at 12:00PM (AEDT), 12:30PM (ACDT) & 2:00PM (NDT), 5:30AM (IST)
Mark your Calendars! The Visual Effects Society and TELUS Health (formerly Lifeworks) will present an overview of the services offered as part of the FREE VES Member Assistance Program. Don’t miss this chance to find out about the mental health, fitness, legal, financial, online resources, and more that are part of this amazing program. Don’t miss learning about all of these phenomenal benefits specifically for VES members throughout Asia, Australia & New Zealandunde!
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Studios’ THE CREATOR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, September 30, 2023 at 2:00PM (RSVPs close on Friday, September 29 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – DEAD RECKONING PART 1
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Thursday, July 27, 2023 at 6:30PM (RSVPs close on Thursday, July 27 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – DEAD RECKONING PART 1
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Click here to RSVP
Saturday, July 22, 2023 at 7:00PM (RSVPs close on Friday, July 21 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 Click here for a map
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and up to Four (4) Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ INDIANA JONES AND THE DIAL OF DESTINY
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Sunday, July 2, 2023 at 12:00PM (RSVPs close on Friday, June 30 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and up to Four (4) Guests are Invited to an Opening Weekend Screening of Sony Pictures’ SPIDER-MAN: ACROSS THE SPIDER-VERSE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Saturday, June 3, 2023 at 2:00PM (RSVPs close on Friday, June 2 at 12:00PM) Miramar Creative Centre Screening Room
133 Park Road, Miramar, Wellington 6022 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and up to Four (4) Guests are Invited to a Screening of Walt Disney Pictures’ THE LITTLE MERMAID
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Saturday, May 27, 2023 at 2:00PM (RSVPs close on Friday, May 26 at 12:00PM) Miramar Creative Centre Screening Room
133 Park Road, Miramar, Wellington 6022 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and up to Four (4) Guests are Invited to a Screening of Universal Pictures’ FAST X
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Thursday, May 25, 2023 at 7:00PM (RSVPs close on Thursday, May 25 at 12:00PM) Miramar Creative Centre Screening Room
133 Park Road, Miramar, Wellington 6022 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Members and non members are invited to join us for a pub night and a chance to find out more about the VES.
Come and catch up with your fellow creatives!
This event is for members, VFX Artists, Animators, SFX Artists, Producers, Coordinators, Engineers and Educators with a minimum of 5 years’ experience in Games, AR, VR, Film, TV, VFX, Education and related creative industries.
Date:Wednesday 22nd February
Time: 6.30pm-8.00pm
Location: Double Vision Brew Pub, 128 Park Road, Miramar
Double Vision will provide some snacks. And of course beer!
VES Members and up to Four (4) Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER: WAKANDA FOREVER
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Saturday, November 12, 2022 at 10:30AM (RSVPs close on Friday, November 11 at 12:00PM) The Roxy Cinema
5 Park Road, Miramar, Wellington 6022 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Join the Visual Effects Society Australia and New Zealand sections for a conversion around Virtual Production in the region. Interact with local guest speakers who have first hand experience in all things virtual production. This panel will be moderated by Befores and Afters, Ian Failes.
Saturday, September 24th at 9:30am ACST via ZOOM (10am AEST, 12 noon NZST)
Panelists
Habib Zargarpour, Virtual Production Supervisor at Unity Technologies
Michela Ledwidge, Director MOD
Gary Marshall, Senior Director of Virtual Production, NantStudios
Thomas Mansencal, Technology Supervisor, Weta FX
Sam Folkard, Head of Labs NZ, disguise
Bree Whitford-Smith, Virtual Production Producer
Log in for access to the webinar registration link below.
Join us for the return of the Teq Talks! A series of fascinating short talks from artists and innovators with a social mixer to follow. Drinks and nibbles provided. Free for VES members, koha donation for non-members. For this session, we have three great speakers:
Sophie Thorn, Curator Collections, Te Pātaka Toi Adam Art Gallery
Talk Title: The Copy Paste Aesthetic
Sophie Thorn is the Curator Collections, Te Pātaka Toi Adam Art Gallery. She looks after the Victoria University of Wellington Art Collection. She holds a Master of Arts in Art History and Theory from the University of Canterbury and a Diploma in Law and Collections Management through the London Institute of Art Law. She studied Heritage Materials Science through the Physical Sciences department at Te Herenga Waka–Victoria University of Wellington and Metallurgy at the Chemical Institute of Technology in Prague, Czech Republic. She has held positions at the Canterbury Museum, Experience Wellington, and Te Manawa Museums Trust. She has been with Te Pātaka Toi Adam Art Gallery since 2014.
Shinichi Maruyama is a Wellington-based artist/photographer.
He exemplifies the Japanese concept of wabi-sabi–the beauty of things imperfect, impermanent, and incomplete.
Having majored in photographical chemistry at university, he is interested in both the artistic and technical aspects of photography, seeking new expressions for each project.
He is represented by Bruce Silverstein Gallery in NY and has had three solo exhibitions.
NZ Govt. Covid-19 rules require Vaccine Certificates for all attendees over age 12.
Masks are required and please observe social distancing best practices.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms, have been exposed to the virus, are awaiting a test result, have been contact traced, have been asked to self isolate or have been in an MIQ facility within the last 14 days.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Please login to RSVP Below by December 1st. VES Members: Please enter your details and those of ALL your guests/Family who are attending with you. Please be sure to put your own name down as one of the attendees: eg. Joe Smith, next guest: Suzy Smith etc. Please DO include children and babies.
On behalf of Searchlight Pictures and ANZ distributor Disney we’re delighted to invite you and your guest to this Wellington preview screening of THE FRENCH DISPATCH.
Synopsis: THE FRENCH DISPATCH brings to life the final issue of an American magazine published in a fictional French city. It features Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray and Owen Wilson.
When: Wednesday 1 December
Time: 6.15pm for a 6.30pm start
Location: The Roxy (cinema 2), 5 Park Road, Miramar, Wellington
Duration: 107 minutes. You can view the trailer here
RSVP is essential here. Invitation is strictly non-transferable.
COVID protocols: As of 29th November, The Roxy will require anyone entering the premises to show a valid NZ Vaccination Pass. You may also be required to show a government issued form of photographic ID. Please arrive with your Vaccination Pass and government issued photo ID ready.
This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
All attendees must be fully vaccinated before you arrive at the cinema. You will be required to show a NZ Vaccination Pass, or proof of exemption.
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
There will be contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61428727303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding these screenings, please don’t hesitate to get in touch.
On behalf of Apple Original Films we’re delighted to invite you and your guest to an industry preview screening of
When: Tuesday 30 November
Time: 6.15pm for a 6.30pm start
Location: The Roxy (cinema 2), 5 Park Road, Miramar, Wellington
Duration: 116 minutes. You can view the trailer here
Synopsis: In the near future, SWAN SONG tells the journey of Cameron (Mahershala Ali), a loving husband and father with a terminal illness who is offered a confidential solution to shield his wife (Naomie Harris) and son from grief. As he considers it, he learns more about life and love than he ever imagined.
RSVP is essential here. Invitation is strictly non-transferable.
COVID protocols: As of 29th November, The Roxy will require anyone entering the premises to show a valid NZ Vaccination Pass. You may also be required to show a government issued form of photographic ID. Please arrive with your Vaccination Pass and government issued photo ID ready.
This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
All attendees must be fully vaccinated before you arrive at the cinema. You will be required to show a NZ Vaccination Pass, or proof of exemption.
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
There will be contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61428727303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding these screenings, please don’t hesitate to get in touch.
On behalf of Amazon Studios we’re delighted to invite you and your guest to an industry preview screening of The Tender Bar.
When: Saturday 27 November
Time: 1.45 for a 2pm start
Location: Roxy Cinema (cinema 2), 5 Park Road, Miramar, Wellington
Duration: 104 minutes. You can view the trailer here
Synopsis: From director George Clooney and based on the memoir, The Tender Bar follows an aspiring writer (Tye Sheridan) pursuing his romantic and professional dreams. From a stool in his uncle’s (Ben Affleck) bar, he learns what it means to grow up from a colorful group of local characters.
RSVP is essential here. Invitation is strictly non-transferable.
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
There will be contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61428727303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding these screenings, please don’t hesitate to get in touch.
On behalf of Netflix we’re delighted to invite you and your guest to an industry preview of The Harder They Fall.
When: Tuesday 19 October
Time: 7.20 for a 7.30pm start (please allow time for Covid protocols upon arrival – see below)
Location: Roxy Cinema (cinema 2), 5 Park Road, Miramar, Wellington
Please login to RSVP below. Seating is limited and invitation is strictly non-transferable.
Synopsis: When outlaw Nat Love (Jonathan Majors) discovers that his enemy (Idris Elba) is being released from prison, he reunites his gang to seek revenge. The cast also includes Zazie Beetz, Delroy Lindo, LaKeith Stanfield and Regina King.
Directed by Jeymes Samuel, from a screenplay by Jeymes Samuel and Boaz Yakin.
Producers are James Lassiter, Lawrence Bender, Jeymes Samuel and Shawn Carter.
Cinematographer is Mihai Malaimare Jr., Production Designer is Martin Whist and Editor is Tom Eagles.
Films At 42 will be releasing the film nationally on 21 October.
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
There will be contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61428727303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding theses screenings, please don’t hesitate to get in touch.
On behalf of Amazon Studios we’re delighted to invite you and your guest to an industry screening of THE ELECTRICAL LIFE OF LOUIS WAIN.
When: Sunday 17 October
Time: 10.50 for 11am start (please allow time for Covid check-in – see below)
Location: Roxy Cinema (cinema 2), 5 Park Road, Miramar, Wellington
Synopsis: A true story of British artist Louis Wain (Benedict Cumberbatch), whose surreal pictures transformed the public’s perception of cats. From the late 1800s-1930s, he sought to unlock the world’s mysteries and, in so doing, to understand himself and the love of his life, Emily Richardson (Claire Foy).
RSVP is essential here. Seating is limited and invitation is strictly non-transferable.
THE ELECTRICAL LIFE OF LOUIS WAIN will be available to stream on Amazon Prime Video from 5 November.
________________________
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
Contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61 428 727 303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding these screenings, please don’t hesitate to get in touch
Join us for a global ‘Speed Networking’ event, hosted by the VES Los Angeles section. This is a wonderful opportunity to meet with VES members in NORTH AMERICA, AUSTRALIA, NEW ZEALAND and INDIA.
You could make 5+ new international VFX industry connections in just one hour. If you have not made it to one of these fast paced sessions before, this is the one you simply can’t miss!
Saturday, October 16th
3:00 pm NZDT
Members can register for FREE at the link below (Members must login to the website).
On behalf of Amazon Studios we’re delighted to invite you and your guest to an industry screening of THE TOMORROW WAR.
When: Tuesday 5 October
Time: 7.30pm start
Location: Roxy Cinema (cinema 2), 5 Park Road, Miramar, Wellington
Synopsis: The world is stunned when a group of time travelers arrives to deliver an urgent message: Thirty years in the future mankind is losing a global war against a deadly alien species. The only hope for survival is for soldiers and civilians from the present to be drafted in a future war.
Starring Chris Pratt, Yvonne Strahovski, J.K. Simmons and Sam Richardson
RSVP is essential here. Seating is limited and invitation is strictly non-transferable.
THE TOMORROW WAR is now available to stream on Amazon Prime Video.
________________________
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (VES number, mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
Contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61 428 727 303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
Auckland University of Technology has extended an invitation to all VFX Industry Professionals in New Zealand for a Zoom Presentation/Q&A with Alvy Ray Smith. This event is host by the LA ACM Siggraph.
WEDNESDAY 29th SEPT at 2:00 pm NZT
TUESDAY 28th SEPT at 6:00 pm PDT
About the talk:
Many CG innovations taken for granted today can be traced back to a handful of pioneers. Alvy Ray Smith, co-founder of Pixar, shares these interesting stories, taking us up to the point where the first Toy Story movie is made, and where all these stories, related by the concept of digital light, come together.
This is followed by a discussion/Q&A with this pioneer of animation, moderated by Ed Lantz.
This is a FREE virtual event – CLICK HERE to register.
Members and non members are invited to join us for a mid winter pub night and a chance to find out more about the VES.
Come and catch up with your fellow creatives!
This event is for members, VFX Artists, Animators, SFX Artists, Producers, Coordinators, Engineers and Educators with a minimum of 5 years’ experience in Games, AR, VR, Film, TV, VFX, Education and related creative industries.
Date:Thursday 26th August
Time:7pm-9pm
Location: Double Vision Brew Pub – Park Road Mirama
Double Vision will have a food truck and live music on the night
Members and Non Members Please RSVP Below
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), we willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this event infers implied consent of myself and my party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Join us for a mid winter catch up and find out more about the VES and a chance to catchup with your fellow creatives.
This event is for Artists, Producers, Coordinators, Engineers and Educators with a minimum of 5 years’ experience in Games, AR, VR, Film, TV, VFX, Education and related creative industries.
On behalf of WingNut Films, the Visual Effects Society New Zealand is delighted to invite you and your guests to a special exclusive ANZAC Weekend screening of:
They Shall Not Grow Old In 3D and in Dolby Atmos
With extra behinds the scenes content!
When: Saturday, April 24th
Time: 2:00pm
Please RSVP below (VES members must login to RSVP and see venue information)
Using state-of-the-art technology and materials from the BBC and Imperial War Museum, filmmaker Peter Jackson allows the story of World War I to be told by the men who were there. Life on the front is explored through the voices of the soldiers, who discuss their feelings about the conflict, the food they ate, the friends they made and their dreams of the future.
On behalf of Apple Original Films we’re delighted to invite you and your guest to an industry screening of
When: Thursday 25 February
Time: 7pm start
Location: Roxy Cinema (Cinema 1), 5 Park Road, Miramar, Wellington
RSVP: nzrsvp@vesglobal.org Required information
Your name & mobile Your guest’s name and mobile
Please no outside food or drink. VES NZ encourages our membership to support our local theater and patronize the concessions available on site.
Synopsis: In a time of superstition and magic, a young apprentice hunter, Robyn Goodfellowe, journeys to Ireland with her father to wipe out the last wolf pack. While exploring the forbidden lands outside the city walls, Robyn befriends a free-spirited girl, Mebh, a member of a mysterious tribe rumored to have the ability to transform into wolves by night. As they search for Mebh’s missing mother, Robyn uncovers a secret that draws her further into the enchanted world of the Wolfwalkers and risks turning into the very thing her father is tasked to destroy.
Written by Will Collins. Directed by Tomm Moore and Ross Stewart.
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hoursin advancefor anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
Contactless temperature checks upon entry. Anyone displaying any symptoms will not be admitted.
If you or your guest develop symptoms or test positive to Covid19 following a screening, please call +021936110 immediately or email nzrsvp@vesglobal.org in order that we can advise all other guests.
Click here to see the Roxy Cinema’s COVID-19 response. New Zealand businesses are required to support contact tracing. Please sign in when entering the Roxy by either scanning the venue’s QR code into your preferred contact tracing app or using the available sign in sheet.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), we willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for said screening/event infers implied consent of myself and my party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of Apple Original Films we’re delighted to invite you and your children to a Wellington VES screening of
RSVP: nzrsvp@vesglobal.org Required information
Your name & mobile Your child or adult guest’s name and mobile (max 1 adult guest)
Child name and parent’s mobile (if not your child)
Child name and parent’s mobile (if not your child)
When: Saturday 20 February
Time: 10.30am start
Location: Roxy Cinema (Cinema 1), 5 Park Road, Miramar, Wellington
Please no outside food or drink. VES NZ encourages our membership to support our local theater and patronize the concessions available on site.
Synopsis: In a time of superstition and magic, a young apprentice hunter, Robyn Goodfellowe, journeys to Ireland with her father to wipe out the last wolf pack. While exploring the forbidden lands outside the city walls, Robyn befriends a free-spirited girl, Mebh, a member of a mysterious tribe rumored to have the ability to transform into wolves by night. As they search for Mebh’s missing mother, Robyn uncovers a secret that draws her further into the enchanted world of the Wolfwalkers and risks turning into the very thing her father is tasked to destroy.
Written by Will Collins. Directed by Tomm Moore and Ross Stewart.
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hoursin advancefor anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
Contactless temperature checks upon entry. Anyone displaying any symptoms will not be admitted.
If you or your guest develop symptoms or test positive to Covid19 following a screening, please call +021936110 immediately or email nzrsvp@vesglobal.org in order that we can advise all other guests.
Click here to see the Roxy Cinema’s COVID-19 response. New Zealand businesses are required to support contact tracing. Please sign in when entering the Roxy by either scanning the venue’s QR code into your preferred contact tracing app or using the available sign in sheet.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), we willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for said screening/event infers implied consent of myself and my party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of Netflix is delighted to invite you and your guest to a Visual Effects Society New Zealand advance screening of George Clooney’s
Please RSVP below (VES members must login to RSVP and see venue information)
Synopsis: This post-apocalyptic tale follows Augustine (George Clooney), a scientist in the Arctic, as he races to stop a group of astronauts from returning home to a mysterious global catastrophe.
Directed by Clooney, co-starring Felicity Jones, David Oyelowo, Kyle Chandler, Demián Bichir, Tiffany Boone.
The New Zealand Section board invite VES Members, their partners and families to join us at Double Vision Brewing this Saturday for the best of what they brew and good food from Wilsons BBQ food truck. RSVP essential.
Shawn Dunn has been involved in the 3D industry for 27 years. During that time he spent 5 years at Alias|Wavefront on the software side of the business and 13 years at Weta Digital on both the art and technical side, which have given him a unique perspective on how technology serves the creative and artistic process and enables him to produce consistently high quality work. Dunn has also worked as a Professor of 3D Digital Animation at Seneca and Sheridan college. From 2016 Dunn was CTO for Original Force for 3.5 years, helping improve their technological footprint, quality and capacity of work. Since October 2019 he has been a Senior Product Manager with Epic Games focusing on the Film and Television industry. Shawn has worked on over 30 feature films during this time such as Steven Spielberg’s “The BFG”, “The Jungle Book”, James Cameron’s “Avatar”, Peter Jackson’s Hobbit trilogy, “Rise of The Planet of The Apes”, “Iron Man 3”, “Man Of Steel”, “The Adventures of Tintin”, “Dawn of the Planets of the Apes”, “The Avengers”, “X-Men: First Class”, “King Kong” and one of his favourites “The Lord Of The Rings: The Return of the King”.
Join us online on Tuesday 8th September at 8pm for a fun hour of chatting all things VFX, networking and quiz questions with prize giveaways!
We will have a range of prizes available to online attendees: Restaurant Vouchers, Gym vouchers, A hot off the press brand new 3rd Edition of The VES handbook of Visual Effects.
It’s only an hour of your time and we aim to make it fun! So grab a glass of your favourite bevvy and join us online for a Covid safe event.
Sign up here to ensure you receive the Zoom Code and Password which will be mailed to all those who sign up.
*Please note all prizes are intended for use within New Zealand only. The book is only able to be posted to attendees within New Zealand.
VES Members and Guests in New Zealand are Invited to a Screening of Warner Bros. Pictures’ TENET
In an effort to prevent the spread of COVID-19, we ask you or your guests who may show any symptoms or who might have been exposed to the virus do not attend VES events.
Please RSVP below (VES members must login to RSVP and see venue information) Wednesday, September 2, 2020 at 8:15PM
As artists are slowly moving back to the office, come join your VES colleagues for Beer o Clock this Friday at Double Vision on Park Rd to share war stories from lockdown.
How are your pets coping without their office mates? Did you wear out your slippers or forget to wear pants? Who’s got the worst “oops that’s not on mute” conference call disaster story?
Double Vision have a launch of their new Beer for Good this Friday, supporting the Kiwi mental health charity I Am Hope. It’s a great time to check in with your workmates over a Hazy IPA (name to be released on the day) and the Ombrellos food truck will be serving too.
In an effort to prevent the spread of COVID19, we ask you or your guests who may show any symptoms or who might have been exposed to the virus do not attend VES events.
The VES New Zealand Screening of Paramount Pictures’ A QUIET PLACE PART II has been cancelled because the studio has postponed the release due to concerns related to the COVID19 outbreak.
