Watch the 7 Hour Trailer for the 720 Hour Film, Ambiancé, the Longest Movie in History

in Art, Film | July 15th, 2014

There’s an old tru­ism in Hol­ly­wood that a movie shouldn’t last much longer than the endurance of the aver­age audi­ence member’s blad­der. Most fea­ture films run around an hour and a half to two hours, though sum­mer block­busters can last longer. Stu­dios gen­er­al­ly resist mak­ing long movies for the sim­ple rea­son that they can’t pack as many screen­ings per day. While some art house auteurs have made movies that extend to blad­der-bust­ing lengths – Bela Tarr’s bril­liant Satan­ta­n­go clocks in at sev­en and a half hours – the place to find tru­ly long movies is in the art world.

Chris­t­ian Marclay’s mas­ter­piece The Clock is a 24-hour mon­tage of watch­es, clocks and oth­er time­pieces from icon­ic movies synced to the actu­al time the film is run­ning. Anoth­er incred­i­bly long movie is the apt­ly named A Cure for Insom­nia, which fea­tures artist Lee Groban read­ing a real­ly long poem inter­cut with clips of porn and heavy met­al music. That movie lasts over 3 days. And if you want­ed to watch the entire­ty of Chi­nese artist Ai Wei­wei’s movie Bei­jing 2003 – which doc­u­ments every sin­gle street with­in Beijing’s inner ring – it would take you over a week.

But those films have noth­ing on Swedish artist and film­mak­er Anders Weberg, who is mak­ing Ambiancé, which is, at 720 hours, the longest movie in the his­to­ry of cin­e­ma. 720 hours. That’s 30 days. To put this into per­spec­tive, you can watch the entire spe­cial extend­ed cut of the Lord of the Rings tril­o­gy over 60 times in the time it takes for Ambiancé to unspool just once. The first trail­er came out July 4th, and it clocks in at 72 min­utes long, mak­ing it almost a fea­ture unto itself. You can see it above. If this seems lengthy – most trail­ers are three or so min­utes after all – note that Weberg promis­es that the next trail­er will last sev­en hours and 20 min­utes.

Weberg describes Ambiancé as a movie where space and time inter­twine “into a sur­re­al dream-like jour­ney beyond places and [it] is an abstract non­lin­ear nar­ra­tive sum­ma­ry of the artist’s time spent with the mov­ing image. 
A sort of mem­oir movie.” As you can see above, the movie fea­tures dense­ly lay­ered images with a haunt­ing, min­i­mal score. Weberg plans to screen the entire­ty of the movie in 2020 on every con­ti­nent simul­ta­ne­ous­ly just once before destroy­ing it. The trail­er is only going to be avail­able until July 20th, so watch it while you can.

Relat­ed Con­tent:

The Clock, the 24-Hour Mon­tage of Clips from Film & TV His­to­ry, Intro­duced by Alain de Bot­ton

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

Tour the World’s Street Art with Google Street Art

in Art, Google, Travel | July 14th, 2014

By far the most enjoy­able part of our recent fam­i­ly trip to Lon­don was the after­noon my young son and I spent in Shored­itch, grop­ing our way to No Brow, a comics shop I had noticed on an ear­ly morn­ing stroll with our host­ess. Our route was evi­dence that I had for­got­ten the coor­di­nates, the street name, the name of the shop… Even­tu­al­ly, I real­ized we were lost, and that is where the real fun began, as we retraced our steps using street art as bread crumbs.

Ah right, there’s  that rooftop mush­room instal­la­tion!

And there’s that Stik fig­ure…

After a while, a FedEx man took pity on us, ruin­ing our fun by steer­ing us toward the prop­er address..

I’m not sure I could ever dupli­cate our trail, but I enjoy try­ing with Google Street Art. Arm­chair trav­el­ers can use it to project them­selves to the heart of ephemer­al, pos­si­bly ille­gal exhi­bi­tions all over the globe,.

Bogotá... Paris... New York’s leg­endary 5 Pointz, before the land­lord clutched and white­washed the entire thing in the dead of night. Each up close pho­to bears a high­ly infor­ma­tion­al cap­tion, much more than you’d find in the street itself. Think of it as an after-the-fact dig­i­tal muse­um. It’s appro­pri­ate, giv­en the ephemer­al nature of the work. An online pres­ence is its best shot at preser­va­tion.

