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This is one of the movies Del Toro was born to make. The monsters and robots look fantastic so far - there's a lot of Mignola influence in there - and the scale feels massive. Thank god someone with some vision is tackling this crazy beast and not a bland fuckwad like Micheal Bay. Some details from the panel at Comic-Con: screenrant.com posted:Del Toro confirmed that some 40 different Kaiju (giant monsters) were designed for the film, with the best half dozen or so making it into the movie. Similarly, there are some 9 different models of Jaegers that make an appearance at some point. Hell. Yeah.
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Dec 13, 2012 09:51
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Zorak posted:Has del Toro said specifically what films / works specifically inspired him to pay them homage with the film? I haven't seen anything yet. I haven't seen any specific inspirations mentioned, although Evangelion seems pretty obvious. And Mignola, creator of the Hellboy and BPRD comics, is all over the monster and robot design. Del Toro's a giant fanboy - Mimic was an attempt to ape his graphic style onscreen - and the idea of giant otherworldly monsters sent to destroy earth, and the somewhat blocky, retro look of the Jaegers, is straight Mignola.
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Dec 13, 2012 10:07
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Mr.48 posted:So is anyone else somewhat disappointed that the designs of the Jaegers are kind of boring since its all bipedal humanoids? I'm assuming the robots are more humanoid as a heroic contrast to the monsters. That, and the idea of humans controlling the robots through a sort of motion capture system sortof requires a bipedal shape.
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Dec 14, 2012 00:02
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Goreld posted:
I'm not sure about movies, but in game development we rely pretty heavily on mo-cap now for cinematics, and we keep the original capture as a base - with an assload of cleanup and tweaking on top. I'm sure the WETA animators work their balls off, but having motion capture as a base to start from is incredibly helpful and time-saving. When you have a great physical actor like Serkis that becomes even more true.
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Dec 14, 2012 03:06
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Almost all CG effects are hand animated in the end. Even Gollum - despite what the press says, they used Serkis's performance for reference and actually hand animated it. Although Serkis took all the credit for Gollum's performance, a great deal of the work was actually done by WETA animators. (correction - a SHITLOAD of work was done by WETA animators, as is on any WETA project)
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Guyver posted:Guillermo del Toro did a commentary for the trailer at MTV Details about when scenes take place in the movie, some exposition on the background of the technology and the suits. I'd avoid it if you're worried about spoilers.
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Dec 14, 2012 04:17
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MisterBibs posted:Yes, and my point is that the concept of using giant robots to fight giant monsters is more believable than anyone thinking the robot names sound anything approaching cool and/or testicularly strong. I think they sound pretty "cool", so I guess not? They're weird and kitschy, just like the premise. What would you prefer? Bone Cruncher? Razor Claw? The destructinator?
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Dec 16, 2012 23:42
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With how great these robot designs are, I can't wait to see the Kaiju (who I will inevitably be rooting for). My guess is they'll be basing the marketing around the robots whilst mostly keeping the monster reveals for the film.
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Mar 29, 2013 23:11
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PaganGoatPants posted:Gameplay footage of the upcoming video game (not the online one). That's some assy looking art direction, my god. The Jeager/Kaiju models look pretty good but the environments are so dull and grey and dated. It's too bad considering the movie's shaping up to be so colorful and vibrant. I don't mind a Pacific Rim fighting game, but I'd kill for a really well-executed giant monster game somewhat along the lines of Ubisoft's King Kong.
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Jun 23, 2013 03:44
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TheNakedFantastic posted:I enjoyed Hellboy 2 a lot more than one. In fact I thought the first was just straight up bad. The sequel was a lot more visually interesting and varied in monster design which is the strong point of the series. I think the Nazi and Cthulhu hooks of the first film grabbed alot of people who dig that sort of stuff. The sequel dropped that in favor of broader fantasy tropes and left fans of the first film wanting. Personally I think they're both gorgeous, the second film in particular, but pretty lackluster as adaptations of the source material, of which Del Toro is a gigantic fanboy. Both Pan's Labyrinth and Devil's Backbone are closer in tone and spirit to the Hellboy comics than either of the movies.
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Jul 3, 2013 01:21
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What a gorgeous, gorgeous film. I don't remember the last time I've seen sets that...pulsed with so much color. I want to live in the Bone Slums. The Kaiju were incredible looking. Otachi was my favorite, by far. What a cool creature. The plot was enough. Not terribly clever, but not offensive. Charlie Hunnan is a nonentity, but Charlie Day is hilarious and charming, and steals the show along with the other scientist character. First real knockout blockbuster of the summer. I wish it had been an hour longer. Red Pyramid fucked around with this message at 08:00 on Jul 12, 2013 |
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Jul 12, 2013 07:57
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Lt. Danger posted:All this combines to create a basically fascist film - not in the sense that it's pro-fascist, or only fascists like it, but in the sense that it portrays a world that operates according to the basic tenets of fascism: warriors are good, violence in service of the state is good, alien others are bad, limp-wristed office suits are bad, so on so forth. You just described not only the lion's share of anime and kaiju films Pacific Rim's plot is intentionally derivative of, but most big budget action scifi movies. Heroic, militaristic state violence wielded to defeat an alien aggressor - sure, it fits, but you might as well argue that the entire genre is fascist. I think you're pinpointing the basic heroic story blueprint that fascism relies on, rather than the very specific political movement of fascism that only existed in a meaningful way during WW2 in MAYBE three (but probably only two, really) countries. Lt. Danger posted:Why is it that in this post-national future, where the nations of the world the Pacific come together to fight alien invaders, everyone (the warriors, the politicians, everyone) is still tagged with their nation of origin? If national boundaries have blurred and faded in the face of a common threat, how is it that we can still tell that Mako's Japanese and Raleigh's American and those two are Australian and those two are Russian...? Why does the film draw attention to Mako being Japanese with Japanese dialogue and Japanese cultural exchanges? The film never claims that it takes place in a "post-national future". Cooperation doesn't equate to a disintegration of autonomy. I think the fact that each Jaeger/pilot team still retains its own unique cultural quirks is an argument against the film being specifically fascist. Fascism emphasizes conforming to a single heroic national archetype. A fascist film might see the nations of the earth all shedding their individuality in order to adopt a single culture. Instead a cast of characters all with different origins come together and prevail - and they do it whilst being a bunch of petulant, dysfunctional troublemakers. Not exactly a hallmark of the fascist dream.
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Jul 20, 2013 22:50
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Corek posted:Didn't the old Transformers thread point out Megatron had a vaginal slit in his design in one of the movies? Christ, was a messy, illegible design. I forgot how ugly the Transformers were. How did that get through an art director?
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Jul 25, 2013 05:48
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