RSVPs are closed Tuesday, March 24, 2020 at 7:30PM
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ONWARD
In an effort to prevent the spread of COVID19, we ask you or your guests who may show any symptoms or who might have been exposed to the virus do not attend VES events.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, March 10, 2020 at 7:30PM
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Lucasfilm’s STAR WARS: THE RISE OF SKYWALKER
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, January 14, 2020 at 7:30PM
Now that the 18th Annual VES Awards season is underway, we once again invite VES members to participate in our Nomination Panels. The Nomination Event will be held worldwide on January 4, 2020.
Any active VES member who can travel to one of the cities listed below may participate.
This is your chance to determine who will ultimately walk up to the podium on January 29, 2020, to collect a coveted VES Award. A single vote may make the difference between being nominated… or not… and that vote could be yours!
Past participants know that this is the must-attend event of the awards season. Not only will you view some of the most amazing visual imagery of 2019, you’ll get to see exclusive behind-the-scenes footage while participating in the single best networking opportunity of the year. It’s a chance to see old friends, meet the best and brightest in the visual effects field, and learn new techniques that you can apply to your own craft. All of that, plus the satisfaction of knowing that you have participated in choosing what will ultimately be the Nominations announced to the press for the 18th Annual VES Awards.
Judges who register to participate will receive information about specific times and locations from their local section representatives once their applications are received. If you are ready to make a difference, please submit your Panel Judge Application BELOW. Make sure you check the box indicating which of the Nomination Event locations you are applying for.
The Nomination Event is a full-day event held on Saturday, January 4, 2020 around the globe. Nominees will be announced on Monday, January 6, 2020. We look forward to receiving your Judge Application to make this year’s Nomination Event a success!
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Warner Bros. Pictures’ THE GOLDFINCH
Please RSVP below Tuesday, October 1, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Warner Bros. Pictures’ IT CHAPTER TWO
Please RSVP below Tuesday, September 10, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and their guests are invited to a few friendly rounds of Pool at The Ballroom on Courtney Pl.
Join us from 7.30pm on Thursday 5th of September. Tables, Pizza and pool partners will be provided.
This is also a recruitment event so please invite your colleagues that have been thinking of joining the VES. The next membership round closes on Sept 15th, so they will have a week to get their applications together.
VES Members and their guests are invited to a few friendly rounds of Pool at The Ballroom on Courtney Pl.
Join us from 7.30pm on Thursday 5th of September. Tables, Pizza and pool partners will be provided.
This is also a recruitment event so please invite your colleagues that have been thinking of joining the VES. The next membership round closes on Sept 15th, so they will have a week to get their applications together.
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Millenium Films’ ANGEL HAS FALLEN
Please RSVP below Tuesday, August 27, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of 20th Century Fox’s THE ART OF RACING IN THE RAIN
Please RSVP below Tuesday, August 20, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Universal Pictures’ FAST & FURIOUS PRESENTS: HOBBS & SHAW
Please RSVP below Tuesday, August 13, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ THE LION KING
Please RSVP below Tuesday, July 23, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 20th Anniversary Screening of Paramount Pictures’ GALAXY QUEST
Please RSVP below Thursday, July 18, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please e-mail nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 20th Anniversary Screening of Paramount Pictures’ GALAXY QUEST
Please RSVP below Thursday, July 18, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please e-mail nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of 20th Century Fox’s STUBER
Please RSVP below Saturday, July 13, 2019 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 3D Screening of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: FAR FROM HOME
Please RSVP below Tuesday, July 9, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Only VES/Weta/Wingnut affiliated guests will be permitted. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed at weta Digital will not be admitted.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members are Invited to a 3D Screening of GENERAL MAGIC.
There will no longer be any +1s available for this screening.
Please RSVP below Saturday, July 4th, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members are Invited to a 3D Screening of GENERAL MAGIC.
There will no longer be any +1s available for this screening.
Please RSVP below Saturday, July 4th, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New Zealand are Invited to a 3D Screening of Disney•Pixar’s TOY STORY 4
Please RSVP below Saturday, June 29, 2019 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Columbia Pictures’ MEN IN BLACK: INTERNATIONAL
Please RSVP below Tuesday, June 25, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
June 12th – doors open 7:00PM (CEST) and there will be beer and pizza!
ZOOM stream starts at 7:30PM (CEST)
Masterclass starts at 8:00PM (CEST)
<!–break–>
The VES invites you to our 3rd MEGABRAIN Masterclass where you can learn and share your knowledge with colleagues in the VFX industry. The idea is not to simply present show reels – but to teach actual techniques that help every artist to improve their skillset. This event will take place on June 12th 7:00PM at multiple locations and will also be streamed via ZOOM.
RSVP for your specific location on the appropriate event pages please:
Efficient facial rigging tools for emotionally believable digital humans
presented by Volker Helzle – Head of Research & Development at Filmakademie
Live from Munich Using Machine-learning to classify a VFXElements Library
presented by Jonas Kluger – Pipeline TD at ARRI
Live from Berlin Camera Technology: Sensors, Noise Properties, and Raw Processing
presented by Charles Poynton, PhD
We are overbooking to compensate for no-shows.
Seating is limited and will be available on a first come, first served basis.
An RSVP does not guarantee seating.
VES-Members and their registered guests only (except for Ludwigsburg and Cologne). No admission without registration – also at the streaming locations!
The event will also be recorded for everyone who can’t make it.
The event will be streamed live from (and to) Berlin, Munich, Stuttgart and Ludwigsburg. For the first time we also provide direct access to the ZOOM stream for ALL VES MEMBERS around the world!
VES Germany is a proud Partner of the FMX Conference in Stuttgart.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of 20th Century Fox’s and Marvel Studios’ DARK PHOENIX
Please RSVP below Tuesday, June 11, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ ROCKETMAN
Please RSVP below Tuesday, June 4, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New Zealand are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SECRET LIFE OF PETS 2
Please RSVP below Saturday, June 1, 2019 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Screen Gems’ and Sony Pictures Entertainment’s BRIGHTBURN
Please RSVP below Tuesday, May 28, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Warner Bros. Pictures’ and Legendary Entertainment’s POKEMON: DETECTIVE PIKACHU
Please RSVP below Saturday, May 18, 2019 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME
Please RSVP below Tuesday, April 30, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ PET SEMATARY
Please RSVP below Tuesday, April 16, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below Tuesday, April 2, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN MARVEL
Please RSVP below Wednesday, March 13, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of DreamWorks Animation’s and Universal Pictures’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD
Please RSVP below Wednesday, March 6, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
VES members are actively encouraged to attend. If you have colleagues who have been thinking about becoming a VES member, bring them along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions.
The next membership application cutoff date is March 15th. – Apply HERE
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of 20th Century Fox’s ALITA: BATTLE ANGEL
Please RSVP below Wednesday, February 27, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis:In Disney’s MARY POPPINS RETURNS an all new original musical and sequel, Mary Poppins is back to help the next generation of the Banks family find the joy and wonder missing in their lives following a personal loss. Emily Blunt (A Quiet Place, The Girl on the Train) stars as the practically-perfect nanny with unique magical skills who can turn any ordinary task into an unforgettable, fantastic adventure and Lin-Manuel Miranda (Hamilton, Moana) plays her friend Jack, an optimistic street lamplighter who helps bring light—and life—to the streets of London. The film also stars Ben Whishaw (Spectre) as Michael Banks; Emily Mortimer (Hugo) as Jane Banks; Julie Walters (Harry Potter films) as the Banks’ housekeeper Ellen; Pixie Davies, Nathanael Saleh and introducing Joel Dawson as the Banks’ children, with Colin Firth (The King’s Speech) as Fidelity Fiduciary Bank’s William Weatherall Wilkins; and Meryl Streep (Florence Foster Jenkins) as Mary’s eccentric cousin, Topsy. Angela Lansbury appears as the Balloon Lady, a treasured character from the PL Travers books and Dick Van Dyke is Mr. Dawes, Jr., the retired chairman of the bank now run by Firth’s character.
MARY POPPINS RETURNS is directed by Rob Marshall (Into the Woods, Chicago) from a screenplay by David Magee (Life of Pi) and the screen story is by Magee, Rob Marshall & John DeLuca (Into the Woods) based upon the Mary Poppins Stories by PL Travers. The music score is by Marc Shaiman (Hairspray) and the film features all new original songs with music by Shaiman and lyrics by Scott Wittman (Smash) and Shaiman. Cinematography is by Dion Beebe.
VES Members and Their Guests in New Zealand are Invited to a Screening of Universal Pictures’ WELCOME TO MARWEN
Please RSVP below Wednesday, January 30, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
WE’VE NOW RESCHEDULED THIS FOR FRIDAY, 25th January!
Come on down to the VES NZ Section Nominations Celebration!
After a long weekend of nominations judging the results are in!
Congratulations to all 2019 VES awards nominees and a huge thankyou to all our NZ based judges.
The VES NZ Section invite you to join us in celebrating the 2019 VES awards nominations.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
If you are a VES member, or nominee or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is March 15th. – Apply HERE
WE’VE NOW RESCHEDULED THIS FOR FRIDAY, 25th January!
Come on down to the VES NZ Section Nominations Celebration!
After a long weekend of nominations judging the results are in!
Congratulations to all 2019 VES awards nominees and a huge thankyou to all our NZ based judges.
The VES NZ Section invite you to join us in celebrating the 2019 VES awards nominations.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
If you are a VES member, or nominee or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is March 15th. – Apply HERE
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Warner Bros. Pictures’ AQUAMAN
Please RSVP below Wednesday, January 23, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
THERE HAS BEEN A MECHANICAL FAILURE AT THE VENUE RESULTING IN THE IMMEDIATE CANCELLATION OF THIS EVENT. A REPLACEMENT EVENT WILL BE ORGANISED AT THE EARLIEST OPPORTUNITY. APOLOGIES FOR ANY INCONVENIENCE.
Come on down to the VES NZ Section Nominations Celebration!
After a long weekend of nominations judging the results are in!
Congratulations to all 2019 VES awards nominees and a huge thankyou to all our NZ based judges.
The VES NZ Section invite you to join us in celebrating the 2019 VES awards nominations.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
If you are a VES member, or nominee or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is March 15th. – Apply HERE
THERE HAS BEEN A MECHANICAL FAILURE AT THE VENUE RESULTING IN THE IMMEDIATE CANCELLATION OF THIS EVENT. A REPLACEMENT EVENT WILL BE ORGANISED AT THE EARLIEST OPPORTUNITY. APOLOGIES FOR ANY INCONVENIENCE.
Come on down to the VES NZ Section Nominations Celebration!
After a long weekend of nominations judging the results are in!
Congratulations to all 2019 VES awards nominees and a huge thankyou to all our NZ based judges.
The VES NZ Section invite you to join us in celebrating the 2019 VES awards nominations.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
If you are a VES member, or nominee or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is March 15th. – Apply HERE
On behalf of Annapurna Pictures and local distributor Fox Universal we’re delighted to invite you and your guest to an industry preview screening of Jacques Audiard’s, The Sisters Brothers – winner of the Silver Lion Best Director at Venice.
When:Sunday 13 January 2019
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington (cinema 2)
Synopsis: From director Jacques Audiard, and based on the novel by Patrick deWitt, The Sisters Brothersis a reimagining of the cinematic Western.
It is 1851, and Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly) are both brothers and assassins, boys grown to men in a savage and hostile world as guns for hire. Eli rides hard with his younger sibling Charlie, yet dares to dream of a normal life. But the hard-drinking Charlie has taken charge with gusto as lead man on the duo’s assignments. Each increasingly questions, and quibbles with, the other’s methods as they embark on a journey that will test the deadly family ties that bind.
Also starring Jake Gyllenhaal and Riz Ahmed,The Sisters Brothers features an adapted screenplay by Jacques Audiard and Thomas Bidegain based on the novel of the same name.
On behalf of Annapurna Pictures and ANZ distributor Madman Entertainment we’re delighted to invite you and your guest to an advance industry screening of
Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Nicole Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Directed by Karyn Kusama from a screenplay by Phil Hay & Matt Manfredi, DESTROYER stars Nicole Kidman, Bradley Whitford, Tatiana Maslany and Sebastian Stan.
Duration: 120 minutes
Madman Entertainment is releasing the film nationally on 7th March 2019.
On behalf of Annapurna Pictures and ANZ distributor Madman Entertainment we’re delighted to invite you and your guest to an advance industry screening of
Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Nicole Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Directed by Karyn Kusama from a screenplay by Phil Hay & Matt Manfredi, DESTROYER stars Nicole Kidman, Bradley Whitford, Tatiana Maslany and Sebastian Stan.
Duration: 120 minutes
Madman Entertainment is releasing the film nationally on 7th March 2019.
Synopsis: Based on the acclaimed novel by James Baldwin, IF BEALE STREET COULD TALK is the story of Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their first-born child. It is a celebration of love told through the story of a young couple, their families and their lives, trying to bring about justice through love, for love and the promise of the American dream.
Adapted for the screen and directed by Barry Jenkins (Moonlight), IF BEALE STREET COULD TALK stars KiKi Layne as “Tish” and Stephan James as “Fonny”.
Duration: 117 minutes
eOne is releasing the film nationally on 7 March 2019
DUE TO THE URGENT CLOSURE OF THE READING CINEMA DUE TO EARTHQUAKE RISKS THIS SCREENING HAS BEEN CANCELLED.
On behalf of Netflix, we’re delighted to invite you and your guest to an industry screening of ROMA.
The most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), ROMA follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.
DUE TO THE URGENT CLOSURE OF THE READING CINEMA DUE TO EARTHQUAKE RISKS THIS SCREENING HAS BEEN CANCELLED.
On behalf of Netflix, we’re delighted to invite you and your guest to an industry screening of ROMA.
The most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), ROMA follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.
RSVP is essential: RSVP HERE (invitation is strictly non-transferable)
First Man has received the following Golden Globe nominations:
Best Supporting Actress – Claire Foy
Best Original Score – Justin Hurwitz
Synopsis: On the heels of their six-time Academy Award®-winning smash, La La Land, Oscar®-winning director Damien Chazelle and star Ryan Gosling reteam for Universal Pictures’ First Man, the riveting story behind the first manned mission to the moon, focusing on Neil Armstrong and the decade leading to the historic Apollo 11 flight. A visceral and intimate account told from Armstrong’s perspective, based on the book by James R. Hansen, the film explores the triumphs and the cost—on Armstrong, his family, his colleagues and the nation itself—of one of the most dangerous missions in history.
The cast includes Gosling, Claire Foy, Jason Clarke and Kyle Chandler.
Written by Academy Award® winner Josh Singer (Spotlight, The Post), the epic drama of leading under the pressure of grace and tragedy is produced by Wyck Godfrey & Marty Bowen (The Twilight Saga, The Fault in Our Stars) through their Temple Hill Entertainment banner, alongside Isaac Klausner (Love, Simon) and Chazelle. Steven Spielberg, Adam Merims and Singer executive produce.
Running time: 141 minutes
Universal Pictures International released the film nationally on 11th October 2018.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an industry screening of Spike Lee’s
When:Sunday 30th December
Time:10am
Location:
Roxy Cinema, 5 Park Road, Miramar, Wellington – Cinema 2
RSVP is essential: RSVP HERE(invitation is strictly non-transferable)
BlacKkKlansman has received the following Golden Globe nominations:
Best Motion Picture – Drama
Best Director – Spike Lee
Actor in a Motion Picture – Drama – John David Washington
Supporting Actor in any Motion Picture – Adam Driver
And Screen Actors Guild nominations:
Cast in a Motion Picture
Male Actor in a Leading Role – John David Washington
Male Actor in a Supporting Role – Adam Driver
Synopsis: From filmmaker Spike Lee comes the true story of an American hero. It’s the early 1970s, and Ron Stallworth (John David Washington) is the first African-American detective to serve in the Colorado Springs Police Department. Determined to make a name for himself, Stallworth bravely sets out on a dangerous mission: infiltrate and expose the Ku Klux Klan. The young detective soon recruits a more seasoned colleague, Flip Zimmerman (Adam Driver), into the undercover investigation of a lifetime. Together, they team up to take down the extremist hate group as the organization aims to sanitize its violent rhetoric to appeal to the mainstream. The film also stars Laura Harrier and Topher Grace as David Duke.
Duration: 135 mins.
Universal Pictures International released the film nationally on 16th August.
Synopsis:An inspired labor of love for zine-making teens Sandi Tan, Jasmine Ng and Sophie Siddique, SHIRKERS was a Singapore-made 1992 cult classic—or it would have been, had the 16mm footage not been stolen by their enigmatic American collaborator Georges Cardona, who disappeared. More than two decades later, Tan, now a novelist in L.A., returns to the country of her youth and to the memories of a man who both enabled and thwarted her dreams. Magically, too, she returns to the film itself, revived in a way she never could have imagined.
Directed by Sandi Tan, SHIRKERS won the 2018 Sundance Film Festival World Cinema Documentary Directing Award.
Synopsis:An inspired labor of love for zine-making teens Sandi Tan, Jasmine Ng and Sophie Siddique, SHIRKERS was a Singapore-made 1992 cult classic—or it would have been, had the 16mm footage not been stolen by their enigmatic American collaborator Georges Cardona, who disappeared. More than two decades later, Tan, now a novelist in L.A., returns to the country of her youth and to the memories of a man who both enabled and thwarted her dreams. Magically, too, she returns to the film itself, revived in a way she never could have imagined.
Directed by Sandi Tan, SHIRKERS won the 2018 Sundance Film Festival World Cinema Documentary Directing Award.
On behalf of Disney we’re delighted to invite you and your guest to a special industry screening of the critically acclaimed international box office hit
When:Sunday 23 December
Time:10.15am start Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
RSVP is essential:RSVP HERE(invitation is strictly non-transferable)
Synopsis:BLACK PANTHER is director Ryan Coogler’s take on a modern African hero and a utopian vision of what an uncolonized Africa might look like. The film explores the conflict between two powerful men, one African and one African-American, who are mirror images of each other, each grappling with his own history, home and very identity. When Prince T’Challa (Chadwick Boseman) becomes king of the hidden, technologically advanced kingdom Wakanda, he is forced to defend his throne against rogue mercenary Erik Killmonger (Michael B. Jordan). Wakanda is also alive with strong, intelligent women—from Wakanda’s elite all-female security force, led by Okoye (Danai Gurira), to the international spy Nakia (Lupita Nyong’o), to T’Challa’s tech-savvy sister (Letitia Wright) and mother (Angela Bassett)—who are portrayed as equals to the men they protect and advise.
Synopsis:In Disney’s MARY POPPINS RETURNS an all new original musical and sequel, Mary Poppins is back to help the next generation of the Banks family find the joy and wonder missing in their lives following a personal loss. Emily Blunt (A Quiet Place, The Girl on the Train) stars as the practically-perfect nanny with unique magical skills who can turn any ordinary task into an unforgettable, fantastic adventure and Lin-Manuel Miranda (Hamilton, Moana) plays her friend Jack, an optimistic street lamplighter who helps bring light—and life—to the streets of London. The film also stars Ben Whishaw (Spectre) as Michael Banks; Emily Mortimer (Hugo) as Jane Banks; Julie Walters (Harry Potter films) as the Banks’ housekeeper Ellen; Pixie Davies, Nathanael Saleh and introducing Joel Dawson as the Banks’ children, with Colin Firth (The King’s Speech) as Fidelity Fiduciary Bank’s William Weatherall Wilkins; and Meryl Streep (Florence Foster Jenkins) as Mary’s eccentric cousin, Topsy. Angela Lansbury appears as the Balloon Lady, a treasured character from the PL Travers books and Dick Van Dyke is Mr. Dawes, Jr., the retired chairman of the bank now run by Firth’s character.
MARY POPPINS RETURNS is directed by Rob Marshall (Into the Woods, Chicago) from a screenplay by David Magee (Life of Pi) and the screen story is by Magee, Rob Marshall & John DeLuca (Into the Woods) based upon the Mary Poppins Stories by PL Travers. The music score is by Marc Shaiman (Hairspray) and the film features all new original songs with music by Shaiman and lyrics by Scott Wittman (Smash) and Shaiman. Cinematography is by Dion Beebe.
Duration: 130 minutes
Disney is releasing the film nationally on 1 January 2019.
On behalf of Disney we’re delighted to invite you and your guest to a special advance screening of Rob Marshall’s
When:Wednesday 19 December
Time:6.30pm start Location:The Embassy Event Cinemas, 10 Kent Street, Wellington
Please note: This is a ticketed commercial event and seating is limited. Celia will provide tickets if they are available (See second Screening option email).