Those of us with some­thing to con­tribute can add to the record with a user gallery or by tag­ging our pho­tos with #Stree­tArtist.

Enter Google Street Art here.

Relat­ed Con­tent:

Obey the Giant: Short Film Presents the True Sto­ry of Shep­ard Fairey’s First Act of Street Art

Banksy Cre­ates a Tiny Repli­ca of The Great Sphinx Of Giza In Queens

Big Bang Big Boom: Graf­fi­ti Stop-Motion Ani­ma­tion Cre­ative­ly Depicts the Evo­lu­tion of Life

Ayun Hal­l­i­day is an author, home­school­er and the Chief Pri­ma­tol­o­gist of The East Vil­lage Inky zine. Fol­low her @AyunHalliday

Lost Kubrick: A Short Documentary on Stanley Kubrick’s Unfinished Films

in Film | July 14th, 2014

Liv­ing, as many do, in Los Ange­les, and lov­ing, as many do, the films of Stan­ley Kubrick, I man­aged to attend last year’s acclaimed Kubrick exhib­it at the Los Ange­les Coun­ty Muse­um of Art more than once. The first time there, I mar­veled at all the arti­facts they’d col­lect­ed from the pro­duc­tion of my favorite Kubrick films, the ones I’ve seen sev­en, eight, nine times: Dr. Strangelove, Bar­ry Lyn­don, 2001: A Space Odyssey, etc. But the sec­ond time, I focused on the rooms ded­i­cat­ed to the Kubrick films I’d nev­er seen — the ones, in fact, that nobody has ever seen.

Sev­er­al of his unfin­ished projects got far enough into pre-pro­duc­tion to leave behind a con­sid­er­able amount of intrigu­ing research mate­ri­als, script notes, shoot­ing sched­ules, design sketch­es, and screen tests. The sto­ry of each pro­jec­t’s ori­gin and demise reveals qual­i­ties of not just Kubrick­’s much-exam­ined work­ing meth­ods, but of his per­son­al­i­ty. “He was a man of such var­ied inter­ests that he was always busy,” says for­mer Warn­er Broth­ers exec­u­tive John Cal­ley in the short doc­u­men­tary above, Lost Kubrick. And if Kubrick had an inter­est, he instinc­tive­ly threw him­self into the mak­ing of a motion pic­ture to do with it.

“Napoleon was one of the abid­ing inter­ests of Stan­ley’s life,” says Antho­ny Frewin, Kubrick­’s assis­tant on 2001, “along with extrater­res­tri­al intel­li­gence, the Holo­caust, con­cen­tra­tion camps, Julius Cae­sar, Eng­lish place name ety­mol­o­gy, and three thou­sand oth­er things.” We’ve fea­tured Kubrick­’s Napoleon before, but Lost Kubrick also includes an exam­i­na­tion of The Aryan Papers, his aban­doned Hol­caust project from the 1990s. I do won­der how it would have com­pared to Schindler’s List, Steven Spiel­berg’s com­plet­ed Holo­caust project from the 1990s, which itself had an influ­ence on Kubrick­’s drop­ping The Aryan Papers. But Juras­sic Park, Spiel­berg’s dinosaur project from that same time, con­vinced Kubrick that spe­cial effects tech­nol­o­gy had come far enough for him to move for­ward on A.I., which he would lat­er hand over to Spiel­berg him­self. The younger direc­tor seems to have fall­en into the role of execu­tor of Kubrick­’s many ideas; just last year, he even announced plans to turn Kubrick­’s Napoleon script into a tele­vi­sion series. Per­son­al­ly, it makes me won­der less what Spiel­berg will do with the sto­ry of Napoleon than what Kubrick could have accom­plished in this age of the tele­vi­sion-series auteur.

