CONTENTS
PRODUCTIONS 8/ CAUGHT STEALING
DOP Matthew Libatique gives us the lowdown on his latest collaboration
with Darren Aronofsky 18/ THE LONG WALK
DOP Jo Willems and director Francis Lawrence reunite for a brutal Stephen King rework 28/ TRAIN DREAMS The natural world becomes a character in this poignant Clint Bentley feature. DOP Adolpho Veloso talks us through it 36/ WEAPONS We get the inside scoop on this summer’s hottest horror, courtesy of the special FX, sound and hair and makeup teams 44/ SUPERMAN Framestore breaks down its impressive VFX work in the latest adaptation of Superman to hit screens TECH 14/ GAUSSIAN SPLATTING Been wondering what the heck Gaussian splatting is? Find out with a little help from Clear Angle Studios and the NFTS 24/ CINEMATIC SPORTS It’s official: sports broadcasters are getting cinematic. We check out the tools and tech bringing a whole new dimension to your favourite game
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Katie Kasperson, senior staff writer, thinks Inception (2010) is the stuff of dreams DEFINITION RECOMMENDS: INCEPTION
R arely are we graced with a film as ambitious as Christopher Nolan’s Inception . First written as a horror, the plot – after being adapted to a thriller – follows professional dream stealer Dom Cobb (Leonardo DiCaprio) as he attempts a heist of a wealthy heir’s subconscious. The story is as complex as the human mind itself, but, much like any Nolan script, the protagonist’s emotional journey serves as its focal point, grounding the audience in reality despite the film’s gravity-defying visual effects.
Thanks to the success of Batman Begins and The Dark Knight , Nolan was awarded ample budget – enough to bring a story like this to life. With longtime collaborator Wally Pfister stepping in as cinematographer, they shot on location in Tokyo, Paris, Tangier and Alberta, with additional footage filmed on set builds in LA and London. While it may take two or three viewings to grasp what’s going on, Inception stands tall as a feat of big-budget filmmaking. Everyone involved understood the assignment.
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