RSVP is essential to: ENQUIRE HERE(invitation is strictly non-transferable) and pending availability, we will book and email you with the tickets.
Synopsis:In Disney’s MARY POPPINS RETURNS an all new original musical and sequel, Mary Poppins is back to help the next generation of the Banks family find the joy and wonder missing in their lives following a personal loss. Emily Blunt (A Quiet Place, The Girl on the Train) stars as the practically-perfect nanny with unique magical skills who can turn any ordinary task into an unforgettable, fantastic adventure and Lin-Manuel Miranda (Hamilton, Moana) plays her friend Jack, an optimistic street lamplighter who helps bring light—and life—to the streets of London. The film also stars Ben Whishaw (Spectre) as Michael Banks; Emily Mortimer (Hugo) as Jane Banks; Julie Walters (Harry Potter films) as the Banks’ housekeeper Ellen; Pixie Davies, Nathanael Saleh and introducing Joel Dawson as the Banks’ children, with Colin Firth (The King’s Speech) as Fidelity Fiduciary Bank’s William Weatherall Wilkins; and Meryl Streep (Florence Foster Jenkins) as Mary’s eccentric cousin, Topsy. Angela Lansbury appears as the Balloon Lady, a treasured character from the PL Travers books and Dick Van Dyke is Mr. Dawes, Jr., the retired chairman of the bank now run by Firth’s character.
MARY POPPINS RETURNS is directed by Rob Marshall (Into the Woods, Chicago) from a screenplay by David Magee (Life of Pi) and the screen story is by Magee, Rob Marshall & John DeLuca (Into the Woods) based upon the Mary Poppins Stories by PL Travers. The music score is by Marc Shaiman (Hairspray) and the film features all new original songs with music by Shaiman and lyrics by Scott Wittman (Smash) and Shaiman. Cinematography is by Dion Beebe.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below Tuesday, December 18, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis: Mary Queen of Scots explores the turbulent life of Mary Stuart (Saoirse Ronan). Queen of France at 16 and widowed at 18, Mary defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. Upon her return, Elizabeth I (Margot Robbie) is England’s Protestant Queen, but Mary is a Catholic. Rivals in power and in love, and female monarchs in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth’s sovereignty. Betrayal, rebellion, and conspiracies within each court imperil both thrones – and change the course of history.
Directed by Josie Rourke, the screenplay is by Beau Willimon, based on the book Queen of Scots: The True Life of Mary Stuart by John Guy. Producers are Tim Bevan, Eric Fellner and Debra Hayward.
Duration: 124 minutes
Universal Pictures is releasing the film nationally on 17 January 2019.
Synopsis: Mary Queen of Scots explores the turbulent life of Mary Stuart (Saoirse Ronan). Queen of France at 16 and widowed at 18, Mary defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. Upon her return, Elizabeth I (Margot Robbie) is England’s Protestant Queen, but Mary is a Catholic. Rivals in power and in love, and female monarchs in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth’s sovereignty. Betrayal, rebellion, and conspiracies within each court imperil both thrones – and change the course of history.
Directed by Josie Rourke, the screenplay is by Beau Willimon, based on the book Queen of Scots: The True Life of Mary Stuart by John Guy. Producers are Tim Bevan, Eric Fellner and Debra Hayward.
Duration: 124 minutes
Universal Pictures is releasing the film nationally on 17 January 2019.
On behalf of Netflix we’re delighted to invite you and your guest to a unique opportunity to see ROMA played in 4K projection with Dolby ATMOS as the film was intended to be seen.
This screening is made possible by the generous participation of Park Road Post Production.
The most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), ROMA follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.
Cuarón’s first project since the groundbreakingGravityin 2013, ROMA will be available on Netflix later this year.
When:Wednesday 12th December
Time: 5.00pm start Location:Park Road Post Production, 141 Park Road, Miramar, Wellington
RSVP is essential: RSVP HERE(invitation is strictly non-transferable)
Synopsis: Cold Waris a passionate love story between a man and a woman who meet in the ruins of post-war Poland. With vastly different backgrounds and temperaments, they are fatefully mismatched and yet condemned to each other. Set against the background of the Cold War in 1950s Poland, Berlin, Yugoslavia and Paris, it’s the tale of a couple separated by politics, character flaws and unfortunate twists of fate — an impossible love story in impossible times.
Cold War earned Pawel Pawlikowski the Best Director award at the 2018 Cannes Film Festival. Pawlikowski’s previous film, Ida, was a global success, winning the Oscar® and BAFTA foreign-language film awards as well as five European Film Awards including Best European film, Director and Screenplay. His other feature credits include My Summer of Love and Last Resort.
Duration: 88 minutes
Palace Films is releasing the film nationally on 3rd January 2019.
Synopsis: Cold Waris a passionate love story between a man and a woman who meet in the ruins of post-war Poland. With vastly different backgrounds and temperaments, they are fatefully mismatched and yet condemned to each other. Set against the background of the Cold War in 1950s Poland, Berlin, Yugoslavia and Paris, it’s the tale of a couple separated by politics, character flaws and unfortunate twists of fate — an impossible love story in impossible times.
Cold War earned Pawel Pawlikowski the Best Director award at the 2018 Cannes Film Festival. Pawlikowski’s previous film, Ida, was a global success, winning the Oscar® and BAFTA foreign-language film awards as well as five European Film Awards including Best European film, Director and Screenplay. His other feature credits include My Summer of Love and Last Resort.
Duration: 88 minutes
Palace Films is releasing the film nationally on 3rd January 2019.
Members! Bring your partner and your kids to the Seatoun RSA on December 9th from 4:30 to 6:30pm for bowls, catered taco snacks from “Taco Addicts”, games, and drinks from the fully licensed bar! There’s plenty of fun to go around! A kids tv room is available with child-friendly content to entertain the little ones. Children are welcome to join in bowls but under 16s are not permitted to use the billiard/pool table or darts.
Members! Bring your partner and your kids to the Seatoun RSA on December 9th from 4:30 to 6:30pm for bowls, catered taco snacks from “Taco Addicts”, games, and drinks from the fully licensed bar! There’s plenty of fun to go around! A kids tv room is available with child-friendly content to entertain the little ones. Children are welcome to join in bowls but under 16s are not permitted to use the billiard/pool table or darts.
On behalf of Annapurna Pictures and ANZ distributor Madman Entertainment we’re delighted to invite you and your guest to an advance industry screening of
Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Nicole Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Directed by Karyn Kusama from a screenplay by Phil Hay & Matt Manfredi, DESTROYER stars Nicole Kidman, Bradley Whitford, Tatiana Maslany and Sebastian Stan.
Duration: 120 minutes
Madman Entertainment is releasing the film nationally in 2019.
On behalf of Annapurna Pictures and ANZ distributor Madman Entertainment we’re delighted to invite you and your guest to an advance industry screening of
Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Nicole Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Directed by Karyn Kusama from a screenplay by Phil Hay & Matt Manfredi, DESTROYER stars Nicole Kidman, Bradley Whitford, Tatiana Maslany and Sebastian Stan.
Duration: 120 minutes
Madman Entertainment is releasing the film nationally in 2019.
Synopsis: On the Basis of Sex is inspired by the true story of the young Ruth Bader Ginsburg, a new mother and an attorney struggling in a field dominated by men. The film details the early days of her fight for equal rights for women. When Ruth (Felicity Jones) takes on a groundbreaking case with her husband Marty (Armie Hammer), she knows it could forever change the way the courts and the United States view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.
Directed by Mimi Leder and written by Daniel Stiepleman, On the Basis of Sexalso co-stars Justin Theroux, Kathy Bates, Sam Waterston, Jack Reynor, and Cailee Spaeny. Produced by Robert Cort, p.g.a. and Jonathan King, p.g.a.
Synopsis: On the Basis of Sex is inspired by the true story of the young Ruth Bader Ginsburg, a new mother and an attorney struggling in a field dominated by men. The film details the early days of her fight for equal rights for women. When Ruth (Felicity Jones) takes on a groundbreaking case with her husband Marty (Armie Hammer), she knows it could forever change the way the courts and the United States view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.
Directed by Mimi Leder and written by Daniel Stiepleman, On the Basis of Sexalso co-stars Justin Theroux, Kathy Bates, Sam Waterston, Jack Reynor, and Cailee Spaeny. Produced by Robert Cort, p.g.a. and Jonathan King, p.g.a.
Synopsis: On the Basis of Sex is inspired by the true story of the young Ruth Bader Ginsburg, a new mother and an attorney struggling in a field dominated by men. The film details the early days of her fight for equal rights for women. When Ruth (Felicity Jones) takes on a groundbreaking case with her husband Marty (Armie Hammer), she knows it could forever change the way the courts and the United States view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.
Directed by Mimi Leder and written by Daniel Stiepleman, On the Basis of Sexalso co-stars Justin Theroux, Kathy Bates, Sam Waterston, Jack Reynor, and Cailee Spaeny. Produced by Robert Cort, p.g.a. and Jonathan King, p.g.a.
Synopsis: On the Basis of Sex is inspired by the true story of the young Ruth Bader Ginsburg, a new mother and an attorney struggling in a field dominated by men. The film details the early days of her fight for equal rights for women. When Ruth (Felicity Jones) takes on a groundbreaking case with her husband Marty (Armie Hammer), she knows it could forever change the way the courts and the United States view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.
Directed by Mimi Leder and written by Daniel Stiepleman, On the Basis of Sexalso co-stars Justin Theroux, Kathy Bates, Sam Waterston, Jack Reynor, and Cailee Spaeny. Produced by Robert Cort, p.g.a. and Jonathan King, p.g.a.
Synopsis: The epic story of how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Written and directed by Adam McKay, VICE stars Christian Bale along with Amy Adams, Steve Carell and Sam Rockwell.
Duration: 125 minutes
eOne is releasing the film nationally on 26th December 2018
Synopsis: The epic story of how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Written and directed by Adam McKay, VICE stars Christian Bale along with Amy Adams, Steve Carell and Sam Rockwell.
Duration: 125 minutes
eOne is releasing the film nationally on 26th December 2018
Synopsis: From director Susanne Bier, BIRD BOX follows a woman (Sandra Bullock) who must guide her children down a treacherous river to escape an unseen threat that has torn the fabric of society. To avoid the mysterious danger, she’s blindfolded, with only her ferocious drive to keep them safe. The ensemble cast also includes Trevante Rhodes, Sarah Paulson and John Malkovich.
Synopsis: From director Susanne Bier, BIRD BOX follows a woman (Sandra Bullock) who must guide her children down a treacherous river to escape an unseen threat that has torn the fabric of society. To avoid the mysterious danger, she’s blindfolded, with only her ferocious drive to keep them safe. The ensemble cast also includes Trevante Rhodes, Sarah Paulson and John Malkovich.
Synopsis: Acclaimed actor and director Andy Serkis reinvents Rudyard Kipling’s beloved masterpiece, in which a boy torn between two worlds accepts his destiny and becomes a legend. Mowgli (Rohan Chand) has never truly belonged in either the wilds of the jungle or the civilized world of man. Now he must navigate the inherent dangers of each on a journey to discover where he truly belongs.
Christian Bale, Cate Blanchett, Benedict Cumberbatch, Andy Serkis, Freida Pinto, Rohan Chand, Matthew Rhys and Naomie Harris lead an all-star cast in this visually spectacular and emotionally moving adventure.
Synopsis: Based on the acclaimed novel by James Baldwin, IF BEALE STREET COULD TALK is the story of Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their first-born child. It is a celebration of love told through the story of a young couple, their families and their lives, trying to bring about justice through love, for love and the promise of the American dream.
Adapted for the screen and directed by Barry Jenkins (Moonlight), IF BEALE STREET COULD TALK stars KiKi Layne as “Tish” and Stephan James as “Fonny”.
Duration: 117 minutes
eOne is releasing the film nationally on 14 Feb 2019
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s DR. SEUSS’ THE GRINCH
Please RSVP below Saturday, December 1, 2018 at 2:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating,
Synopsis: Based on the acclaimed novel by James Baldwin, IF BEALE STREET COULD TALK is the story of Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their first-born child. It is a celebration of love told through the story of a young couple, their families and their lives, trying to bring about justice through love, for love and the promise of the American dream.
Adapted for the screen and directed by Barry Jenkins (Moonlight), IF BEALE STREET COULD TALK stars KiKi Layne as “Tish” and Stephan James as “Fonny”.
Duration: 117 minutes
eOne is releasing the film nationally on 14 Feb 2019
On behalf of the ANZ distributor Madman Entertainment and Netflix we’re delighted to invite you and your guest to an industry screening of Sara Colangelo‘s
Lisa Spinelli (Maggie Gyllenhaal) is a kindergarten teacher in Staten Island who yearns to live a life of art and intellectualism. She takes an evening poetry class where, despite her best efforts, her work is overlooked and misunderstood. When she overhears Jimmy (Parker Sevak), one of her 5-year-old students, reciting an original poem in her classroom, she is floored. Convinced he is the equivalent of a young Mozart, she becomes obsessed with the child and embarks on a dangerous journey to nurture his talent and chase an impossible dream. Directed by Sara Colangelo, the film also stars Gael Garcia Bernal.
On behalf of the ANZ distributor Madman Entertainment and Netflix we’re delighted to invite you and your guest to an industry screening of Sara Colangelo‘s
Lisa Spinelli (Maggie Gyllenhaal) is a kindergarten teacher in Staten Island who yearns to live a life of art and intellectualism. She takes an evening poetry class where, despite her best efforts, her work is overlooked and misunderstood. When she overhears Jimmy (Parker Sevak), one of her 5-year-old students, reciting an original poem in her classroom, she is floored. Convinced he is the equivalent of a young Mozart, she becomes obsessed with the child and embarks on a dangerous journey to nurture his talent and chase an impossible dream. Directed by Sara Colangelo, the film also stars Gael Garcia Bernal.
VES Members and Their Guests are Invited to a Screening of Walt Disney Animation Studios’ RALPH BREAKS THE INTERNET
Please RSVP below Tuesday, November 27, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis: Acclaimed actor and director Andy Serkis reinvents Rudyard Kipling’s beloved masterpiece, in which a boy torn between two worlds accepts his destiny and becomes a legend. Mowgli (Rohan Chand) has never truly belonged in either the wilds of the jungle or the civilized world of man. Now he must navigate the inherent dangers of each on a journey to discover where he truly belongs.
Christian Bale, Cate Blanchett, Benedict Cumberbatch, Andy Serkis, Freida Pinto, Rohan Chand, Matthew Rhys and Naomie Harris lead an all-star cast in this visually spectacular and emotionally moving adventure.
Synopsis: The new film from Academy Award®-nominated filmmaker Tamara Jenkins (The Savages, Slums of Beverly Hills), PRIVATE LIFE is the bracingly funny and moving story of Richard (Academy Award®-nominee Paul Giamatti) and Rachel (Kathryn Hahn), a couple in the throes of infertility who try to maintain their marriage as they descend deeper and deeper into the insular world of assisted reproduction and domestic adoption. After the emotional and economic upheaval of in vitro fertilization, they’re at the end of their middle-aged rope, but when Sadie (breakout newcomer Kayli Carter), a recent college drop out, re-enters their life, things begin to look up.
In 22 JULY Academy Award®-nominated filmmaker Paul Greengrass (Captain Phillips, United 93) tells the true story of the aftermath of Norway’s deadliest terrorist attack. On 22 July 2011, 77 people were killed when a far-right extremist detonated a car bomb in Oslo before carrying out a mass shooting at a leadership camp for teens. 22 July uses the lens of a survivor’s physical and emotional journey to portray the country’s path to healing and reconciliation.
In 22 JULY Academy Award®-nominated filmmaker Paul Greengrass (Captain Phillips, United 93) tells the true story of the aftermath of Norway’s deadliest terrorist attack. On 22 July 2011, 77 people were killed when a far-right extremist detonated a car bomb in Oslo before carrying out a mass shooting at a leadership camp for teens. 22 July uses the lens of a survivor’s physical and emotional journey to portray the country’s path to healing and reconciliation.
Synopsis: The epic story of how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Written and directed by Adam McKay, VICE stars Christian Bale along with Amy Adams, Steve Carell and Sam Rockwell.
Duration: 125 minutes
eOne is releasing the film nationally on 26th December 2018
Synopsis: The epic story of how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Written and directed by Adam McKay, VICE stars Christian Bale along with Amy Adams, Steve Carell and Sam Rockwell.
Duration: 125 minutes
eOne is releasing the film nationally on 26th December 2018
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ THE NUTCRACKER AND THE FOUR REALMS
Please RSVP below Saturday, November 24, 2018 at 2:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
In 22 JULY Academy Award®-nominated filmmaker Paul Greengrass (Captain Phillips, United 93) tells the true story of the aftermath of Norway’s deadliest terrorist attack. On 22 July 2011, 77 people were killed when a far-right extremist detonated a car bomb in Oslo before carrying out a mass shooting at a leadership camp for teens. 22 July uses the lens of a survivor’s physical and emotional journey to portray the country’s path to healing and reconciliation.
In 22 JULY Academy Award®-nominated filmmaker Paul Greengrass (Captain Phillips, United 93) tells the true story of the aftermath of Norway’s deadliest terrorist attack. On 22 July 2011, 77 people were killed when a far-right extremist detonated a car bomb in Oslo before carrying out a mass shooting at a leadership camp for teens. 22 July uses the lens of a survivor’s physical and emotional journey to portray the country’s path to healing and reconciliation.
Synopsis: The new film from Academy Award®-nominated filmmaker Tamara Jenkins (The Savages, Slums of Beverly Hills), PRIVATE LIFE is the bracingly funny and moving story of Richard (Academy Award®-nominee Paul Giamatti) and Rachel (Kathryn Hahn), a couple in the throes of infertility who try to maintain their marriage as they descend deeper and deeper into the insular world of assisted reproduction and domestic adoption. After the emotional and economic upheaval of in vitro fertilization, they’re at the end of their middle-aged rope, but when Sadie (breakout newcomer Kayli Carter), a recent college drop out, re-enters their life, things begin to look up.
On behalf of Netflix we’re delighted to invite you and your guest to a unique opportunity to see ROMA, the most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), Roma follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s. Cuarón’s first project since the groundbreakingGravityin 2013, Roma will be available on Netflix later this year.
When:Monday 19th November
Time:6.30pm start Location:EVENT CINEMAS QUEEN ST (Cinema 6) – Level 3, Metro Building, 291-297 Queen St Auckland
On behalf of Netflix we’re delighted to invite you and your guest to a unique opportunity to see ROMA, the most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), Roma follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s. Cuarón’s first project since the groundbreakingGravityin 2013, Roma will be available on Netflix later this year.
VES Members and Their Guests in New Zealand are Invited to a Screening of Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB
Please RSVP below Tuesday, November 13, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of Netflix and ANZ distributor Vendetta Films, we’re delighted to invite you and your guest to an advance industry screening of Lukas Dhont’s GIRL
With the support of her loving father, Lara (Victor Polster) – a 15-year-old girl assigned male by birth – pursues her dream of becoming a professional ballerina.
Winner of the Camera d’Orfor best first film at this year’s Cannes Film Festival as well as the Best Performance and FIPRESCI International Critics Prize in Un Certain Regard, and the Queer Palm Award for outstanding LGBTQ filmmaking, GIRL is the feature directorial debut of Lukas Dhont. The film was written by Dhont and Angelo Tijssens, and produced by Dirk Impens.
On behalf of Netflix and ANZ distributor Vendetta Films, we’re delighted to invite you and your guest to an advance industry screening of Lukas Dhont’s GIRL
With the support of her loving father, Lara (Victor Polster) – a 15-year-old girl assigned male by birth – pursues her dream of becoming a professional ballerina.
Winner of the Camera d’Or for best first film at this year’s Cannes Film Festival as well as the Best Performance and FIPRESCI International Critics Prize in Un Certain Regard, and the Queer Palm Award for outstanding LGBTQ filmmaking, GIRL is the feature directorial debut of Lukas Dhont. The film was written by Dhont and Angelo Tijssens, and produced by Dirk Impens.
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
VES Members and Their Guests in New Zealand are Invited to a Screening of 20th Century Fox’s BOHEMIAN RHAPSODY
Please RSVP below Tuesday, November 6, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
THE BALLAD OF BUSTER SCRUGGS is a six-part Western anthology film, a series of tales about the American frontier directed by Joel and Ethan Coen. Each chapter tells a self-contained story that reflects the promise, the intrigue and the mystery of the American West.