Lost Kubrick will be added to our list, 285 Free Doc­u­men­taries Online, part of our larg­er col­lec­tion of 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

via Devour

Relat­ed Con­tent:

Napoleon: The Great­est Movie Stan­ley Kubrick Nev­er Made

Explore the Mas­sive Stan­ley Kubrick Exhib­it at the Los Ange­les Coun­ty Muse­um of Art

Stan­ley Kubrick’s Very First Films: Three Short Doc­u­men­taries

The Mak­ing of Stan­ley Kubrick’s A Clock­work Orange

Ter­ry Gilliam: The Dif­fer­ence Between Kubrick (Great Film­mak­er) and Spiel­berg (Less So)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

What Did Jane Austen Really Look Like? New Wax Sculpture, Created by Forensic Specialists, Shows Us

in History, Literature | July 14th, 2014

Last Wednes­day, the Jane Austen Cen­tre in Bath, Eng­land unveiled the wax sculp­ture above, which they say is the clos­est “any­one has come to the real Jane Austen in 200 years.” The fig­ure, The Guardian reports, is the cre­ation of foren­sic artist Melis­sa Dring, a “spe­cial­ist team using foren­sic tech­niques which draw on con­tem­po­rary eye-wit­ness accounts,” and Emmy-win­ning cos­tume design­er Andrea Galer.

Austen often intro­duced her char­ac­ters with broad descriptions—Emma Wood­house is “hand­some, clever, and rich,” Pride and Prej­u­dice’s Mr. Bin­g­ley sim­ply “a sin­gle man in pos­ses­sion of a good for­tune.” But her tal­ent con­sist­ed in under­min­ing such stock descrip­tions, and the soci­etal assump­tions they entail. Instead of types, she gave read­ers com­pli­cat­ed indi­vid­u­als squirm­ing uncom­fort­ably inside the bonds of pro­pri­ety and deco­rum. But what of Austen her­self? Read­ers ini­tial­ly knew noth­ing of the author, as her nov­els were first pub­lished anony­mous­ly.

Since her death in 1817, biog­ra­phers have told and retold her per­son­al his­to­ry, and she has become an almost cult-like fig­ure for fans of her work. Some of the author’s first biog­ra­phers were fam­i­ly mem­bers, includ­ing her nephew James Edward Austen-Leigh, who pub­lished A Mem­oir of Jane Austen in 1872 (above). In it, Austen-Leigh describes his aunt as “very attrac­tive”: “Her fig­ure was rather tall and slen­der, her step light and firm, and her whole appear­ance expres­sive of health and ani­ma­tion. In com­plex­ion she was a clear brunette with a rich colour; she had full round cheeks, with mouth and nose small and well-formed, bright hazel eyes, and brown hair form­ing nat­ur­al curls round her face.”

Based part­ly on that descrip­tion and oth­ers from niece Car­o­line, the wax fig­ure, Dring told the BBC, is “pret­ty much like her.” Austen “came from a large… fam­i­ly and they all seemed to share the long nose, the bright spark­ly eyes and curly brown hair. And these char­ac­ter­is­tics come through the gen­er­a­tions.” Dring used Austen’s sis­ter Cassandra’s famous por­trait as a start­ing point, but not­ed that the sketch “does make it look like she’s been suck­ing lemons […] We know from all accounts of her, she was very live­ly, very great fun to be with and a mis­chie­vous and wit­ty per­son.” All descrip­tions with which her devot­ed read­ers would doubt­less agree. See more pho­tos of the Austen wax sculp­ture here.

Relat­ed Con­tent:

The Recipes of Icon­ic Authors: Jane Austen, Sylvia Plath, Roald Dahl, the Mar­quis de Sade & More

15-Year-Old Jane Austen Writes a Satir­i­cal His­to­ry Of Eng­land: Read the Hand­writ­ten Man­u­script Online (1791)

Jane Austen’s Fic­tion Man­u­scripts Online

Find nov­els by Jane Austen in our col­lec­tions: 1,000 Free Audio Books: Down­load Great Books for Free and 800 Free eBooks for iPad, Kin­dle & Oth­er Devices

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Animated: Winston Churchill’s Top 10 Sayings About Failure, Courage, Setbacks, Haters & Success

in Life | July 13th, 2014

They’re all select­ed and ani­mat­ed by Simon Appel. Be warned, the voice of the nar­ra­tor is not exact­ly Churchillian.