THE BALLAD OF BUSTER SCRUGGS is a six-part Western anthology film, a series of tales about the American frontier directed by Joel and Ethan Coen. Each chapter tells a self-contained story that reflects the promise, the intrigue and the mystery of the American West.
VES Members and Their Guests in New Zealand are Invited to a Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below Tuesday, October 30, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an advance screening of Joel Edgerton’s
When:Sunday 28th October
Time:10.30am
Location:Please confirm venue with Celia during RSVP
** Please ensure you arrive on time to be seated before the film commences – the film must start promptly at 10.30am **
Boy Erased tells the story of Jared Eamons (Lucas Hedges), the son of a Baptist pastor in a small American town, who must overcome the fallout of being outed to his parents (Nicole Kidman and Russell Crowe). His parents struggle with reconciling their love for their son with their beliefs. Fearing a loss of family, friends, and community, Jared is pressured into attending a conversion therapy program. While there, Jared comes into conflict with its leader (Joel Edgerton) and begins his journey to finding his own voice and accepting his true self.
Joel Edgerton directs, writes, produces and co-stars. Edgerton produces alongside Kerry Kohansky-Roberts, p.g.a. and Steve Golin, p.g.a.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an advance screening of Joel Edgerton’s
When:Sunday 28th October
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
** Please ensure you arrive on time to be seated before the film commences – the film must start promptly at 10.30am **
Boy Erased tells the story of Jared Eamons (Lucas Hedges), the son of a Baptist pastor in a small American town, who must overcome the fallout of being outed to his parents (Nicole Kidman and Russell Crowe). His parents struggle with reconciling their love for their son with their beliefs. Fearing a loss of family, friends, and community, Jared is pressured into attending a conversion therapy program. While there, Jared comes into conflict with its leader (Joel Edgerton) and begins his journey to finding his own voice and accepting his true self.
Joel Edgerton directs, writes, produces and co-stars. Edgerton produces alongside Kerry Kohansky-Roberts, p.g.a. and Steve Golin, p.g.a.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an advance screening of Joel Edgerton’s
When:Sunday 28th October
Time:10.30am
Location:Please confirm venue with Celia during RSVP
** Please ensure you arrive on time to be seated before the film commences – the film must start promptly at 10.30am **
Boy Erased tells the story of Jared Eamons (Lucas Hedges), the son of a Baptist pastor in a small American town, who must overcome the fallout of being outed to his parents (Nicole Kidman and Russell Crowe). His parents struggle with reconciling their love for their son with their beliefs. Fearing a loss of family, friends, and community, Jared is pressured into attending a conversion therapy program. While there, Jared comes into conflict with its leader (Joel Edgerton) and begins his journey to finding his own voice and accepting his true self.
Joel Edgerton directs, writes, produces and co-stars. Edgerton produces alongside Kerry Kohansky-Roberts, p.g.a. and Steve Golin, p.g.a.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an advance screening of Joel Edgerton’s
When:Sunday 28th October
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
** Please ensure you arrive on time to be seated before the film commences – the film must start promptly at 10.30am **
Boy Erased tells the story of Jared Eamons (Lucas Hedges), the son of a Baptist pastor in a small American town, who must overcome the fallout of being outed to his parents (Nicole Kidman and Russell Crowe). His parents struggle with reconciling their love for their son with their beliefs. Fearing a loss of family, friends, and community, Jared is pressured into attending a conversion therapy program. While there, Jared comes into conflict with its leader (Joel Edgerton) and begins his journey to finding his own voice and accepting his true self.
Joel Edgerton directs, writes, produces and co-stars. Edgerton produces alongside Kerry Kohansky-Roberts, p.g.a. and Steve Golin, p.g.a.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Columbia Pictures’ VENOM
Please RSVP below Tuesday, October 23, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
VES Members and Their Guests in New Zealand are Invited to a Screening of Universal Pictures’ FIRST MAN
Please RSVP below Tuesday, October 16, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Incase members are unable to attend the VES screening on October 9th, Bluecat pictures have kindly extended us an invitation to their local industry screening.
See below.
On behalf of Annapurna Pictures we’re delighted to invite you and your guest to a special industry preview screening of Jacques Audiard’s
When:Sunday 14th October
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington, Cinema 2
Please note: This is a full security screening that will be monitored throughout. All mobile digital devices will be bagged and tagged prior to entry to the cinema so please allow sufficient time for this process. The screening must start promptly at 10.30am.
From director Jacques Audiard, and based on the novel by Patrick deWitt, THE SISTERS BROTHERS is a reimagining of the cinematic Western.
It is 1851, and Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly) are both brothers and assassins, boys grown to men in a savage and hostile world as guns for hire. Eli rides hard with his younger sibling Charlie, yet dares to dream of a normal life. But the hard-drinking Charlie has taken charge with gusto as lead man on the duo’s assignments. Each increasingly questions, and quibbles with, the other’s methods as they embark on a journey that will test the deadly family ties that bind.
Also starring Jake Gyllenhaal and Riz Ahmed, THE SISTERS BROTHERS features an adapted screenplay by Jacques Audiard and Thomas Bidegain based on the novel of the same name.
Please note: This is a full security screening that will be monitored throughout. All mobile digital devices will be bagged and tagged prior to entry to the cinema so please allow sufficient time for this process. The screening must start promptly at 10.30am.
From director Jacques Audiard, and based on the novel by Patrick deWitt, THE SISTERS BROTHERS is a reimagining of the cinematic Western.
It is 1851, and Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly) are both brothers and assassins, boys grown to men in a savage and hostile world as guns for hire. Eli rides hard with his younger sibling Charlie, yet dares to dream of a normal life. But the hard-drinking Charlie has taken charge with gusto as lead man on the duo’s assignments. Each increasingly questions, and quibbles with, the other’s methods as they embark on a journey that will test the deadly family ties that bind.
Also starring Jake Gyllenhaal and Riz Ahmed, THE SISTERS BROTHERS features an adapted screenplay by Jacques Audiard and Thomas Bidegain based on the novel of the same name.
VES Members and Their Guests in New Zealand are Invited to a Screening of Annapurna Pictures’ THE SISTERS BROTHERS
Please RSVP below Tuesday, October 9, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On the heels of their six-time Academy Award®-winning smash, La La Land, Oscar®-winning director Damien Chazelle and star Ryan Gosling reteam for Universal Pictures’ First Man, the riveting story behind the first manned mission to the moon, focusing on Neil Armstrong and the decade leading to the historic Apollo 11 flight. A visceral and intimate account told from Armstrong’s perspective, based on the book by James R. Hansen, the film explores the triumphs and the cost—on Armstrong, his family, his colleagues and the nation itself—of one of the most dangerous missions in history.
The cast includes Gosling, Claire Foy, Jason Clarke and Kyle Chandler.
Running time: 141 minutes
Universal Pictures International is releasing the film nationally on 11th October 2018.
Morgan Neville’s documentary Won’t You Be My Neighbor? takes a look at America’s favorite neighbor: Mister Fred Rogers. A portrait of a man whom we all think we know, this documentary is a film that takes you beyond zip-up cardigans and the land of make-believe, and into the heart of a creative genius, who inspired generations of children with compassion and limitless imagination.
Morgan Neville’s documentary Won’t You Be My Neighbor? takes a look at America’s favorite neighbor: Mister Fred Rogers. A portrait of a man whom we all think we know, this documentary is a film that takes you beyond zip-up cardigans and the land of make-believe, and into the heart of a creative genius, who inspired generations of children with compassion and limitless imagination.
VES Members and Their Guests in New Zealand are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS
Please RSVP below Tuesday, October 2, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Sony Pictures’ WHITE BOY RICK
Please RSVP below Tuesday, September 25, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Walt Disney Pictures’ CHRISTOPHER ROBIN
Please RSVP below Saturday, September 22, 2018 at 1:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Columbia Pictures’ ALPHA
Please RSVP below Tuesday, September 4, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Come on down to the VES NZ Section Networking Mixer.
This is a great chance to catch up with friends/colleagues.
If you are a VES member or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
Price: FREE Members/$5 Non Members
The next membership application cutoff date is September 15th. – Apply HERE
What to expect:
Welcome Glass of wine (while stocks last)
Discounted and Subsidised Drinks (until the bar tab runs out)
VES Members and Their Guests are Invited to an Opening Night Screening of STX Entertainment’s THE HAPPYTIME MURDERS followed by a live interactive Q&A with Director Brian Henson, Actors and Puppeteers Bill Barretta and Drew Massey with Visual Effects Producer Melissa Brockman, Compositing Supervisor Caleb Knueven and CG Supervisor Efram Potelle moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
This film is Rated R16, and is not intended for children. Click here to watch the trailer.
Please RSVP below Saturday, August 25, 2018 at 12:00PM
Camperdown Cinema
Please contact the local Board for directions.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESHAPPYTIME, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below Tuesday, August 21, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below Tuesday, August 7, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Sony Pictures’ THE EQUALIZER 2
Please RSVP below Tuesday, July 31, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below Tuesday, July 24, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 3: SUMMER VACATION
Please RSVP below Saturday, July 21, 2018 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN AND THE WASP followed by a Live Interactive Q&A with Director Peyton Reed as well as Visual Effects Supervisor Stephane Ceretti moderated by VES Archives Committee Chair Gene Kozicki. (All panelists’ participation based on availability.)
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESWASP, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a Screening of Walt Disney Studios’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below
Saturday, June 30, 2018 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s been nearly six decades since Frank Drake conducted the first, modern experiment to eavesdrop on signals from cosmic beings. Many searches have been undertaken since, but the bottom line is that we still haven’t heard a peep from the aliens. Does that mean that we’re the smartest things in this part of the universe, or that they’ve decided to deliberately keep a low profile?
In this fascinating talk, Dr Shostak looks at the modern efforts to discover other intelligence in the universe and what – if anything – our failure might be telling us.
Dr Shostak has also appeared on The Colbert Report, Star Trek, and the 2008 remake ofThe Day the Earth Stood Still.
“The Visual Effects Society (VES) NZ Section is a wholly-owned subsidiary of a U.S.-based tax exempt organization. Monies paid to VES NZ cannot be considered a charitable contribution; however, they may qualify as abusiness deduction. Please consult with your tax professional.”
Discoveries in some of the oldest landscapes on Earth preserving evidence for life, laboratory experimental evidence and computational models have all converged to suggest that life may have begun not deep in the oceans but on land, in fluctuating hot spring pools. Charles Darwin’s 1871 intuition that life began in a “warm little pond” may be proven right if science successfully tests this novel “Hot Spring Hypothesis” and creates an evolving artificial chemical form of pre-life called the “progenote”. The hypothesis is being used by researchers and NASA to decide where and how to look for evidence for past life on Mars in the Mars 2020 rover mission. This new thinking also guides consideration of the key questions of how widespread life might be in the universe.
“The Visual Effects Society (VES) NZ Section is a wholly-owned subsidiary of a U.S.-based tax exempt organization. Monies paid to VES NZ cannot be considered a charitable contribution; however, they may qualify as abusiness deduction. Please consult with your tax professional.”
Did life exist on Mars? What will it take for humans to live there? What do the recent findings of organic compounds on Mars tell us about our origins?
This month, The Visual Effects Society – NZ Section is proud to present a series of Astrobiology events, beginning with a panel discussion next week with NASA scientistsDr Mitch Schulte &Dr Lindsay Hays, & astrobiologist Angelica Angles on Friday, 22 June.
There will be a presentation by each speaker followed by an extended Q&A, with a meet & greet in the lobby afterwards. Refreshments provided by the VES.
“The Visual Effects Society (VES) NZ Section is a wholly-owned subsidiary of a U.S.-based tax exempt organization. Monies paid to VES NZ cannot be considered a charitable contribution; however, they may qualify as abusiness deduction. Please consult with your tax professional.”
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Lucasfilm Ltd’s SOLO: A STAR WARS STORY
Please RSVP below Tuesday, May 29, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The Visual Effects Society – NZ Section is proud to present a Meet & Greet with a special returning guest from the National Aeronautics and Space Administration (NASA), Mission Specialist Dr Jen Blank.
Dr Blank is currently a Mission Specialist on the Mars Curiosity Rover, probing the chemisty on Mars by zapping materials with the chemcam laser and collecting the light that’s emitted from the target plasma.
There will be a short talk followed by an extended Q&A in which Dr Blank will answer all of your questions about Mars, Outer Space, and New Zealand’s place in the future of space travel. Refreshments provided by the VES.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: INFINITY WAR
Please RSVP below Tuesday, May 1, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ A QUIET PLACE
Please RSVP below Tuesday, April 10, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Universal Pictures’ PACIFIC RIM UPRISING
Please RSVP below Tuesday, March 27, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ A WRINKLE IN TIME
Please RSVP below Tuesday, March 20, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ and Netflix’s ANNHILATION
Please RSVP below Tuesday, March 13, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The VES awards nominations judging event is taking place on January 13th, here in Wellington.
All judges who have registered to take part, please check your emails for further details.
If you have not received an email please notify Emma or Joe, your local section co-chairs ASAP so that they can ensure you are provided with all necessary information.
This is a strictly INVITATION ONLY event for registered judges.
No other VES members are eligible to attend.
Please no children, partners, and strictly no photography/recording of any kind.
Blue Cat Pictures on behalf of A24 Films and NZ distributor FoxUniversal is delighted to invite you and your guest to this special preview screening of Greta Gerwig’s LADY BIRD
Please note: All screenings are on auto-start so we are unable to delay the start time for late arrivals.
Synopsis: Set in Sacramento, California in 2002, amidst a rapidly shifting American economic landscape, LADY BIRD focuses on the loving yet turbulent bond between a mother and her teenage daughter. Christine “Lady Bird” McPherson (Saoirse Ronan) fights against but is exactly like her deeply caring, highly opinionated and strong-willed mom (Laurie Metcalf), a nurse working tirelessly to keep her family afloat after Lady Bird’s father (Tracy Letts) loses his job. Featuring an ensemble cast that also includes Lucas Hedges, Timothée Chalamet, Beanie Feldstein, Lois Smith, and Stephen McKinley Henderson, LADY BIRDis a look at the relationships that shape us, the beliefs that define us, and the unmatched beauty of a place called home.
LADY BIRD is written and directed by Greta Gerwig, and produced by Eli Bush, Evelyn O’Neill and Scott Rudin.
Duration: 93 minutes
FoxUniversal is releasing the film nationally on 15 February, 2018.
Blue Cat Pictures on behalf of Annapurna Pictures and ANZ distributor eOne is delighted to invite you and your guest to a screening of Kathryn Bigelow’s DETROIT
Synopsis: From director Kathryn Bigelow, and screenwriter Mark Boal, DETROIT is the dramatic true story of a racially motivated crime that took place over one dark night in 1967. Up-and-coming Motown musician, Larry Reed (Algee Smith), six other young African American men and two young white women were terrorized by local police, despite the presence of the State Police, the National Guard, and an African American security guard (John Boyega). Before the sun rose in the motor city, three of the young males were slain in cold blood. Set against the civil unrest of ’67, DETROIT charts the crime and the survivors’ futile search for justice. Larry Reed’s dreams of stardom disappear as he struggles to find a way forward.
DETROIT also stars Will Poulter and Anthony Mackie.
DETROIT is produced by Megan Ellison, p.g.a., Kathryn Bigelow, p.g.a., Matthew Budman, p.g.a., Mark Boal, p.g.a. and Colin Wilson, p.g.a.
Duration: 143 minutes
eOne released the film nationally on 2nd November, 2017.
Synopsis: Set in the rural American South during World War II, Dee Rees’ Mudbound is an epic story of two families pitted against one another by a ruthless social hierarchy, yet bound together by the shared farmland of the Mississippi Delta.
MUDBOUND follows the McAllan family, newly transplanted from the quiet civility of Memphis and unprepared for the harsh demands of farming. Despite the grandiose dreams of Henry (Jason Clarke), his wife Laura (Carey Mulligan) struggles to keep the faith in her husband’s losing venture. Meanwhile, Hap and Florence Jackson (Rob Morgan, Mary J. Blige) — fellow sharecroppers who have worked the land for generations — struggle bravely to build a small dream of their own despite the rigidly enforced social barriers they face.
The war upends both families’ plans as their returning loved ones, Jamie McAllan (Garrett Hedlund) and Ronsel Jackson (Jason Mitchell), forge a fast but uneasy friendship that challenges the brutal realities of the Jim Crow South in which they live.
Duration: 134 minutes
Please note: these invitations are strictly non-transferable.
Blue Cat Pictures on behalf of Amazon Studios and ANZ distributor Transmission Films is delighted to invite you and your guest to a preview screening of Richard Linklater’s LAST FLAG FLYING
Synopsis: In 2003, 30 years after they served together in the Vietnam War, former Navy Corps medic Richard “Doc” Shepherd (Steve Carell) re-unites with Former Marines Sal (Bryan Cranston) and Richard Mueller (Laurence Fishburne) on a different type of mission: to bury Doc’s son, a young Marine killed in the Iraq War. Doc decides to forgo a burial at Arlington Cemetery and, with the help of his old buddies, takes the casket on a bittersweet trip up the East Coast to his home in suburban New Hampshire. Along the way, Doc, Sal and Mueller reminisce and come to terms with shared memories of the war that continues to shape their lives. Director Richard Linklater and author Darryl Ponicsan collaborated on the screenplay which follows the trio as they wrestle with the pangs of war both past and present.
LAST FLAG FLYINGis produced by Ginger Sledge, p.g.a., Richard Linklater, p.g.a., and John Sloss, p.g.a.
Duration: 124 minutes
Transmission Films is releasing the film nationally on 25th April 2018.
Blue Cat Pictures on behalf of Focus Features and NZ distributor FoxUniversal is delighted to invite you and your guest to a special preview screening of Paul Thomas Anderson’s PHANTOM THREAD.
Please note: All screenings are on auto-start so we are unable to delay the start time for late arrivals.
Synopsis: Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. Written and directed by Paul Thomas Anderson.
PHANTOM THREAD is produced by JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi.
Duration: 115 minutes
FoxUniversal is releasing the film nationally on 1 February, 2018.
Blue Cat Pictures on behalf of Focus Features and NZ distributor FoxUniversal is delighted to invite you and your guest to a special preview screening of Paul Thomas Anderson’s PHANTOM THREAD.
When:Saturday 30th December, 2017
Time:10am
Location:Reading Courtney Cinemas (cinema 6), Level 1, 100 Courtenay Place
(All screenings are on auto-start so we are unable to delay the start time for late arrivals)
Synopsis: Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. Written and directed by Paul Thomas Anderson.
PHANTOM THREAD is produced by JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi.
Duration: 115 minutes
FoxUniversal is releasing the film nationally on 1 February, 2018.
Synopsis:Set in an alternate present-day, this action-thriller directed by David Ayer (Suicide Squad, End of Watch, writer of Training Day) follows two cops from very different backgrounds (Ward, a human played by Will Smith, and Jakoby, an orc played by Joel Edgerton) who embark on a routine patrol night that will ultimately alter the future as their world knows it. Battling both their own personal differences as well as an onslaught of enemies, they must work together to protect a thought-to-be-forgotten relic, which in the wrong hands could destroy everything.
The Netflix original film stars Will Smith, Joel Edgerton, Noomi Rapace, Lucy Fry, Edgar Ramirez, Ike Barinholtz, Enrique Murciano, Jay Hernandez, Andrea Navedo, Veronica Ngo, Alex Meraz, Margaret Cho, Brad William Henke, Dawn Oliveri, and Kenneth Choi. The film is directed by David Ayer and written by Max Landis. David Ayer, Eric Newman, and Bryan Unkeless serve as producers.
Duration: 117 minutes
Please note: these invitations are strictly non-transferable.
Synopsis: From writer/director Noah Baumbach, THE MEYEROWITZ STORIES (NEW AND SELECTED) is the emotional, and comic intergenerational tale of adult siblings (Adam Sandler, Ben Stiller and Elizabeth Marvel) contending with the long shadow their strong-willed father (Dustin Hoffman) has cast over their lives.
With an original screenplay by Baumbach, the film also stars Emma Thompson, Grace Van Patten, Adam Driver, Candice Bergen, Judd Hirsch and Rebecca Miller.
The film was produced by Scott Rudin, Baumbach, Lila Yacoub and Eli Bush.
Duration: 110 minutes
Please note: These screening invitations are strictly non-transferable.
VES Members and Their Guests in New Zealand are Invited to a Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s STAR WARS: THE LAST JEDI
Please RSVP below Thursday, December 21, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of Focus Features and NZ distributor FoxUniversal is delighted to invite you and your guest to this preview screening of Darkest Hour:
When:Sunday 17th December
Time:10am start
Location:Reading Courtenay Cinemas (cinema 6), Level 1, 100 Courtenay Place
Synopsis: During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms. As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Gary Oldman). While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds. Directed by Joe Wright. Written by Anthony McCarten. Also starring Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, Samuel West and Ben Mendelssohn as King George VI.
DARKEST HOUR is produced by Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski.
Duration: 125 mins
The film opens nationally through FoxUniversal on 11 January 2018.
Blue Cat Pictures on behalf of ANZ distributor eOne is delighted to invite you and your guest to this special preview screening of Steven Spielberg’s THE POST:
When:Saturday 16th December
Time:10am
Location:Reading Courtenay Cinemas (cinema 6), Level 1, 100 Courtenay Place
– please note this will be a security screening so please arrive a few minutes early.
Synopsis: Steven Spielberg directs Meryl Streep and Tom Hanks in THE POST, a drama about the unlikely partnership between The Washington Post’s Katharine Graham (Streep), the first female publisher of a major American newspaper, and editor Ben Bradlee (Hanks), as they race to catch up with The New York Times to expose a massive cover-up of government secrets that spanned three decades and four U.S. Presidents. The two must overcome their differences as they risk their careers – and their very freedom – to help bring long-buried truths to light.
Spielberg produces along with Amy Pascal and Kristie Macosko Krieger. The script was written by Liz Hannah and Josh Singer, and the film features an ensemble cast including Alison Brie, Carrie Coon, David Cross, Bruce Greenwood, Tracy Letts, Bob Odenkirk, Sarah Paulson, Jesse Plemons, Matthew Rhys, Michael Stuhlbarg, Bradley Whitford and Zach Woods.
Duration: 115 minutes
eOne is releasing the film nationally on 11 January, 2018
Blue Cat Pictures on behalf of Focus Features and ANZ distributor Universal Pictures is delighted to invite you and your guest to a special preview screening of Paul Thomas Anderson’s PHANTOM THREAD.
RSVP is essential: RSVP HERE – (please note – this will be a full security screening).
Synopsis: Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. Written and directed by Paul Thomas Anderson.
PHANTOM THREAD is produced by JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi.
Duration: 115 minutes
Universal Pictures is releasing the film nationally on 1 February, 2018.
Blue Cat Pictures on behalf of Amazon Studios and ANZ distributor Roadshow Films is delighted to invite VES members and their guests to a special preview screening of Todd Haynes’ WONDERSTRUCK.
Synopsis: Based on Brian Selznick’s critically acclaimed novel, Ben and Rose are children from two different eras who secretly wish their lives were different. Ben longs for the father he has never known, while Rose dreams of a mysterious actress whose life she chronicles in a scrapbook. When Ben discovers a puzzling clue in his home and Rose reads an enticing headline in the newspaper, both children set out on quests to find what they are missing that unfold with mesmerizing symmetry.
WONDERSTRUCK is directed by Todd Haynes, from an adapted screenplay by Brian Selznick, and produced by Christine Vachon, p.g.g., Pam Koffler, p.g.a., and John Sloss, p.g.a.
The cast includes Oakes Fegley, Jaden Michael, Julianne Moore and Millicent Simmonds.
Duration: 116 minutes
Roadshow Films is releasing the film in the first quarter of 2018.
VES Members and Their Guests in New Zealand are Invited to a Pre-Release Screening Of Fox Searchlight’s THE SHAPE OF WATER
Please RSVP below Tuesday, December 5, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of A24 Films and ANZ distributor Icon Film Distribution is delighted to invite VES members and guests to a special preview screening of Sean Baker’s THE FLORIDA PROJECT.
Synopsis: Set on a stretch of highway just outside the imagined utopia of Disney World, director Sean Baker’s THE FLORIDA PROJECT follows six-year-old Moonee (Brooklynn Prince) and her rag-tag gang of friends. Moonee and her rebellious mother Halley (Bria Vinaite) live week to week at a budget motel managed by Bobby (Willem Dafoe), whose stern exterior hides a deep reservoir of kindness and compassion. Despite her harsh surroundings, Moonee has no trouble making each day a celebration of life, her afternoons overflowing with mischief and adventure. Unbeknownst to Moonee, however, her delicate fantasy is supported by the struggle and sacrifice of Halley, who is forced to explore increasingly dangerous possibilities in order to provide for her daughter. Written by Sean Baker and Chris Bergoch, THE FLORIDA PROJECToffers a depiction of contemporary lives lived in the margins and how anywhere can be a Magic Kingdom – it just depends on how you see it.
THE FLORIDA PROJECTis produced by Sean Baker, Chris Bergoch, Kevin Chinoy, Andrew Duncan, Alex Saks, Francesca Silvestri and Shih-Ching Tsou.
Duration: 111 minutes
Icon Film Distribution is releasing the film nationally on 21st December, 2017.
Blue Cat Pictures on behalf of Amazon Studios and ANZ distributor EOne is delighted to invite VES members and their guests to a special preview screening of Woody Allen’s WONDER WHEEL.
Synopsis: WONDER WHEEL, a dramatic tale of passion, violence and betrayal, tells the story of four characters whose lives intertwine amid the hustle and bustle of the Coney Island amusement park in the 1950s.
WONDER WHEEL is written and directed by Woody Allen, and produced by Letty Aronson p.g.a., Erika Aronson p.g.a. and Edward Walson.
The cast includes Jim Belushi, Juno Temple, Justin Timberlake and Kate Winslet.
Duration: 101 minutes
EOne is releasing the film nationally – release date to be confirmed.
Blue Cat Pictures on behalf of Amazon Studios and ANZ distributor Transmission Films is delighted to invite VES members and your guests to a special preview screening of Richard Linklater’s LAST FLAG FLYING.
Synopsis: In 2003, 30 years after they served together in the Vietnam War, former Navy Corps medic Richard “Doc” Shepherd (Steve Carell) re-unites with Former Marines Sal (Bryan Cranston) and Richard Mueller (Laurence Fishburne) on a different type of mission: to bury Doc’s son, a young Marine killed in the Iraq War. Doc decides to forgo a burial at Arlington Cemetery and, with the help of his old buddies, takes the casket on a bittersweet trip up the East Coast to his home in suburban New Hampshire. Along the way, Doc, Sal and Mueller reminisce and come to terms with shared memories of the war that continues to shape their lives. Director Richard Linklater and author Darryl Ponicsan collaborated on the screenplay which follows the trio as they wrestle with the pangs of war both past and present.
LAST FLAG FLYINGis produced by Ginger Sledge, p.g.a., Richard Linklater, p.g.a., and John Sloss, p.g.a.
Duration: 124 minutes
Transmission Films is releasing the film nationally in 2018.
VES Members and a Guest are Invited to an Opening Weekend Screening of Walt Disney Studios’ and Pixar Animation Studios’ COCO
Please RSVP below
Saturday, November 25, 2017 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and their guest are invited to the New Zealand Chapter’s Christmas Party at the Seatoun RSA. We will have activities and bowling outdoors (while the light lasts).
16 Dundas St Seatoun, Wellington 6022
Nibbles and subsidised drinks will be available.
(please eat prior to attending as this event is not fully catered).
If you’re keen to attend please RSVP.
If you’d like to bring your children please email us on nz@vesglobal.org with ages and numbers.
RSVPS are expected to close next Wednesday 22nd November to enable us to confirm numbers with the venue.
Blue Cat Pictures on behalf of A24 and ANZ distributor Universal Pictures is delighted to invite VES members and your guests to a special preview screening of Greta Gerwig’s LADY BIRD.
When:Sunday 19th November
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
Synopsis: Set in Sacramento, California in 2002, amidst a rapidly shifting American economic landscape, LADY BIRD focuses on the loving yet turbulent bond between a mother and her teenage daughter. Christine “Lady Bird” McPherson (Saoirse Ronan) fights against but is exactly like her deeply caring, highly opinionated and strong-willed mom (Laurie Metcalf), a nurse working tirelessly to keep her family afloat after Lady Bird’s father (Tracy Letts) loses his job. Featuring an ensemble cast that also includes Lucas Hedges, Timothée Chalamet, Beanie Feldstein, Lois Smith, and Stephen McKinley Henderson, LADY BIRDis a look at the relationships that shape us, the beliefs that define us, and the unmatched beauty of a place called home.
LADY BIRD is written and directed by Greta Gerwig, and produced by Eli Bush, Evelyn O’Neill and Scott Rudin.
Duration: 93 minutes
Universal Pictures is releasing the film nationally on 15 February, 2018.
Blue Cat Pictures on behalf of A24 Films and ANZ distributor Roadshow Films is delighted to invite VES members and your guests to a special preview screening of James Franco’s THE DISASTER ARTIST.
When:Saturday 18th November
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
Synopsis: With THE DISASTER ARTIST, director and star James Franco re-creates the tragicomic true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau—an artist whose passion was as sincere as his methods were questionable. Based on Greg Sestero’s book, screenwriters Scott Neustadter and Michael H. Weber tell the behind-the-scenes story of the production of Tommy’s 2003 disasterpiece THE ROOM.
THE DISASTER ARTIST is directed by James Franco, and produced by James Franco, Vince Jolivette, Evan Goldberg, Seth Rogenand James Weaver. The film also stars Dave Franco, Seth Rogen, Josh Hutchinson, Paul Scheer, Alison Brie and Ari Graynor.
Duration: 103 minutes
Roadshow Films is releasing the film nationally on 30 November, 2017.
Blue Cat Pictures on behalf of Focus Features and ANZ distributor Universal Pictures is delighted to VES members and your guests to this preview screening of Joe Wright’s DARKEST HOUR.
Synopsis: During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms. As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Gary Oldman).
While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds. Directed by Joe Wright. Written by Anthony McCarten. Also starring Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, Samuel West and Ben Mendelssohn as King George VI.
DARKEST HOUR is produced by Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski.
Duration: 125 mins
The film opens nationally through Universal Pictures on 11 January 2018.
VES Members and Their Guests in New Zealand are Invited to a Pre-Release Screening Of Focus Features’ DARKEST HOUR
Please RSVP below Tuesday, November 14, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below Tuesday, November 7, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and their guests are invited to a special screening.
Blue Cat Pictures on behalf of Focus Features and ANZ distributor Universal Pictures is delighted to invite you and your guest to this preview screening of Joe Wright’s DARKEST HOUR.
Synopsis: During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms. As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Gary Oldman).
While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds. Directed by Joe Wright.Written by Anthony McCarten. Also starring Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, Samuel West and Ben Mendelssohn as King George VI.
DARKEST HOUR is produced by Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski.
Duration: 125 mins
The film opens nationally through Universal Pictures on 11 January 2018.
Synopsis: From director Kathryn Bigelow, and screenwriter Mark Boal, DETROIT is the dramatic true story of a racially motivated crime that took place over one dark night in 1967. Up-and-coming Motown musician, Larry Reed (Algee Smith), six other young African American men and two young white women were terrorized by local police, despite the presence of the State Police, the National Guard, and an African American security guard (John Boyega). Before the sun rose in the motor city, three of the young males were slain in cold blood. Set against the civil unrest of ’67, DETROIT charts the crime and the survivors’ futile search for justice. Larry Reed’s dreams of stardom disappear as he struggles to find a way forward.
DETROIT also stars Will Poulter and Anthony Mackie.
DETROIT is produced by Megan Ellison, p.g.a., Kathryn Bigelow, p.g.a., Matthew Budman, p.g.a., Mark Boal, p.g.a. and Colin Wilson, p.g.a.
Duration: 143 minutes
EOne is releasing the film nationally on 2nd November, 2017.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of Annapurna Pictures and ANZ distributor EOne is delighted to invite VES NZ members and your guest to a special preview screening of Kathryn Bigelow’s DETROIT.
Synopsis: From director Kathryn Bigelow, and screenwriter Mark Boal, DETROIT is the dramatic true story of a racially motivated crime that took place over one dark night in 1967. Up-and-coming Motown musician, Larry Reed (Algee Smith), six other young African American men and two young white women were terrorized by local police, despite the presence of the State Police, the National Guard, and an African American security guard (John Boyega). Before the sun rose in the motor city, three of the young males were slain in cold blood. Set against the civil unrest of ’67, DETROIT charts the crime and the survivors’ futile search for justice. Larry Reed’s dreams of stardom disappear as he struggles to find a way forward.
DETROIT also stars Will Poulter and Anthony Mackie.
DETROIT is produced by Megan Ellison, p.g.a., Kathryn Bigelow, p.g.a., Matthew Budman, p.g.a., Mark Boal, p.g.a. and Colin Wilson, p.g.a.
Duration: 143 minutes
EOne is releasing the film nationally on 2nd November, 2017.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis: For 10 idyllic years, young Mija (An Seo Hyun) has been caretaker and constant companion to Okja—a massive animal and an even bigger friend—at her home in the mountains of South Korea. But that changes when a family-owned multinational conglomerate Mirando Corporation takes Okja for themselves and transports her to New York, where image obsessed and self-promoting CEO Lucy Mirando (Tilda Swinton) has big plans for Mija’s dearest friend.
With no particular plan but single-minded in intent, Mija sets out on a rescue mission, but her already daunting journey quickly becomes more complicated when she crosses paths with disparate groups of capitalists, demonstrators and consumers, each battling to control the fate of Okja…while all Mija wants to do is bring her friend home.
Duration: 120 minutes
Please advise Blue Cat Pictures if you would like to opt out of receiving correspondence regarding screening schedules, or of receiving mailings or e-mail of any kind.
Blue Cat Pictures on behalf of Netflix is delighted to invite VES NZ Members and a guest to a special preview screening of THE MEYEROWITZ STORIES (NEW AND SELECTED):
When:Sunday 1st October, 2017
Time:10.30am Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
Synopsis: From writer/director Noah Baumbach, THE MEYEROWITZ STORIES (NEW AND SELECTED) is the emotional, and comic intergenerational tale of adult siblings (Adam Sandler, Ben Stiller and Elizabeth Marvel) contending with the long shadow their strong-willed father (Dustin Hoffman) has cast over their lives.
With an original screenplay by Baumbach, the film also stars Emma Thompson, Grace Van Patten, Adam Driver, Candice Bergen, Judd Hirsch and Rebecca Miller.
The film was produced by Scott Rudin, Baumbach, Lila Yacoub and Eli Bush.
Synopsis: Director Bryan Fogel’s gambit was this: to investigate doping in sports, Fogel (an amateur bike racer) would dope himself, observe the changes in his performance, and see if he could evade detection. In doing so, he was connected to a renegade Russian scientist, Dr. Grigory Rodchenkov, a pillar of his country’s “anti-doping” program. Over dozens of Skype calls, urine samples, and badly administered hormone injections, Fogel and Rodchenkov grow closer despite allegations that place Rodchenkov at the center of Russia’s state-sponsored Olympic doping program. The two realise they hold the power to reveal this international sports scandal. The film follows the two as the news of Rodchenkov’s allegations breaks and the aftermath that implicates the Russian government and subsequent Olympic and professional sports programs.
VES Members and Their Guests in New Zealand are Invited to a Screening Of 20th Century Fox’s KINGSMEN: THE GOLDEN CIRCLE
Please RSVP below Thursday, September 28, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis: Directed by Angelina Jolie, First They Killed My Fatheris dedicated to all those who died under the Khmer Rouge and all those who survived. It focuses on the love and dedication of a Cambodian family, and celebrates the beauty, spirit and resilience of the Cambodian people and culture.
First They Killed My Father is the adaptation of Cambodian author and human rights activist Loung Ung’s gripping memoir of surviving the deadly Khmer Rouge regime from 1975 to 1978. The story is told through her eyes, from the age of five, when the Khmer Rouge came to power, to nine years old. The film depicts the indomitable spirit and devotion of Loung and her family as they struggle to stay together during the Khmer Rouge years.
Ung survived and wrote First They Killed My Father: A Daughter of Cambodia Remembers, which was first published in 2000. After reading Ung’s memoir, Angelina contacted her over a decade ago and they have been close friends ever since.
Duration: 136 minutes
Please advise Blue Cat Pictures if you would like to opt out of receiving correspondence regarding screening schedules, or of receiving mailings or e-mail of any kind.
VES Members and Their Guests in New Zealand are Invited to a Screening Of Paramount Pictures’ MOTHER!
Please RSVP below Tuesday, September 19, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis:Set in the rural American South during World War II, Dee Rees’s MUDBOUND is an epic story of two families pitted against one another by a ruthless social hierarchy, yet bound together by the shared farmland of the Mississippi Delta. MUDBOUNDfollows the McAllan family, newly transplanted from the quiet civility of Memphis and unprepared for the harsh demands of farming. Despite the grandiose dreams of Henry (Jason Clarke), his wife Laura (Carey Mulligan) struggles to keep the faith in her husband’s losing venture. Meanwhile, Hap and Florence Jackson (Rob Morgan, Mary J. Blige) — fellow sharecroppers who have worked the land for generations — struggle bravely to build a small dream of their own despite the rigidly enforced social barriers they face.
The war upends both families’ plans as their returning loved ones, Jamie McAllan (Garrett Hedlund) and Ronsel Jackson (Jason Mitchell), forge a fast but uneasy friendship that challenges the brutal realities of the Jim Crow South in which they live. Duration: 134 minutes
On behalf of Focus Features and ANZ distributor Universal Pictures, we are very pleased to invite VESNZ members and guests to a special preview screening of Stephen Frears’ Victoria & Adbul.
When: Sunday 10th September, 2017
Time: 10:30AM
Where: Roxy Cinema Wellington, 5 Park Road, Miramar, Wellington
Synopsis: Victoria & Abdul tells the true story of the amazing and unlikely friendship between Queen Victoria (Judi Dench) and a young clerk, Abdul Karim (Ali Fazal), who becomes her teacher, her spiritual advisor, and her devoted friend. In 1887, Abdul travels from India to present a ceremonial medal as part of the Queen’s Golden Jubilee but surprisingly finds favor with the elderly Queen. The unlikely relationship causes a battle royale within the royal household, pitting the Queen against court and family. Victoria & Abdul explores questions of race, religion, power, and the farce of Empire through the prism of an unusual and moving friendship.
Victoria & Abdul is directed by Stephen Frears, from an adapted screenplay by Lee Hall and produced by Tim Bevan, Eric Fellner, Beeban Kidron and Tracey Seaward. The film stars Judi Dench and Ali Fazal with Eddie Izzard and Adeel Akhtar. Cinematography is by Danny Cohen BSC and editing by Melanie Ann Oliver ACE. Production design is by Alan Macdonald, the set decorator is Michael Standish with costume design by Consolata Boyle. Production sound mixer is Peter Lindsay AMPS, re-recording mixers are Mike Dowson and Dafydd Archard, and supervising sound editors are Becki Ponting and Ian Wilson. Make-up and hair designer is Daniel Phillips and co-hair designer is Lou Sheppard. Original score by Thomas Newman.
Duration: 112 minutes
Universal Pictures is releasing the film nationally on 14th September 2017.
This is a great chance to catch up with friends/colleagues.
If you are a VES member or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone who’d like to apply or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is September 15th.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Europacorp’s VALERIAN AND THE CITY OF A THOUSAND PLANETS
Please RSVP below Tuesday, September 5, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below Tuesday, July 11, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below Thursday, July 6, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to an Opening Weekend 3D Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below
Saturday, July 1, 2017 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening Of 20th Century Fox’s ALIEN: COVENANT
Please RSVP below Tuesday, May 23, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Warner Bros. Pictures’ KING ARTHUR: LEGEND OF THE SWORD
Please RSVP below Thursday, May 18, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join us at the Park Road Post Cinema this Friday for a fascinating chat with some amazing people working outside our orbit.
The Visual Effects Society – NZ Section is proud to present a Meet & Greet with some very special guests from the National Aeronautics and Space Administration (NASA), including Astronaut Dr Yvonne Cagle and Mars Curiosity research scientist Dr Jen Blank. They will talk about their current work and upcoming missions, and will hang around after so you can meet them. There will also be a Q & A,and refreshments, provided by the VES.
Space is very limited (no pun intented), so no guests please. RSVPs essential.