You can find a longer selec­tion of Churchill’s great­est quotes over at Town­hall.…

The CIA’s Style Manual & Writer’s Guide: 185 Pages of Tips for Writing Like a Spook

in English Language, Politics, Writing | July 11th, 2014

Along with top­pling demo­c­ra­t­i­cal­ly elect­ed gov­ern­ments, fun­nel­ing mon­ey ille­gal­ly to dubi­ous polit­i­cal groups and pro­duc­ing porno­graph­ic movies about heads of state, the Cen­tral Intel­li­gence Agency has also been fiendish­ly good at manip­u­lat­ing lan­guage. After all, this is the orga­ni­za­tion that made “water­board­ing” seem much more accept­able, at least to the Wash­ing­ton elite, by rebrand­ing it as “enhanced inter­ro­ga­tion tech­niques.” Anoth­er CIA turn of phrase, “extra­or­di­nary ren­di­tion,” sounds so much bet­ter to the ear than “ille­gal kid­nap­ping and tor­ture.”

Not too long ago, the CIA’s style guide, called the Style Man­u­al and Writ­ers Guide for Intel­li­gence Pub­li­ca­tions, was post­ed online. “Good intel­li­gence depends in large mea­sure on clear, con­cise writ­ing,” writes Fran Moore, Direc­tor of Intel­li­gence in the fore­word. And con­sid­er­ing the agency’s deft­ness with the writ­ten word, it shouldn’t come as a sur­prise that it’s remark­ably good. Some high­lights:

• The guide likes the Oxford or ser­i­al com­ma. “Most author­i­ties on Eng­lish usage rec­om­mend [the ser­i­al com­ma], and it is the rule for CIA pub­li­ca­tions.”
• It favors using adjec­tives and adverbs spar­ing­ly. “Let nouns and verbs show their pow­er.”
• In all cas­es, it favors Amer­i­can over British spellings, even prop­er names. Thus, “Labor Par­ty” not “Labour Par­ty.” And for that mat­ter, the guide isn’t ter­ri­bly keen on using phras­es like “apro­pos” and “faux pas.” “For­eign expres­sions should be avoid­ed because they sound hack­neyed.”
• It wise­ly dis­cour­ages writ­ers, or any­one real­ly, from ever using the word “enthused.”
• And they cau­tion against using excla­ma­tion points. “Because intel­li­gence reports are expect­ed to be dis­pas­sion­ate, this punc­tu­a­tion mark should rarely, if ever, be used.”

And then there are some rules that will remind you this guide is the prod­uct of a par­tic­u­lar­ly shad­owy arm of the U.S. Gov­ern­ment.

• The guide makes a point of defin­ing “dis­in­for­ma­tion” as opposed to “mis­in­for­ma­tion.” “Dis­in­for­ma­tion refers to the delib­er­ate plant­i­ng of false reports. Mis­in­for­ma­tion equates in mean­ing but does not car­ry the same devi­ous con­no­ta­tion.” Now you know.
• Unde­clared wars, like Viet­nam, should be spelled with an uncap­i­tal­ized “w.” Same goes for the “Kore­an war” and the “Falk­lands war.” It goes on to argue that the writer should “avoid ‘Yom Kip­pur war’ which is slangy.” Pre­sum­ably, the CIA prefers the term “The 1973 Arab-Israeli war.”
• The con­fus­ing split between Chi­na and Tai­wan – each refus­es to rec­og­nize the oth­er — is rep­re­sent­ed con­fus­ing­ly here too. “For what was once called Nation­al­ist Chi­na or the Repub­lic of Chi­na, use only Tai­wan, both as noun and as adjec­tive. … Avoid Tai­wanese as an adjec­tive refer­ring to the island’s admin­is­tra­tion or its offi­cials (and do not use the term Tai­wanese gov­ern­ment.)”

It’s unclear whether or not the guide is being used for the CIA’s queasi­ly flip, pro­found­ly unfun­ny Twit­ter account.

If you’re look­ing for a more con­ven­tion­al style guide, remem­ber that Strunk & White’s Ele­ments of Style is also online.