VESNZ – NASA Meet & Greet + Q & A
Friday, 12 May
6-7pm
Park Road Post Cinema
Dr Yvonne Cagle
NASA Astronaut, flight surgeon
Yvonne Cagle is a NASA Astronaut and flight surgeon. After earning her undergraduate degree from San Francisco State University, Dr. Cagle earned an M.D. from the University of Washington.
Dr. Cagle retired as a Colonel in the United States Air Force (USAF) where she served as a Senior Flight Surgeon. She is the recipient of the National Defense Service Medal, Air Force Achievement Medal, United States Air Force Air Staff Exceptional Physician Commendation and National Technical Association Distinguished Scientist Award.
In 2012 Dr. Cagle was a Brussels TEDx Speaker and has held adjunct professorships with Stanford University, UC Davis, and The University of Texas Medial Branch. Dr. Cagle, in collaboration with NASA, is currently a Visiting Professor at Fordham University, NY where she was awarded an honorary Ph.D. recognizing her cumulative body of career work advancing science, medicine, technology, and humanity.
Dr Jennifer Blank
research scientist, Mars Curiosity Rover
Jen Blank (@jenblank) is an astrobiologist at the NASA Ames Research Center in the heart of Silicon Valley.
She is a member of the Mars Curiosity rover science team and studies Mars analog environments on Earth, focusing on the potential of water-rock interactions to support microbial life and the geochemical signatures of such life that are captured in the rock record.
Jen earned BS/BA degrees in Geology/English from Stanford, an MS in Oceanography from the University of Washington, and a PhD in geochemistry from CalTech. She’s also studied fluid evolution and phase changes in real time using diamond cell pressure chambers and vibrational spectroscopy.
Scaling up, she’s fired large cannons to generate conditions akin to those of a comet hitting the earth – and found that amino acids can polymerize to peptides in these ballistic impacts. When not working, Jen spends time with her thoroughbred, Billy, and coding.
Hari is on the board of the Space Science Festival, KiwiSpace Foundation, Mars Society New Zealand, and former executive member of the NZ Institute for Intelligence Professionals.
She took part in the analogue Mars missions in Utah at the Mars Desert Research Station as the first NZ crew, and received the NASA Ames internship for planetary protection. Hari is also an organizer for Spacewardbound New Zealand, with participation from NASA Ames.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Marvel Studios’ and Walt Disney Pictures’ GUARDIANS OF THE GALAXY, VOL. 2
Please RSVP below Tuesday, May 9, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Universal Pictures’ THE FATE OF THE FURIOUS
Please RSVP below Thursday, April 20, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Paramount Pictures’ GHOST IN THE SHELL
Please RSVP below Tuesday, April 11, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Screening of Lionsgate’s POWER RANGERS
Please RSVP below
Saturday, April 1, 2017 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
New Zealand VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s LOGAN
Please RSVP below Tuesday, March 7, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Important note: Logan is rated R16. No under-aged guests will be allowed in the cinema for this screening.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s ROGUE ONE: A STAR WARS STORY
Please RSVP below Tuesday, December 20, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We are very pleased to invite you and your guest to a special pre-release screening of J.A. Bayona’s A MONSTER CALLS. This screening has been made possible with the generous participation of ANZ distributor eOne and the Roxy Cinema.
Synopsis: 12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster appears at his bedroom window. Ancient, wild, and relentless, the Monster (portrayed by Liam Neeson) guides Conor on a journey of courage, faith, and truth. The script is adapted by Patrick Ness from his novel A Monster Calls, and A MONSTER CALLS is directed by J.A. Bayona.
We are very pleased to invite you and your guest a special preview screening of Jim Jarmusch’s PATERSON. This screening have been made possible with the generous participation ofANZ distributor Madman Entertainment and the Roxy Cinema.
When:Saturday 17th December
Time:10.00am
Location:The Roxy Cinema, Cinema 2, 5 Park Road, Miramar, Wellington
Synopsis: Paterson is a bus driver in the city of Paterson, New Jersey – they share the same name. Every day, Paterson adheres to a simple routine: he drives his daily route, observing the city as it drifts across his windshield and overhearing fragments of conversation swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer; he goes home to his wife, Laura. By contrast, Laura’s world is ever-changing. New dreams come to her almost daily. Paterson loves Laura and she loves him. He supports her newfound ambitions; she champions his gift for poetry.
PATERSON is directed by Jim Jarmusch and stars Adam Driver. The film is produced by Joshua Astrachan and Carter Logan from an original screenplay by Jim Jarmusch and edited by Affonso Goncalves ACE. The cinematographer is Frederick Elmes, ASC, production design is by Mark Friedberg, the set decorator is Lydia Marks and the costume design is by Catherine George. Makeup is headed by Margie Durand with Jennifer Serio as key hair stylist.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ ALLIED
Please RSVP below Tuesday, December 13, 2016 at 8:00PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We are very pleased to invite you and your guest to a special pre-release screening of Jeff Nichols’ LOVING. This screening has been made possible with the generous participation of ANZ distributor EOne and the Roxy Cinema.
When: Sunday 11th December, 2016
Time: 11am
Location: ROXY CINEMA, Cinema 2, 5 Park Road, Miramar, Wellington
Synopsis: The real-life story of an interracial couple, Richard and Mildred Loving (portrayed in the film by Joel Edgerton and Ruth Negga), who married and then spent the next nine years fighting for the right to live as a family in their hometown. Their civil rights case, Loving v. Virginia, went all the way to the Supreme Court, which in 1967 reaffirmed the very foundation of the right to marry – and their love story has become an inspiration to couples ever since. Jeff Nichols is the writer and director of LOVING.
EOne is releasing the film nationally on 9 February 2017.
Thank you.
Please observe the strict embargo for social media comment or publication of any kind on this film.
Please advise Blue Cat Pictures if you would like to opt out of receiving correspondence regarding screening schedules, or of receiving mailings or e-mail of any kind.
We are very pleased to invite you and your guest to a special pre-release screening ofKenneth Lonergan‘s MANCHESTER BY THE SEA. This screening has been made possible with the generous participation of ANZ distributor Universal Pictures International and the Roxy Cinema.
When:
Saturday 10 December. 2016
Time:
10.30am
Location: Cinema 2, ROXY CINEMA, 5 Park Road, Miramar, Wellington
Synopsis: After the death of his older brother Joe (Kyle Chandler), Lee Chandler (Casey Affleck) is shocked to learn that Joe has made him sole guardian of his nephew Patrick (Lucas Hedges). Taking leave of his job, Lee reluctantly returns to Manchester-by-the-Sea to care for Patrick, a spirited 16-year-old, and is forced to deal with a past that separated him from his wife Randi (Michelle Williams) and the community where he was born and raised. Bonded by the man who held their family together, Lee and Patrick struggle to adjust to a world without him.
MANCHESTER BY THE SEA is written and directed by Kenneth Lonergan, and produced by Matt Damon p.g.a., Kimberly Steward p.g.a, Chris Moore p.g.a., Lauren Beck p.g.a. and Kevin J. Walsh p.g.a. The film stars Casey Affleck, Kyle Chandler, Lucas Hedges and Michelle Williams. Cinematography is by Jody Lee Lipes, editing by Jennifer Lame, original score by Lesley Barber, production design by Ruth De Jong, the set decorator is Florencia Martin, and costume design by Melissa Toth.
We are very pleased to invite you and your guest to a special pre-release screening of A24 / EOne’s 20th CENTURY WOMEN. This screening has been made possible with the generous participation ofANZ distributor eOne and the Roxy Cinema.
Synopsis: With 20th Century Women, writer-director Mike Mills presents a richly multilayered, funny, heart-stirring celebration of the complexities of women, family, time, and the connections for which we search our whole lives.
Set in Santa Barbara in the summer of 1979, the film follows Dorothea Fields (Annette Bening), a determined single mother in her mid-50s who is raising her adolescent son, Jamie ( Lucas Jade Zumann) at a moment brimming with cultural change and rebellion. Dorothea enlists the help of two younger women in Jamie’s upbringing – via Abbie (Greta Gerwig), a free-spirited punk artist living as a boarder in the Fields’ home, and Julie (Elle Fanning), a savvy and provocative teenage neighbor.
Mills recreates the warmth and passion of a great memory – but also the urgency and energy of three generations in the throes of momentous transition. Dorothea, conveys her unconditional love for her son together with her increasing bewilderment about the world she is watching him enter. As members of a share house with the Fields, Gerwig, Fanning, and Billy Crudup are the unique characters who each contribute in crucial ways to Jamie’s upbringing. 20th Century Women is a poignant love letter to the people who raise us – and the times that form us – as this makeshift family forges fragile connections that will mystify, haunt and inspire them through their lives.
We are very pleased to invite you and your guest to a special pre-release screening of Barry Jenkins’ MOONLIGHT. This screening has been made possible by US producer and distributor A24 Films with the generous participation of the Roxy Cinema.
Synopsis: A timeless story of human connection and self-discovery, MOONLIGHT chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.
At once a vital portrait of contemporary African American life and an intensely personal and poetic meditation on identity, family, friendship, and love, MOONLIGHT reverberates with compassion and truth. Anchored by performances from Mahershala Ali, Shariff Earp, Alex Hibbert, Janelle Monåe and Naomie Harris, MOONLIGHT is a moving portrayal of the moments, people, and unknowable forces that shape lives and identities.
MOONLIGHT is directed and written by Barry Jenkins from a story by Tarell McCraney. The film is produced by Dede Gardner, Jeremy Kleiner and Adele Romanski with cinematography by James Laxton. The film is edited by Joi Mcmillan and Nat Sanders, the composer is Nicholas Brittle and Production Design by Hannah Beachler. Art Director is Mabel Barba, Set Decorator Regina McLarney with Costume Design by Caroline Eselin, Makeup by Doniella Davy and Hair by Gianna Sparacino.
VES Members and a Guest are Invited to a Screening of Walt Disney Animation Studios’ MOANA
Please RSVP below
Saturday, November 26, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
VES Members and Their Guests in New Zealand are Invited to a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
Please RSVP below Tuesday, November 22, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ ARRIVAL
Please RSVP below Tuesday, November 15, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to an Opening Weekend 3D Screening of 20th Century Fox’s and DreamWorks Animation’s TROLLS
Please RSVP below
Saturday, November 5, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to an Opening Night 3D Screening of Marvel Studios’ and Walt Disney Pictures’ DOCTOR STRANGE
Please RSVP below Thursday, November 3, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to an Screening of Columbia Pictures’ INFERNO
Please RSVP below Thursday, October 27, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN
Please RSVP below
Thursday, October 13, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of
THE FIFTH ELEMENT
Please RSVP below Tuesday, October 11, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The VES NZ are excited to announce a private Q&A with Luc Besson.
Join us for a conversation with this wonderful director, whose work includes the Fifth Element and next year’s release Valerian and the city of a thousand planets.
This is a strict RSVP only event. Seating is limited.
Location: Camperdown cinema
Time: 2:30-4pm
Date: Tuesday 11th October.
The event is followed in the evening by a tie in screening of the Fifth Element. Please RSVP for the film seperately.
Many thanks to all that worked hard to get this event a green light.
Disclaimer: Should an event beyond our control result in the cancellation of this event we apologise for any inconvenience caused.
Hacksaw Ridge is directed by Mel Gibson and stars Andrew Garfield, Teresa Palmer, Sam Worthington, Rachel Griffiths, Vince Vaughn, Hugo Weaving and Luke Bracey. The film is produced by Bill Mechanic, Bruce Davey and David Permut from a screenplay by Robert Schenkkan and Andrew Knight and edited by John Gilbert. The cinematographer is Simon Duggan, production design is by Barry Robison and costume design by Lizzy Gardiner
Hacksaw Ridge is the extraordinary true story of Desmond Doss (Andrew Garfield) who, in Okinawa during the bloodiest battle of Word War II, saved 75 men without firing or carrying a gun. He was the only American soldier in WWII to fight on the front lines without carrying a weapon as he believed that while the war was justified, killing was nevertheless wrong. As an army medic he single-handedly evacuated the wounded from behind enemy lines, braved fire while tending to soldiers and was wounded by a grenade and hit by snipers. Doss was the first conscientious objector awarded the Congressional Medal of Honor.
Duration: 130 mins
Icon Films is releasing the film nationally on 3 November.
VES Members and Their Guests in New Zealand are Invited to a Screening of Sony Pictures’ and MGM’s THE MAGNIFICENT SEVEN
Please RSVP below Friday, September 30, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Pre-Release Screening of Lionsgate’s and Summit Entertainment’s DEEPWATER HORIZON
Please RSVP below Saturday, September 24, 2016 at 3:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis:
On April 20th, 2010, one of the world’s largest man-made disasters occurred on the Deepwater Horizon in the Gulf of Mexico. Directed by Peter Berg (LONE SURVIVOR), this story honors the brave men and women whose heroism would save many on board, and change everyone’s lives forever. Click here to watch the trailer
Join the VES New Zealand Section for a networking mixer as we celebrate the finest achievements in visual effects artistry.
This is a chance to introduce prospective VES members and the local industry to the Visual Effects Society and enjoy an evening of socialising and networking.
The first 40 guests to arrive will enjoy a glass of welcome bubbles.
The first 50 VES members who bring a prospective member as a guest will enjoy discounted drinks. (offer may be extended)
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ PETE’S DRAGON
Please RSVP below
Saturday, August 20, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Screening of Universal Pictures’ JASON BOURNE
Please RSVP below
Thursday, August 18, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP below
Tuesday, August 9, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Paramount Pictures’ STAR TREK BEYOND
Thurday, July 28, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Columbia Pictures’ GHOSTBUSTERS
Tuesday, July 19, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Screening of Walt Disney Pictures’ THE BFG
Please RSVP below
Thursday, July 14, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below
Thursday, July 7, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below
Thursday, July 7, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 2D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ FINDING DORY
Please RSVP below
Saturday, June 25, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BOOKINGS: +1 guest (adult or child) + 1 additional child per booking.
(ie. max two adults including the member per booking please)
VES Members and a Guest are Invited to a 2D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ FINDING DORY
Please RSVP below
Saturday, June 25, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BOOKINGS: +1 guest (adult or child) + 1 additional child per booking.
(ie. max two adults including the member per booking please)
VES Members and a Guest are Invited to a 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Thursday, June 23, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Thursday, June 23, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below
Tuesday, June 14, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below
Tuesday, June 14, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below
Thursday, June 9, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below
Thursday, June 9, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Friday, June 3, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Friday, June 3, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN AMERICA: CIVIL WAR
Thursday, May 12, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Screening of Universal Pictures’ THE HUNTSMAN: WINTER’S WAR
Thursday, May 5, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Thursday, April 28, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BOOKINGS: +1 guest (adult or child) + 1 additional child per booking.
(ie. max two adults including the member per booking please)
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Thursday, April 28, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BOOKINGS: +1 guest (adult or child) + 1 additional child per booking.
(ie. max two adults including the member per booking please)
VES Members and a Guest are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Saturday, March 19, 2016 at 4:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Saturday, March 19, 2016 at 4:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS
RSVPs are closed, as this event is overbooked. Wednesday, January 27, 2016 at 7:00PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS
RSVPs are closed, as this event is overbooked. Wednesday, January 27, 2016 at 7:00PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The NZ Nominations judging panel for the 14th Annual VES awards is to take place on January 9th 2016.
If you’d be interested in being a judge for the event please rsvp so we can keep you abreast of things and ensure that HQ know you are interested in being a judge.
The nominations judging panel is the VES equivilant of a bakeoff. It is the votes cast at this event that select the finalists in the VES awards.
The NZ Nominations judging panel for the 14th Annual VES awards is to take place on January 9th 2016.
If you’d be interested in being a judge for the event please rsvp so we can keep you abreast of things and ensure that HQ know you are interested in being a judge.
The nominations judging panel is the VES equivilant of a bakeoff. It is the votes cast at this event that select the finalists in the VES awards.
Join us again at the Lanes for some end of year Holiday wind down!
This year we’ll be in the downstairs “Arena” area at the Lanes, with three lanes of bowling, pool tables, air hockey, racing simulators, drinks and some hearty nibbles. Come let your hair down with your fellow VES members. No need to form teams – the bowling lanes will have rolling games going on.
Teq Talks is back with a line up of four new tasty speakers!
Belinda Griffiths – “From Paintbrush to Pixel” – Fragmented reality; a hybrid of traditional and digital technologies in studio practice
Astrid Visser – stop motion animation
James Doyle – check back later for the talk topic
Chris Welch – “Generative Form-Finding in Architecture” – A rundown of two projects that use cutting edge generative techniques in the design and fabrication processes
As well as some provided nibbles, La Boca Loca will be having Taco Tuesday, so they will be open from 5pm for anoyone who wants to get some delicious tacos before the talks begin, or you can order once we’re under way.
Short talks with Q & A and tequila on a Tuesday night. Perfect combination IMO.
FREE for VES members, $5 for non-members and $2 for students
Teq Talks is back with a line up of four new tasty speakers!
Belinda Griffiths – “From Paintbrush to Pixel” – Fragmented reality; a hybrid of traditional and digital technologies in studio practice
Astrid Visser – stop motion animation
James Doyle – check back later for the talk topic
Chris Welch – “Generative Form-Finding in Architecture” – A rundown of two projects that use cutting edge generative techniques in the design and fabrication processes
As well as some provided nibbles, La Boca Loca will be having Taco Tuesday, so they will be open from 5pm for anoyone who wants to get some delicious tacos before the talks begin, or you can order once we’re under way.
Short talks with Q & A and tequila on a Tuesday night. Perfect combination IMO.
FREE for VES members, $5 for non-members and $2 for students
NZ VES with the generous participation of Roadshow Film Distributors is pleased to invite you and your guest to a special screening of John Well’s Burnt.
time: 7.45pm
date: Wednesday 18th November
venue: Camperdown Cinema, Wellington
Chef Adam Jones (Bradley Cooper) had it all – and lost it. A two-star Michelin rockstar with the bad habits to match, the former enfant terrible of the Paris restaurant scene did everything differently every time out and only ever cared about the thrill of creating explosions of flavour. To land his own kitchen and that third elusive Michelin star he’ll need the best of the best on his side, including the beautiful Helene (Sienna Miller). Burnt is a remarkably funny story about the love of food, the love between two people and the power of second chances.
Burnt also features performances by Omar Sy, Emma Thompson, Daniel Brühl, Alicia Vikander, Uma Thurman and Lily James
Burnt is directed by John Wells (August: Osage County) from a screenplay by Steven Knight (Dirty Pretty Things) based on a story by Michael Kalesniko. The film is produced by Stacey Sher (Django Unchained) Michael Shamberg (Pulp Fiction) and Erwin Stoff (Unbroken). Director of Photography is Adriano Goldman (August: Osage County); Editor is Nick Moore (She’s Funny That Way); Composer is Rob Simonsen (Foxcatcher); Production Designer is David Gropman (Life of Pi); Costume Designer is Lyn Paolo (The Company Men).
NZ VES with the generous participation of Roadshow Film Distributors is pleased to invite you and your guest to a special screening of John Well’s Burnt.
time: 7.45pm
date: Wednesday 18th November
venue: Camperdown Cinema, Wellington
Chef Adam Jones (Bradley Cooper) had it all – and lost it. A two-star Michelin rockstar with the bad habits to match, the former enfant terrible of the Paris restaurant scene did everything differently every time out and only ever cared about the thrill of creating explosions of flavour. To land his own kitchen and that third elusive Michelin star he’ll need the best of the best on his side, including the beautiful Helene (Sienna Miller). Burnt is a remarkably funny story about the love of food, the love between two people and the power of second chances.
Burnt also features performances by Omar Sy, Emma Thompson, Daniel Brühl, Alicia Vikander, Uma Thurman and Lily James
Burnt is directed by John Wells (August: Osage County) from a screenplay by Steven Knight (Dirty Pretty Things) based on a story by Michael Kalesniko. The film is produced by Stacey Sher (Django Unchained) Michael Shamberg (Pulp Fiction) and Erwin Stoff (Unbroken). Director of Photography is Adriano Goldman (August: Osage County); Editor is Nick Moore (She’s Funny That Way); Composer is Rob Simonsen (Foxcatcher); Production Designer is David Gropman (Life of Pi); Costume Designer is Lyn Paolo (The Company Men).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The Weinstein Company in association with local distributor Roadshow Films is pleased to invite you and your guest to a private screening of Woman in Gold.
Woman in Gold is the remarkable true story of one woman’s journey to reclaim her heritage and seek justice for what happened to her family. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann (Helen Mirren), starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting Portrait of Adele Bloch-Bauer. Together with her inexperienced but plucky young lawyer Randy Schoenberg (Ryan Reynolds), she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court, and forces her to confront difficult truths about the past along the way.
Woman In Gold is directed by Simon Curtis from a screenplay by Alexi Kaye Campbell based on the life stories of E Randol Schoenberg and Maria Altman. The film features supporting performances by Daniel Bruhl, Tatiana Maslany, Katie Holmes and Charles Dance. Cinematography is by Ross Emery with Production Design by Jim Clay, Costume Design by Beatrix Pasztor and is edited by Peter Lambert. Music is by Martin Phipps and Hans Zimmer. The film is produced by David M Thompson and Kris Thykier
The film is eligible for your consideration in all categories.
The Weinstein Company in association with local distributor Roadshow Films is pleased to invite you and your guest to a private screening of Woman in Gold.
Woman in Gold is the remarkable true story of one woman’s journey to reclaim her heritage and seek justice for what happened to her family. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann (Helen Mirren), starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting Portrait of Adele Bloch-Bauer. Together with her inexperienced but plucky young lawyer Randy Schoenberg (Ryan Reynolds), she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court, and forces her to confront difficult truths about the past along the way.
Woman In Gold is directed by Simon Curtis from a screenplay by Alexi Kaye Campbell based on the life stories of E Randol Schoenberg and Maria Altman. The film features supporting performances by Daniel Bruhl, Tatiana Maslany, Katie Holmes and Charles Dance. Cinematography is by Ross Emery with Production Design by Jim Clay, Costume Design by Beatrix Pasztor and is edited by Peter Lambert. Music is by Martin Phipps and Hans Zimmer. The film is produced by David M Thompson and Kris Thykier
The film is eligible for your consideration in all categories.
This event has been cancelled and is not going to be rescheduled.
Due to time constraints in his schedule the event’s time slot was unable to be held.
We apologise for any inconvenience but hope you can appreciate how busy his schedule must be.
We are very appreciative that monsieur Besson was able to try to allocate some of his time to us and we hope he enjoys the remainder of his visit in NZ.
Many thanks, Your local VES Board
Q&A with Luc Besson
We are fortunate to get a bit of esteemed filmmaker Luc Besson’s time while he is here in Wellington.
Luc has agreed to do a Q&A for our VES section during lunch tomorrow between 11:30 and 12:30 at Camperdown.
Bring your questions about his films or filmmaking in general and take advantage of this special opportunity.
There is very limited space at this event.
The time of this event may change so please keep an eye on your emails after your rsvp in order to stay tuned of any updates.
This event has been cancelled and is not going to be rescheduled.
Due to time constraints in his schedule the event’s time slot was unable to be held.
We apologise for any inconvenience but hope you can appreciate how busy his schedule must be.
We are very appreciative that monsieur Besson was able to try to allocate some of his time to us and we hope he enjoys the remainder of his visit in NZ.
Many thanks, Your local VES Board
Q&A with Luc Besson
We are fortunate to get a bit of esteemed filmmaker Luc Besson’s time while he is here in Wellington.
Luc has agreed to do a Q&A for our VES section during lunch tomorrow between 11:30 and 12:30 at Camperdown.
Bring your questions about his films or filmmaking in general and take advantage of this special opportunity.
There is very limited space at this event.
The time of this event may change so please keep an eye on your emails after your rsvp in order to stay tuned of any updates.
The Weinstein Company in association with ANZ distributor Transmission Films and with the generous participation of Reading Courtenay Place is delighted to invite you and your guest to a special preview screening of Todd Haynes’ Carol. The film will be released nationally in New Zealand on 11 February 2016.
An adaptation of Patricia Highsmith’s debut novel The Price of Salt, Carol follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950s New York. As conventions of the time challenge their undeniable attraction, a story emerges to reveal the resilience of the heart in the face of change. A young woman in her 20s, Therese Belivet (Rooney Mara) is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol (Cate Blanchett) an alluring woman trapped in a loveless, convenient marriage. As an immediate attraction sparks between them, the innocence of their first encounter dims and their connection deepens. While Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light.
Carol is directed by Todd Haynes and adapted from the novel by Phyllis Nagy with performances from Rooney Mara, Cate Blanchett, Sarah Paulson and Kyle Chandler. The film is shot by Edward Lachman, designed by Judy Becker, edited by Affonso Gonçalves with the score composed by Carter Burwell. Carol is produced by Elizabeth Carlsen, Christine Vachon and Stephen Woolley.
VES NZ is proud announce a special presentation on The Peanuts Movie by Rob Cavaleri this Saturday, 7 November, at 4pm.
Venue: Camperdown Cinema
Rob Cavaleri is CG Supervisor at Blue Sky Studios, where he has worked on several animated films including Ice Age, Robots, and the Academy Award winning short, Bunny.
Their latest film, The Peanuts Movie, pushed the studio into new ground with a design and animation style to fit the universally known aesthetic of Charles Schulz.
Rob will talk about the artistic & technical challenges they faced. And how the Blue Sky team brought the classic pen lines of Charles Schulz to the big screen.
VES NZ is proud announce a special presentation on The Peanuts Movie by Rob Cavaleri this Saturday, 7 November, at 4pm.
Venue: Camperdown Cinema
Rob Cavaleri is CG Supervisor at Blue Sky Studios, where he has worked on several animated films including Ice Age, Robots, and the Academy Award winning short, Bunny.
Their latest film, The Peanuts Movie, pushed the studio into new ground with a design and animation style to fit the universally known aesthetic of Charles Schulz.
Rob will talk about the artistic & technical challenges they faced. And how the Blue Sky team brought the classic pen lines of Charles Schulz to the big screen.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of TriStar Pictures’ THE WALK
Please RSVP below Thursday, October 22, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of TriStar Pictures’ THE WALK
Please RSVP below Thursday, October 22, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below Thursday, October 15, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below Thursday, October 15, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below Tuesday, October 13, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below Tuesday, October 13, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of Netflix and with the generous participation of Reading Courtenay Place is delighted to invite you and your guest to a special preview screening of Cary Joji Fukunaga’s Beasts of No Nation.
Time and date:10.30am Sunday 11 October
Venue:Cinema 3
Reading Courtenay Place
Wellington
From director Cary Joji Fukunaga, Beasts of No Nation, set in West Africa, tells the story of a young villager Agu (Abraham Attah) whom we meet playing with his older brother, making mischief with his friends at a nearby refugee camp and enjoying dinner with his family. But the happy routines of childhood are shattered when army troops from the capital city arrive to quash a rebellion against the country’s corrupt regime. His mother and sister escape to a nearby city, but Agu is left behind with his father and brother, and shortly thereafter, he is suddenly on his own. Terrified and alone, Agu escapes to the forest where he’s discovered by a company of young rebels led by the charismatic Commandant (Idris Elba). There he undergoes a barrage of harsh treatment, initiation rituals and fiery speeches from the Commandant, but also finds a kindred spirit in Strika (Emmanuel “King Kong” Nii Adom), a mute fellow recruit. As the ragtag army sets off on a series of battles, Agu is eventually promoted from ammo carrier to rifle-toting soldier.Beasts of No Nation follows Agu’s journey and the loss of innocence, as he attempts to find the remains of a childhood that seems so out of reach.
Netflix presents Beasts of No Nation, a Red Crown Production in association with Participant Media and Levantine Films, and New Balloon and Mutressa Films.
Written for the screen and directed by Cary Joji Fukunaga.
Based on the book by Uzodinma Iweala.
Produced by Amy Kaufman, Cary Joji Fukunaga, Daniela Taplin Lundberg, Riva Marker, Daniel Crown and Idris Elba. Director of photography is Cary Joji Fukunaga. Production designer is Inbal Weinberg and set decorator is Katie Hickman. Costume designer is Jenny Eagan. Editors are Mikkel E.G. Nielsen and Pete Beaudreau. Music is composed by Dan Romer.
Beast of No Nation is launched worldwide on Nexflix on 16 October 2015 (17 October Aus/NZ) and simultaneously will be on theatrical release in the UK and US.
For this exclusive opportunity to see the film on the big screen, please RSVP to me on:celia@bluecatpictures.com.au
Blue Cat Pictures on behalf of Netflix and with the generous participation of Reading Courtenay Place is delighted to invite you and your guest to a special preview screening of Cary Joji Fukunaga’s Beasts of No Nation.
Time and date:10.30am Sunday 11 October
Venue:Cinema 3
Reading Courtenay Place
Wellington
From director Cary Joji Fukunaga, Beasts of No Nation, set in West Africa, tells the story of a young villager Agu (Abraham Attah) whom we meet playing with his older brother, making mischief with his friends at a nearby refugee camp and enjoying dinner with his family. But the happy routines of childhood are shattered when army troops from the capital city arrive to quash a rebellion against the country’s corrupt regime. His mother and sister escape to a nearby city, but Agu is left behind with his father and brother, and shortly thereafter, he is suddenly on his own. Terrified and alone, Agu escapes to the forest where he’s discovered by a company of young rebels led by the charismatic Commandant (Idris Elba). There he undergoes a barrage of harsh treatment, initiation rituals and fiery speeches from the Commandant, but also finds a kindred spirit in Strika (Emmanuel “King Kong” Nii Adom), a mute fellow recruit. As the ragtag army sets off on a series of battles, Agu is eventually promoted from ammo carrier to rifle-toting soldier.Beasts of No Nation follows Agu’s journey and the loss of innocence, as he attempts to find the remains of a childhood that seems so out of reach.
Netflix presents Beasts of No Nation, a Red Crown Production in association with Participant Media and Levantine Films, and New Balloon and Mutressa Films.
Written for the screen and directed by Cary Joji Fukunaga.
Based on the book by Uzodinma Iweala.
Produced by Amy Kaufman, Cary Joji Fukunaga, Daniela Taplin Lundberg, Riva Marker, Daniel Crown and Idris Elba. Director of photography is Cary Joji Fukunaga. Production designer is Inbal Weinberg and set decorator is Katie Hickman. Costume designer is Jenny Eagan. Editors are Mikkel E.G. Nielsen and Pete Beaudreau. Music is composed by Dan Romer.
Beast of No Nation is launched worldwide on Nexflix on 16 October 2015 (17 October Aus/NZ) and simultaneously will be on theatrical release in the UK and US.
For this exclusive opportunity to see the film on the big screen, please RSVP to me on:celia@bluecatpictures.com.au
The Weinstein Company in association with ANZ distributor Transmission Films is delighted to invite you and your guest to a special preview screening of Justin Kurzel’s Macbeth.
Time and date:10.30am Sunday 4 October
VenueReading Courtenay Place
Wellington
THIS IS A STUDIO ARRANGED SCREENING – RSVP TO: victoria@bluecatpictures.com.au
Please be aware that Victoria is our Studio liaison, NOT a VES affiliate and therefore communication with her should ONLY be for rsvp.
We are guests to this screening and attendance is at Victoria’s discretion.
Based on the play by William Shakespeare this cinematic adaptation of the classic tale of Macbeth is directed by Justin Kurzel (Snowtown) from a script by Jacob Koskoff, Michael Lesslie and Todd Louiso. Macbeth stars Michael Fassbender in the title role of Macbeth, a Duke of Scotland who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by Lady Macbeth, Marion Cotillard, Macbeth murders his king and takes the throne for himself. Macbeth also features Elizabeth Debicki as Lady Macduff, Sean Harris as Macduff and David Thewlis as King Duncan.
Macbeth is produced by Iain Canning, Emile Sherman and Laura Hastings-Smith. Director of Photography is Adam Arkapaw; Editor is Chris Dickens;Composer is Jed Kurzel; Production Designer is Fiona Crombie;Costume Designer is Jacqueline Durran.
Duration is 113 min
Macbeth opens nationally in select venues on 1 October via ANZ distributor Transmission Films.
The Weinstein Company in association with ANZ distributor Transmission Films is delighted to invite you and your guest to a special preview screening of Justin Kurzel’s Macbeth.
Time and date:10.30am Sunday 4 October
VenueReading Courtenay Place
Wellington
THIS IS A STUDIO ARRANGED SCREENING – RSVP TO: victoria@bluecatpictures.com.au
Please be aware that Victoria is our Studio liaison, NOT a VES affiliate and therefore communication with her should ONLY be for rsvp.
We are guests to this screening and attendance is at Victoria’s discretion.
Based on the play by William Shakespeare this cinematic adaptation of the classic tale of Macbeth is directed by Justin Kurzel (Snowtown) from a script by Jacob Koskoff, Michael Lesslie and Todd Louiso. Macbeth stars Michael Fassbender in the title role of Macbeth, a Duke of Scotland who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by Lady Macbeth, Marion Cotillard, Macbeth murders his king and takes the throne for himself. Macbeth also features Elizabeth Debicki as Lady Macduff, Sean Harris as Macduff and David Thewlis as King Duncan.
Macbeth is produced by Iain Canning, Emile Sherman and Laura Hastings-Smith. Director of Photography is Adam Arkapaw; Editor is Chris Dickens;Composer is Jed Kurzel; Production Designer is Fiona Crombie;Costume Designer is Jacqueline Durran.
Duration is 113 min
Macbeth opens nationally in select venues on 1 October via ANZ distributor Transmission Films.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES New Zealand members and their guests are invited to
as screening of STUDIOCANAL’s Blinky Bill the Movie.
September 5th
4pm
Camperdown Cinema
(This is an advance screening so we’d prefer if mobile phones were not brought to the cinema)
A story of one of Australia’s classic childhood characters, this is a G rated title that’s completely family friendly. Run time 91 minutes.
Made by the talented crew at Flying Bark Australia.
Bring along your little ones and enjoy an afternoon screening of this cuddly chap’s adventures.
Blinky Bill (voiced by Ryan Kwanten) is a little koala with a big imagination. An adventurer at heart, he dreams of leaving the little town of Green Patch and following in his missing father’s footsteps. When Blinky discovers a mysterious marker that hints at his Dad’s whereabouts, he embarks on a journey that takes him beyond the boundary of Green Patch and into the wild and dangerous Outback. He quickly makes friends with Nutsy, a zoo koala, and Jacko, a nervous frill-necked lizard. Pursued relentlessly by a vengeful Cat who has a personal score to settle with Blinky, the trio must learn to work together if they ever want to survive the rugged Australian landscape and find Blinky’s father!
Follow Blinky as he gears up for his big screen adventure!
Join the VES New Zealand Section for a networking mixer as we celebrate the finest achievements in visual effects artistry.
This is a chance to introduce prospective VES members and the local industry to the Visual Effects Society and enjoy an evening of socialising and networking.
The first 40 guests to arrive will enjoy a glass of welcome bubbles.
The first 50 VES members who bring a prospective member as a guest will enjoy discounted drinks. (offer may be extended)
Join the VES New Zealand Section for a networking mixer as we celebrate the finest achievements in visual effects artistry.
This is a chance to introduce prospective VES members and the local industry to the Visual Effects Society and enjoy an evening of socialising and networking.
The first 40 guests to arrive will enjoy a glass of welcome bubbles.
The first 50 VES members who bring a prospective member as a guest will enjoy discounted drinks. (offer may be extended)
After a fantastic kick off to this event series TEQ talks is back and even better!
This second time round our speakers will include:
Josh Herrig – 365 Days to Plan, One Photo
Kate Venables – The Modern Applications of Dance in the Entertainment Industry
Jordan McLachlan – Semi Anonymous Photo Sharing
and one other, TBC.
This time the Teq Talk also coincides with La Boca Loca’s Taco Tuesday, so those getting there early will be able to order a taco or two (or three). Some cold nibbles will be provided, and you are welcome to order more of your own. Come along, hear something new, meet new people or old friends and try the margarita special.
Free for VES members, $2 for students and $5 for eveyone else (cash preferred).
Thanks to Goodnest cleaning company there will be door prizes if you get in quick enough!
After a fantastic kick off to this event series TEQ talks is back and even better!
This second time round our speakers will include:
Josh Herrig – 365 Days to Plan, One Photo
Kate Venables – The Modern Applications of Dance in the Entertainment Industry
Jordan McLachlan – Semi Anonymous Photo Sharing
and one other, TBC.
This time the Teq Talk also coincides with La Boca Loca’s Taco Tuesday, so those getting there early will be able to order a taco or two (or three). Some cold nibbles will be provided, and you are welcome to order more of your own. Come along, hear something new, meet new people or old friends and try the margarita special.
Free for VES members, $2 for students and $5 for eveyone else (cash preferred).
Thanks to Goodnest cleaning company there will be door prizes if you get in quick enough!
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below Tuesday, August 18, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below Tuesday, August 18, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN
Please RSVP below Thursday, July 23, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below Thursday, July 16, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below Thursday, July 16, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ TED 2
Please RSVP below Tuesday, July 7, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ TED 2
Please RSVP below Tuesday, July 7, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
This month we'll be debuting our newest social event, TEQ Talks at La Boca Loca!
As series of short talks by local artists, innovators, and generally interesting people paired with tequila and beer on the last Tuesday of every month.
Members-Free, $5 Non-Members/$2-Students, cash only, paid at door
Signups Now Open
Limited Availability – if tickets are no longer required, please email rsvp.ves.nz@gmail.com to relase them
VES Members and Their Guests are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below Thursday, June 25, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below Thursday, June 25, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
(A special thanks to the New Zealand Film Commission for their continued support!)
You are invited to join us at 7.30pm on Thurs 18 June, for an evening of six local Kiwi Shorts.
We are delighted to be hosting award winning filmmaker and actor Sima Urale, as we enjoy 3 of Sima’s short films, which range over her 20 year career in film. There will be a Q&A opportunity with Sima after.
As previous, the event will be hosted at Camperdown Cinema.
If you require directions, please ask the Board for directions.
(A special thanks to the New Zealand Film Commission for their continued support!)
You are invited to join us at 7.30pm on Thurs 18 June, for an evening of six local Kiwi Shorts.
We are delighted to be hosting award winning filmmaker and actor Sima Urale, as we enjoy 3 of Sima’s short films, which range over her 20 year career in film. There will be a Q&A opportunity with Sima after.
As previous, the event will be hosted at Camperdown Cinema.
If you require directions, please ask the Board for directions.
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD
Please RSVP below Tuesday, June 16, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD
Please RSVP below Tuesday, June 16, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below Wednesday, June 3, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below Wednesday, June 3, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Opening Night Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below Thursday, May 28, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Opening Night Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below Thursday, May 28, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below Thursday, May 21, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below Thursday, May 21, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ EX MACHINA
Please RSVP below Tuesday, May 12, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ EX MACHINA
Please RSVP below Tuesday, May 12, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: AGE OF ULTRON
Please RSVP below Thursday, May 7, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: AGE OF ULTRON
Please RSVP below Thursday, May 7, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members are Invited to a special Classics Screening of JAWS
Please RSVP below Sunday, April 26th, 2015 at 11:30AM
Time Cinema- Lyall Bay
Address:191 Sutherland Rd, Lyall Bay, Wellington 6022
The seating at this cinema is strictly limited and rsvp’s have now been opened further.
Once capacity has been reached no further seats will be on offer.
Doors open 11:30am for a screening start time of between 12 and 12:30, prior to which refreshments will be provided and you will have the opportunity to peruse the fabulous boutique film museum that is Time Cinema. For more info about our venue check here.
VES Members are Invited to a special Classics Screening of JAWS
Please RSVP below Sunday, April 26th, 2015 at 11:30AM
Time Cinema- Lyall Bay
Address:191 Sutherland Rd, Lyall Bay, Wellington 6022
The seating at this cinema is strictly limited and rsvp’s have now been opened further.
Once capacity has been reached no further seats will be on offer.
Doors open 11:30am for a screening start time of between 12 and 12:30, prior to which refreshments will be provided and you will have the opportunity to peruse the fabulous boutique film museum that is Time Cinema. For more info about our venue check here.
VES Members and Their Guests are Invited to a Universal Studios’ Furious 7
Please RSVP below Tuesday, April 21, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Universal Studios’ Furious 7
Please RSVP below Tuesday, April 21, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below Tuesday, March 17, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below Tuesday, March 17, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s that time of year again! Pursuant to the VES Section bylaws, the VES NZ section will be meeting on Thursday 19 February to elect our board members for 2014. All members are encouraged to attend! This meeting will also serve as the local section’s AGM.