Relat­ed Con­tent:

How to Spot a Com­mu­nist Using Lit­er­ary Crit­i­cism: A 1955 Man­u­al from the U.S. Mil­i­tary

How the CIA Secret­ly Fund­ed Abstract Expres­sion­ism Dur­ing the Cold War

Don­ald Duck’s Bad Nazi Dream and Four Oth­er Dis­ney Pro­pa­gan­da Car­toons from World War II

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

Terry Gilliam Reveals the Secrets of Monty Python Animations: A 1974 How-To Guide

in Animation, Comedy | July 10th, 2014

Before he direct­ed such mind-bend­ing mas­ter­pieces as Time Ban­dits, Brazil and Fear and Loathing in Las Vegas, before he became short-hand for a film­mak­er cursed with cos­mi­cal­ly bad luck, before he became the sole Amer­i­can mem­ber of sem­i­nal British com­e­dy group Mon­ty Python, Ter­ry Gilliam made a name for him­self cre­at­ing odd ani­mat­ed bits for the UK series Do Not Adjust Your Set. Gilliam pre­ferred cut-out ani­ma­tion, which involved push­ing bits of paper in front of a cam­era instead of pho­tograph­ing pre-drawn cels. The process allows for more spon­tane­ity than tra­di­tion­al ani­ma­tion along with being com­par­a­tive­ly cheap­er and eas­i­er to do.

Gilliam also pre­ferred to use old pho­tographs and illus­tra­tions to cre­ate sketch­es that were sur­re­al and hilar­i­ous. Think Max Ernst meets Mad Mag­a­zine. For Mon­ty Python’s Fly­ing Cir­cus, he cre­at­ed some of the most mem­o­rable moments of a show chock full of mem­o­rable moments: A pram that devours old ladies, a mas­sive cat that men­aces Lon­don, and a mus­tached police offi­cer who pulls open his shirt to reveal the chest of a shape­ly woman. He also cre­at­ed the show’s most icon­ic image, that giant foot dur­ing the title sequence.

On Bob God­frey’s series Do It Your­self Film Ani­ma­tion Show, Gilliam delved into the nuts and bolts of his tech­nique. You can watch it above. Along the way, he sums up his thoughts on the medi­um:

The whole point of ani­ma­tion to me is to tell a sto­ry, make a joke, express an idea. The tech­nique itself doesn’t real­ly mat­ter. What­ev­er works is the thing to use. That’s why I use cut-out. It’s the eas­i­est form of ani­ma­tion I know.

He also notes that the key to cut-out ani­ma­tion is to know its lim­i­ta­tions. Grace­ful, ele­gant move­ment à la Walt Dis­ney is damned near impos­si­ble. Swift, sud­den move­ments, on the oth­er hand, are much sim­pler. That’s why there are far more behead­ings in his seg­ments than ball­room danc­ing. Watch the whole clip. If you are a hard­core Python enthu­si­ast, as I am, it is plea­sure to watch him work. Below find one of his first ani­mat­ed movies, Sto­ry­time, which includes, among oth­er things, the tale of Don the Cock­roach. Also don’t miss, this video fea­tur­ing All of Ter­ry Gilliam’s Mon­ty Python Ani­ma­tions in a Row.

Relat­ed Con­tent: 

The Best Ani­mat­ed Films of All Time, Accord­ing to Ter­ry Gilliam

Ter­ry Gilliam: The Dif­fer­ence Between Kubrick (Great Film­mak­er) and Spiel­berg (Less So)

The Mir­a­cle of Flight, the Clas­sic Ear­ly Ani­ma­tion by Ter­ry Gilliam

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

A Threat to Internet Freedom: Filmmaker Brian Knappenberger Explains Why Net Neutrality Matters

in Technology | July 10th, 2014

A cou­ple weeks back, we men­tioned that Bri­an Knap­pen­berg­er had released his new doc­u­men­tary about Aaron Swartz, The Internet’s Own Boy, under a Cre­ative Com­mons license, mak­ing it free to watch online. He now returns with a short op-doc for The New York Times. It’s called A Threat to Inter­net Free­dom, and it explains why pre­serv­ing Net neu­tral­i­ty remains “crit­i­cal­ly impor­tant for the future of Inter­net free­dom and access.” It you’re get­ting up to speed on the whole net neu­tral­i­ty ques­tion, you’ll per­haps want to pair this video with Michael Good­win’s new illus­trat­ed primer, Vi Hart’s doo­dle-filled intro­duc­tion or John Oliv­er’s comedic but not less sub­stan­tive take on the mat­ter.

via Boing­Bo­ing

Percussionist Marlon Brando Patented His Invention for Tuning Conga Drums

in Music, Technology, Television | July 10th, 2014

Maybe you knew about Mar­cel Ducham­p’s pas­sion for chess. But did you know about Mar­lon Bran­do’s pas­sion for con­ga drums? Long­time fans may have first picked up on it in 1955, when the actor gave a microwave-link tele­vi­sion tour of his Hol­ly­wood Hills home to Edward R. Mur­row on Per­son to Per­son. Halfway through the seg­ment (above), Bran­do gets into his his­to­ry with the instru­ment, and even offers to “run down­stairs and give you a lick or two” — and the always high­ly-pre­pared pro­gram had cam­eras in the con­ga room ready to cap­ture this “impromp­tu” per­for­mance. While the inter­ests actors keep on the side may tend to wane, Bran­do’s seems to have waxed, and lat­er in life he even, writes Movieline’s Jen Yam­a­to, “enlist­ed the help of Latin jazz per­cus­sion­ist Pon­cho Sanchez while devel­op­ing a new tun­ing sys­tem for con­ga drums.” We can behold the extent and seri­ous­ness of Bran­do’s pur­suit of con­ga per­fec­tion with a look at one of those patents, filed in 2002, for an auto­mat­ic “drum­head ten­sion­ing device and method.”

As The Atlantic’s Rebec­ca Green­field explains in a post on “Patents of the Rich and Famous,” “tight­en­ing a drum takes a lot of effort. Once the drum head los­es its ten­sion, there are typ­i­cal­ly six sep­a­rate rods that need tight­en­ing. Far too many rods for Mar­lon. Bran­do explains that oth­ers have tried to devel­op mech­a­nisms that would improve the drum tight­en­ing expe­ri­ence but none of them pro­vid­ed a sim­ple or afford­able solu­tion.” Hence his motor­ized “sim­ple and inex­pen­sive drum tun­ing device that is also accu­rate and reli­able and not sub­ject to inad­ver­tent adjust­ments.” And if you have no need for an auto­mat­ic con­ga drum tuner, per­haps we can inter­est you in anoth­er of Bran­do’s achieve­ments? “He had these shoes that you can wear in the pool, that would increase fric­tion as you walk on the bot­tom of the pool to give you a bet­ter work­out,” says patent attor­ney Kevin Costan­za in an NPR sto­ry on Bran­do’s inven­tions. Or maybe you’d pre­fer to sim­ply watch The God­fa­ther again.

Relat­ed Con­tent:

Mar­lon Bran­do Screen Tests for Rebel With­out A Cause (1947)

The God­fa­ther With­out Bran­do?: It Almost Hap­pened

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Game of Thrones: A Great Behind-the-Scenes Look at The Show’s Visual Effects

in Television | July 10th, 2014

Maybe you’re a diehard Game of Thrones fan. Maybe you’re not. Either way, you’ll mar­vel at this behind-the-scenes video. The short clip was put togeth­er by Mack­e­vi­sion, one of the VFX (visu­al effects) stu­dios that worked on Sea­son 4 of the HBO series. As one com­menter on Metafil­ter not­ed, “The obvi­ous stuff, such as cas­tles in the back­ground, is expect­ed. As is adding in extra troops. But adding the fog, bits of vines and chang­ing the col­or of the grass are the lit­tle touch­es that enliv­en a scene. Love they’re mak­ing moun­tains just pop in the back­ground to illus­trate the VFX work.” Anoth­er com­menter not­ed, “It feels like a mod­ern-day Python ani­ma­tion.” All I can say is that we’ll have more on that lat­er today.

Relat­ed Con­tent:

Ani­mat­ed Video Explores the Invent­ed Lan­guages of Lord of the Rings, Game of Thrones & Star Trek

15-Year-Old George R.R. Mar­tin Writes a Fan Let­ter to Stan Lee & Jack Kir­by (1963)

Revealed: The Visu­al Effects Behind The Great Gats­by