If you have any thoughts about the VES or the NZ Section that you want to discuss at the meeting let us know and we can add it to the agenda.
And if you would like to play a more active role in the Section’s activities over the coming year, why not put yourself forward for a position on the board? If you would like to stand for election please let me know or just turn up on the night.
We will meet at 7:30 pm in the Camperdown Cinema. Wine and nibbles will be provided! We want this to be a fun social get-together as well as an opportunity to conduct some necessary board business. It would be great to get numbers in advance so please rsvp below.
VES NZ Section board member elections and AGM
7:30 pm Thursday 19th February
Camperdown Cinema
As always, if you need directions to the cinema, please email ves-nz-board@googlegroups.com
It’s that time of year again! Pursuant to the VES Section bylaws, the VES NZ section will be meeting on Thursday 19 February to elect our board members for 2014. All members are encouraged to attend! This meeting will also serve as the local section’s AGM.
If you have any thoughts about the VES or the NZ Section that you want to discuss at the meeting let us know and we can add it to the agenda.
And if you would like to play a more active role in the Section’s activities over the coming year, why not put yourself forward for a position on the board? If you would like to stand for election please let me know or just turn up on the night.
We will meet at 7:30 pm in the Camperdown Cinema. Wine and nibbles will be provided! We want this to be a fun social get-together as well as an opportunity to conduct some necessary board business. It would be great to get numbers in advance so please rsvp below.
VES NZ Section board member elections and AGM
7:30 pm Thursday 19th February
Camperdown Cinema
As always, if you need directions to the cinema, please email ves-nz-board@googlegroups.com
To celebrate the VES awards and to have a post-awards chinwag about the results, on Sunday the 8th we are holding a post-awards BBQ at Worser Bay.
This family friendly event will start at 1pm at the boat club end of Worser Bay. We’ll be providing sausages, bread, condiments and a few other bits and pieces as well as some drinks, so please BYO any particular drinks, foods and extras you want. Don’t forget your sunscreen and bring your togs if it’s hot!
Sunday the 8th, 1pm to 4pm
Worser Bay, Wellington
It looks like it will be wind, but if it turns out it’s too windy on the day (current forcast is for strong Northerlies), the bad weater plan is to meet at Gasworks instead.
On behalf of The Weinstein Company and local distributor Roadshow Films we are pleased to invite you and your guest to the following special preview screenings:
BIG EYES starring Amy Adams and Christoph Waltz
time + date: 10am Sunday 4 January
venue: Reading Courtenay Place Cinemas
Wellington
From the whimsical mind of director Tim Burton, Big Eyes tells the outrageous true story of one of the most epic art frauds in history.
In the late 1950s and early 1960s, painter Walter Keane (Christoph Waltz) had reached success beyond belief, revolutionising the commercialisation of popular art with his enigmatic paintings of waifs with bigeyes. The bizarre and shocking truth would eventually be discovered: Walter’s works were actually not created by him at all, but by his wife Margaret (Amy Adams). The Keanes, it seemed, had been living a colossal lie that had fooled the entire world.
A tale too incredible to be fiction, Big Eyescenters on Margaret’s awakening as an artist, the phenomenal success of her paintings, and her tumultuous relationship with her husband, who was catapulted to international fame while taking credit for her work.
Big Eyes is in New Zealand cinemas on January 29 2015.
On behalf of The Weinstein Company and local distributor Roadshow Films we are pleased to invite you and your guest to the following special preview screening:
THE IMITATION GAME starring Benedict Cumberbatch with Keira Knightly, Charles Dance and Matthew Goode
time + date: 10am Saturday 3 January
venue: Reading Courtenay Place Cinemas
Wellington
In The Imitation Game, Benedict Cumberbatch stars as Alan Turing, the genius British mathematician, logician, cryptologist and computer scientist who led the charge to crack the German Enigma Code that helped the Allies win WWII. Turing went on to assist with the development of computers at the University of Manchester after the war, but was prosecuted by the UK government in 1952 for homosexual acts which the country deemed illegal.
The Imitation Game is directed by Morten Tyldum and is in New Zealand cinemas on January 8 2015.
On behalf of The Weinstein Company and Roadshow Film Distributors I am pleased to be able to invite you and your guest to a special advance screening of The Imitation Game directed by Morten Tyldum from a screenplay by Graham Moore adapted from the book Alan Turing: The Enigma by Andrew Hodges.
PLEASE NOTE: RSVP’s are COMPULSORY- THIS IS NOT A VES ORGANISED EVENT- LACK OF CONFIRMED RSVP WILL RESULT IN NON-ADMITTANCE.
In The Imitation Game, Benedict Cumberbatch stars as Alan Turing, the genius British mathematician, logician, cryptologist and computer scientist who led the charge to crack the German Enigma Code that helped the Allies win WWII. Turing went on to assist with the development of computers at the University of Manchester after the war, but was prosecuted by the UK government in 1952 for homosexual acts which the country deemed illegal.
The Imitation Game was produced by Nora Grossman, Ido Ostrowsky and Teddy Schwarzman with Cinematographer Oscar Faura, Composer Alexandre Desplat and editor William Goldenburg. Cumberbatch stars with key cast Keira Knightly, Charles Dance and Matthew Goode.
New Zealand VES Members and a guest are invited to a very special screening.
How to Train your Dragon 2
Followed by a Live Q&A with Dean DeBlois- Director
Light refreshments will be on offer- (wine/nibbles)
This is a strict RSVP event due to limited numbers, acadamy guests & guests of Dean.
At this point in time we can only offer +1 guest.
Should you wish to bring your children please send an email to rsvp@vesnz.com and should additional seats become available we will try to accomodate should there be spare seats available.
Please RSVP Below Sunday, November 23, 2014 at 11:00AM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Section Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
New Zealand VES Members And A Guest Are Invited To A Screening Of Paramount Pictures’ INTERSTELLAR
Please RSVP Below Saturday, November 22, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Section Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of The Weinstein Company and Roadshow Film Distributors I am pleased to be able to invite you and your guest to a special advance screening of The Imitation Game directed by Morten Tyldum from a screenplay by Graham Moore adapted from the book Alan Turing: The Enigma by Andrew Hodges.
PLEASE NOTE: RSVP’s are COMPULSORY- THIS IS NOT A VES ORGANISED EVENT- LACK OF CONFIRMED RSVP WILL RESULT IN NON-ADMITTANCE.
THIS IS A SECURITY SCREENING DUE TO THIS BEING PRE-RELEASE.
PLEASE DO NOT BRING ANY RECORDING DEVICES.
PHONES ARE ACCEPTABLE BUT WE WOULD PREFER IF THESE WERE AVOIDED IF POSSIBLE.
In The Imitation Game, Benedict Cumberbatch stars as Alan Turing, the genius British mathematician, logician, cryptologist and computer scientist who led the charge to crack the German Enigma Code that helped the Allies win WWII. Turing went on to assist with the development of computers at the University of Manchester after the war, but was prosecuted by the UK government in 1952 for homosexual acts which the country deemed illegal.
The Imitation Game was produced by Nora Grossman, Ido Ostrowsky and Teddy Schwarzman with Cinematographer Oscar Faura, Composer Alexandre Desplat and editor William Goldenburg. Cumberbatch stars with key cast Keira Knightly, Charles Dance and Matthew Goode.
On behalf of The Weinstein Company and local distributor Roadshow Films I am pleased to invited you and your guest to the Wellington preview screening of St. Vincent starring Bill Murray, Naomi Watts and Melissa McCarthy.
PLEASE NOTE: RSVP’s are COMPULSORY- THIS IS NOT A VES ORGANISED EVENT- LACK OF CONFIRMED RSVP WILL RESULT IN NON-ADMITTANCE.
In St. Vincent, Maggie (Melissa McCarthy), a single mother, moves into a new home in Brooklyn with her 12-year old son, Oliver (Jaeden Lieberher). Forced to work long hours, she has
no choice but to leave Oliver in the care of their new neighbor, Vincent (Bill Murray), a retired curmudgeon with a penchant for alcohol and gambling. An odd friendship soon blossoms
between the improbable pair. Together with a pregnant stripper named Daka (Naomi Watts), Vincent brings Oliver along on all the stops that make up his daily routine – the race track, a strip club,
and the local dive bar. Vincent helps Oliver grow to become a man, while Oliver begins to see in Vincent something that no one else is able to: a misunderstood man with a good heart.
St. Vincent is directed by Theodore Melfi from his own screenplay.For further information on the film please visit http://stvincentfilm.com
New Zealand VES Members And A Guests Are Invited To A Screening Of Sony Pictures Entertainment & Columbia Pictures’ FURY
Please RSVP Below Friday, October 24, 2014 at 7:30PM
Camperdown Cinema
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of IFC Films and local distributor Universal Pictures International and with the generous participation of Reading Courtenay Place VES Members are invited to a special screening of Richard Linklater’sBoyhood.
This event has been organised by the distributors and requires an RSVP direct to them in order to secure access/a seat.
Boyhood– a fictional drama made with the same group of actors over a 12 year period from 2002-2013 – takes a one of a kind trip, at once epic and intimate, through the exhilaration of childhood, the seismic shifts of a modern family and the very passage of time. The film tracks 6 year-old Mason (Ellar Coltrane) over life’s most radically fluctuating decade, through a familiar whirl of family moves, family controversies, faltering marriages, re-marriages, new schools, first loves, lost loves, good times, scary times and a constantly unfolding mix of heartbreak and wonder. But the results are unpredictable, as one moment braids into the next, entwining into a deeply personal experience of the incidents that shape us as we grow up and the ever-changing nature of our lives. As the story begins, dreamy-eyed primary schooler Mason faces upheaval: his devoted, struggling, single mother Olivia (Patricia Arquette)has decided to move him and older sisterSamantha (Lorelei Linklater) to Houston – just as their long absent father Mason Sr. (Ethan Hawke) returns from Alaska to re-enter their world. Thus begins life’s non-stop flux. Yet through a tide of parents and stepparents, girls, teachers and bosses, dangers, yearnings and creative passions, Mason emerges to head down his own road.
Written and directed byRichard Linklaterand produced byLinklater,Jonathan Sehring,John SlossandCathleen Sutherland. Cinematography byLee DanielandShane F Kelly,Edited bySandra Adairwith Production Design byRodney BeckerandGay Studebaker.
Kiwi Shorts V When: Tue Sep 09, 2014 07:30pm to 07:30pm PDT
The New Zealand VES Section invites members and non-members to our fifth screening of Kiwi Shorts.
(A special thanks to the New Zealand Film Commission for their continued support!)
Please join us to celebrate & enjoy 8 kiwi short films including a unique opportunity for a Q&A session with some of the film makers afterwards.
As always, the event will be hosted at Camperdown Cinema, if you require directions, please let us know
Please RSVP below.
Queenie (director Paul Neason, writers Sam Burt/Jeremy Liss)
Danny, a university Geography tutor in his 30s, embarks on a cutting edge academic project which has nothing to do with his ex-wife.
Blankets (director Louise Leitch, writer Casey Whelan, Producer Melissa Dodds)
What would you do for love? Jack spends an afternoon alone in his room, reliving the magic of a teenage love story and the tragic events that threaten to tear it apart. As he considers his world without his girl, he is left questioning what it really means to do the right thing.
Warbrick (director/writers Meihana Durie & Peter Durie, producer Mina Mathieson)
This short follows Joe Warbrick (Calvin Tuteao), captain of the New Zealand Natives rugby team, as he tries to rouse his battle-weary players to head unto the breach once more, for a test against England. It’s midwinter during the trailblazing 1888-89 tour (17 months and a staggering 107 matches) that left a black jersey and silver fern legacy. In a changing room that resembles a casualty ward, Warbrick draws breath and leads a stirring haka. Made by brothers Pere and Meihana Durie, Warbrick inspired the All Blacks the day before a 33-6 demolition of Australia in 2009.
Day Trip (director Zoe McIntosh, writer Costa Botes/Bill Payne, Producer Costa Botes/Gareth Moon)
A gang member wakes up one morning and decides he needs a day off. Inspired by a newspaper advertisement he impulsively decides to take a short ferry trip between islands. With his tattooed face, black leather clothing, and prominent gang patch, the gangster is a fish out of water when he arrives in the idyllic small port town of Picton. The experience he has there will change his outlook on life forever.
Double Happy (director/writer Shahir Daud, producers Shivali Gulab & Andrew Brettell)
This short film finds four 90s teenagers caught in the vicissitudes of growing up in Hutt Valley suburbia. Rising tensions during a day hanging out at the local park see misfit Rory ignite a cracker bag of cravings for belonging, furtive sexual feelings, violence, racism and boredom. The combustive results of his misdirected teen spirit give the film’s title a grim irony. Fijian-born director Shahir Daud based the story loosely on his own teen experiences; Double Happy screened at Montreal Film Festival and was a Short of the Week website pick in May 2011
Ebony Society (writer/director Tammy Davis, producers Ainsley Gardiner & Chelsea Winstanley)
Vinnie and his friend Jonah spend their nights on the streets of South Auckland tagging and stealing. One night Vinnie has had enough. He tries to break away from his overbearing friend but is drawn back in when Jonah threatens and humiliates him. When they break into a house and find themselves confronted with an unexpected situation it will be a test of their friendship, forcing Vinnie to take the lead and show Jonah another way.
Snow in Paradise (director/writer Nikki Si’ulepa & Justine Simei-Barton, producer Paul Simei-Barton)
A snapshot of life on a remote, picturesque island in the south Pacific through the eyes of a young Polynesian girl. As she ventures out on her daily routine she encounters the familiar faces of her family and the small community that she loves. Like her, they are all unsuspecting of the devastating power that lies beyond the ocean reef in a nuclear testing facility. In one moment her world will change forever.
Meathead (director/writer Sam Holst, producer Desray Armstrong/Chelsea Winstanley)
In this award-winning short film Michael is a 17-year-old who gets the abattoir blues during his first day at ‘the works’. Fitting in turns out to be the least of Michael’s worries as young blood is welcomed on the line in the old fashioned way, and rite of passage is interpreted literally to meaty effect. Meathead was filmed at the Wallace Meat plant in Waitoa. Based on the true story of a mate of his, director Sam Holst’s debut short was selected for Cannes and won the Crystal Bear in the Generation (14plus) section of the 2012 Berlin Film Festival.
New Zealand VES Members And A Guests Are Invited To A 3D Screening Of Marvel Studios’ And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Please RSVP Below Wednesday, August 13, 2014 at 7:30PM
Park Road Post Cinema
141 Park Rd, Miramar, Wellington Click here for a map.
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES New Zealand Chapter’s social night is coming up at CGR Merchants on the Thursday the 7th of August. Come on down to meet your fellow VES members, find out more about the people in our local chapter while sipping some of CGR Merchant’s infused gins and rums.
You may be asking where CGR Merchants is – it’s one of Courtney Places’s hidden gems. Tucked away up the stairs above Cafe Baba, this place infuses spirits to create its unique drinks.
Intimate and laid back, come and talk shop in and make a Thursday night special! RSVPs are open! Plus ones available to bring your partner or a friend who’s interested in joining the VES.
Can’t wait to see you there
(the earlybirds get the bar tab)!
New Zealand VES Members And A Guests Are Invited To A 3D Screening Of 20th Century Fox’s DAWN OF THE PLANET OF THE APES
Please RSVP Below Friday, July 11, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New Zealand VES Members And A Guests Are Invited To A 3D Screening Of Paramount Pictures’ TRANSFORMERS: AGE OF EXTINCTION
Please RSVP Below Monday, July 7, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
NZCS, CODEX and PARK ROAD POST invite NZCS members to an informative evening
When: June 30, 2014 6pm to 8:30pm Where: Park Road Post, 141 Park Road, Miramar Wellington Please RSVP – events@nzcine.com or Kevin on 027 2939059
Come see the Codex Vault and the new Codex Action CAM. We will have a brief presentation and then hands on time.
The frenetic pace of a TV production, the quick turnaround of a commercial, the longer production cycle of a feature film– no matter what type of project you’re making, Codex Vault can streamline your production and simplify your workflow. Vault brings your digital negative into one standard, secure workflow, saving you time and money and protecting your valuable asset. And now featuring CODEX REVIEW – superfast GPU processing for dailies, playback to an HD or 4K monitor and QC and color tools.
Introducing the Codex Action CAM – the small camera with a big workflow. Whether you’re making commercials, TV or movies, sometimes your camera package is just too big for the situation or location you’re trying to shoot in.
Enter Codex Action CAM…A complete shooting, capture, transcoding and data management solution for situations that require a compact form factor and low weight. Codex Action CAM itself is a tiny remote head camera for shooting at up to 60fps. It comes with the Codex Camera Control Recorder, providing full remote control of the camera, plus the proven workflow of the industry-standard Codex recorder.
New Zealand VES Members And A Guest Are Invited To A 3D Screening Of Warner Bros. Pictures’ EDGE OF TOMORROW
Please RSVP Below Thursday, June 19, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New Zealand VES Members & Guests Are Invited To A 3D Screening Of Walt Disney Pictures’ MALEFICENT
Please RSVP Below Tuesday, June 10, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board member.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New Zealand VES Members & Guests Are Invited To A 3D Screening Of 20th Century Fox’s X-MEN: DAYS OF FUTURE PAST
Click here to RSVP
Monday, May 26, 2014 at 7:30PM
The Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board-member.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New Zealand VES Members & Guests Are Invited To A 3D Screening Of Columbia Pictures’ The Amazing Spiderman 2- 3D
Click here to RSVP
Friday, May 09, 2014 at 7:30PM
The Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board-member.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New Zealand VES Members & Their Guests Are Invited To An Opening Night Screening Of Universal Pictures’
OBLIVION
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board-member.)
Please tweet your questions after the screening to the panel that will take place the next day in Los Angeles. Panelists so far will include Visual Effects Supervisors Eric Barba and Björn Mayer, Visual Effects Producer for Pixomondo Fiona Westgate, Animation Supervisor for Digital Domain Steve Preeg, and CG Supervisor for Pixomondo Gavyn Thompson, and will be moderated by VES member Gene Kozicki. (be sure to include the hashtag, #vesoblivion, in your tweet.) VES members will be notified when the panel video is available on the site.
With an introduction by VFX Supervisor Joe Letteri plus live interactive Q&A with the VFX team from Weta Digital
Panelists will include Visual Effects Supervisors Eric Saindon & Matt Aitken, Animation Supervisor David Clayton and will be moderated by a VES New Zealand Board-member to be announced.
Sunday, December 16, 2012 at 2:00PM
The Camperdown Cinema
(If you require directions, please contact a VES New Zealand Board-member.)
Please tweet your questions after the screening in order to participate in the live interactive Q&A panel (which will take place at Weta Digital in New Zealand) immediately following the North American and Sydney screenings. (be sure to include our Twitter handle, @vesben, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
(If you require directions, please ask a local VES New Zealand Board-member.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Plus recorded Q&A with VFX Supervisor Bill Westenhofer & key members of the VFX Team.
Panelists will include overall Visual Effects Supervisor Bill Westenhofer, MPC Visual Effects Supervisor Guillaume Rocheron, Digital Supervisor Jason Bayever, and Animation Supervisor Erik de Boer, and will be moderated by VES Board-member Tim McGovern.
Thursday, December 13, 2012 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Boardmember)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
(If you require directions, please contact a VES New Zealand Board-member.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
(If you require directions, please aske a local VES New Zealand Board-member.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New Zealand VES Members And Their Families
Are Invited To Attend A Screening Of
20th Century Fox’s
PROMETHEUS
Followed by recorded Q&A w/ overall VFX Supervisor Richard Stammers and MPC VFX Supervisor Charley Henley Moderated by VES London Boardmember Nicola Instone.
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking “Accept”, you consent to the use of ALL the cookies.
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. These cookies ensure basic functionalities and security features of the website, anonymously.
Cookie
Duration
Description
cookielawinfo-checbox-analytics
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Analytics".
cookielawinfo-checbox-functional
11 months
The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional".
cookielawinfo-checbox-others
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other.
cookielawinfo-checkbox-necessary
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary".
cookielawinfo-checkbox-performance
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Performance".
viewed_cookie_policy
11 months
The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data.
Functional cookies help to perform certain functionalities like sharing the content of the website on social media platforms, collect feedbacks, and other third-party features.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc.
Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads.