Hollywood Movie Joker Review And Information

Joker is a 2019 American psychological thriller film directed by Todd Phillips, who also co-wrote the screenplay with Scott Silver. The film, based on DC Comics characters, stars Joaquin Phoenix as Joker. Set in 1981, it follows Arthur Fleck, a failed clown and aspiring stand-up comic whose descent into mental illness and nihilism inspires a violent countercultural revolution against the wealthy in a decaying Gotham City. Robert De Niro, Zazie Beetz and Frances Conroy appear in supporting roles. Distributed by Warner Bros. Pictures, Joker was produced by Warner Bros. Pictures and DC Films in association with Village Roadshow Pictures, Bron Creative and Joint Effort.

Phillips conceived Joker in 2016 and wrote the script with Silver throughout 2017. The two were inspired by 1970s character studies and the films of Martin Scorsese, particularly Taxi Driver (1976) and The King of Comedy (1982), who was initially attached to the project as a producer (and De Niro coincidentally featured on the both films). The film loosely adapts plot elements from Batman: The Killing Joke (1988), but Phillips and Silver otherwise did not look to specific comics for inspiration. Phoenix became attached in February 2018 and was cast that July, while the majority of the cast signed on by August. Principal photography took place in New York City, Jersey City and Newark, from September to December 2018. Joker is the first live-action theatrical Batman film to receive an R rating from the Motion Picture Association.

Joker premiered at the 76th Venice International Film Festival on August 31, 2019, where it won the Golden Lion, and was theatrically released in the United States on October 4. The film received polarizing reviews from critics, with praise directed toward Phoenix's performance, Phillips's direction, the visual style, editing, musical score, and cinematography, while the tone, portrayal of mental illness, lack of originality and handling of violence divided opinions. The film was a box office success and set records for an October release. It grossed over $1 billion, the first R-rated film to do so and became the sixth-highest-grossing film of 2019 during its theatrical run. The film also received numerous accolades. A sequel, Joker: Folie à Deux, is set for release on October 4, 2024.

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A clown and aspiring stand-up comedian named Arthur Fleck lives with his mother, Penny, in crime-ridden Gotham City during the early 1980s recession. Arthur suffers from a neurological disorder that causes him to have random, uncontrollable laughing fits, requiring medication for which he depends on social services to obtain. After Arthur is attacked by street urchins, his co-worker Randall gives him a revolver for self-defense. Arthur pursues a relationship with his neighbor, single mother Sophie, and invites her to see his routine at a comedy club.

Arthur is fired from his job at a children's hospital when he accidentally exposes the gun despite his explanation that it was given to him by Randall, who denies this. While riding home on the subway still wearing his clown makeup, Arthur is mocked and beaten by drunk businessmen from Wayne Investments; he fatally shoots two of them in self-defense and murders the third as he attempts to flee. The killings are condemned by their employer, billionaire mayoral candidate Thomas Wayne, but protesters begin donning clown masks in Arthur's image. Budget cuts shut down the social service program, leaving Arthur without his medication.

Sophie attends Arthur's stand-up routine, which goes poorly; he laughs uncontrollably, and his jokes fall flat. Arthur intercepts a letter from Penny to Thomas, alleging that he is Thomas's illegitimate son, and berates his mother for hiding the truth. He goes to Wayne Manor, where he meets Thomas's young son Bruce, but flees after a scuffle with family butler Alfred Pennyworth. Penny suffers a stroke and is hospitalized. Arthur's idol, popular late-night talk show host Murray Franklin, presents clips of Arthur's failed performance on his show and mockingly calls him a "joker".

Arthur confronts Thomas at a film theatre. Thomas tells him that he is not his father, and Penny is not his biological mother. In denial, Arthur visits Arkham State Hospital and steals Penny's file, which states she was a narcissist who adopted Arthur while working as a housekeeper for the Waynes in the 1950s. Penny then raised Arthur with her abusive boyfriend, who later died in jail. Penny was sent to Arkham for allowing the abuse. Distraught, Arthur enters Sophie's apartment unannounced. Frightened, Sophie asks him to leave, revealing their relationship to be a figment of Arthur's imagination. The following day, Arthur smothers Penny to death at the hospital.

After his stand-up clips go viral, Arthur is invited to appear on Murray's show. He subsequently plans suicide during the broadcast. While crafting a clown-inspired persona, he is visited by Randall and another ex-colleague, Gary. Arthur kills Randall, but spares Gary for his kindness to him in the past. Two detectives investigating Arthur's involvement in the murders of the businessmen pursue him onto a subway filled with clown protesters. One detective accidentally shoots and kills a protester, thus inciting a riot, while Arthur escapes.

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Before the show goes live, Arthur asks Murray to introduce him as "Joker", a reference to his earlier mockery. Arthur behaves lewdly, tells morbid jokes, confesses to the subway murders, rants about how society abandons the downtrodden and mentally ill, and berates Murray for ridiculing him. After one more morbid joke, Arthur fatally shoots him on air. He is arrested, and riots erupt across the city. One of the rioters corners the Wayne family in an alley and murders Thomas and his wife, sparing Bruce. Rioters in an ambulance crash into the police car carrying Arthur, freeing him; he stands atop the car, starts to dance to the cheers of the crowd, and smears blood on his face into the shape of a smile.

At Arkham, Arthur laughs to himself about a joke while with a therapist, but declines to tell it, claiming she would not understand it. He leaves behind a trail of bloodied shoeprints as he is chased down a corridor by an orderly.

Joaquin Phoenix as Arthur Fleck / Joker: A mentally ill, impoverished party clown and stand-up comedian disregarded by society, whose history of abuse causes him to become a nihilistic criminal with a clown-inspired persona. Phoenix had been interested in a low-budget "character study" of a comic book character and said the film "feels unique, it is its own world in some ways and maybe It might as well be the thing that scares you the most". Phoenix lost 52 pounds for his role in the film.

Robert De Niro as Murray Franklin: A talk show host who plays a role in Arthur's downfall. De Niro said his role in Joker pays homage to his character from The King of Comedy (1982), Rupert Pupkin, who is a comedian obsessed with a talk-show host.

Zazie Beetz as Sophie Dumond: A cynical single mother and Arthur's "love interest". Beetz, a "huge fan" of Phoenix, said that it was "an honor" to costar with him and that she learned a lot working with him on set.

Frances Conroy as Penny Fleck: Arthur's mentally and physically ill mother, who formerly worked for Thomas Wayne.

Hannah Gross as young Penny.

Additionally, Brett Cullen portrays Thomas Wayne, a billionaire running for mayor of Gotham. Alec Baldwin was initially cast in the role, but dropped out due to scheduling conflicts. Carrie Louise Putrello portrays Thomas's wife Martha, although the character has no lines and is never referred to by name. Douglas Hodge plays Alfred Pennyworth, the butler and caretaker of the Wayne family, and Dante Pereira-Olson plays Bruce Wayne, Thomas' son, who becomes the Joker's archenemy Batman as an adult.

Additional cast members include Glenn Fleshler and Leigh Gill as Randall and Gary, Arthur's clown co-workers; Bill Camp and Shea Whigham as detectives Garrity and Burke in the Gotham City Police Department; Marc Maron as Gene Ufland, a producer on Franklin's show; Sharon Washington as Arthur's social worker; Josh Pais as Hoyt Vaughn, Arthur's agent; Brian Tyree Henry as Clark, a clerk at Arkham State Hospital; Ben Warheit, Michael Benz and Carl Lundstedt as bankers who harass Arthur; Gary Gulman and Sam Morril as comedians at an open mic where Arthur performs; and Bryan Callen as Javier, a co-worker of Arthur. Justin Theroux has an uncredited cameo as Ethan Chase, a celebrity guest on Franklin's show.

Development

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Joker director Todd Phillips in 2016

Between 2014 and 2015, Joaquin Phoenix expressed interest to his agent in acting in a low-budget "character study" type of film about a comic book villain, like DC Comics character the Joker. Phoenix had thought of the idea 1 to 2 years before Phillips conceived Joker in 2016. Phoenix had previously declined to act in the Marvel Cinematic Universe because he would have been required to reprise a role, such as the Hulk (initially portrayed by Edward Norton before he was recast by Mark Ruffalo) or Doctor Strange (ultimately portrayed by Benedict Cumberbatch), in multiple films. Phoenix ruled out the Joker for his "character study" idea and tried to think of a different one. "I thought, 'You can't do the Joker, because, you know, it's just you can't do that character, it's just been done'". Phoenix's agent suggested setting up an exploratory meeting with Warner Bros., but he declined and let go of the idea. Similarly, Todd Phillips had been offered to direct comic-based films a number of times, but declined because he thought they were "loud" and did not interest him. According to Phillips, Joker was created from his idea to create a different, more grounded comic book film. He was attracted to the Joker because he did not think there was a definitive portrayal of the character, which he knew would provide considerable creative freedom.

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Phillips pitched the idea for Joker to Warner Bros. after his film War Dogs premiered in August 2016. Prior to War Dogs, Phillips was mostly known for his comedy films, such as Road Trip (2000), Old School (2003) and The Hangover (2009); War Dogs marked a venture into more unsettling territory. During the premiere, Phillips realized "War Dogs wasn't going to set the world on fire and I was thinking, 'What do people really want to see?' In addition, he found that it was difficult to make comedy films in the "woke culture", throughout opposition of "30 million people on Twitter". He finally thought that "How do I do something irreverent, but fuck comedy? Oh I know, let's take the comic book movie universe and turn it on its head with this". He proposed that DC Films differentiate its slate from the competing Marvel Studios' by producing low-budget, standalone films. After the successful release of Wonder Woman (2017), DC Films decided to deemphasize the shared nature of its DC-based film franchise, the DC Extended Universe (DCEU). In August 2017, Warner Bros. and DC Films revealed plans for the film, with Phillips directing and co-writing with Scott Silver and Martin Scorsese set to co-produce with Phillips. According to Tatiana Siegel of The Hollywood Reporter, Scorsese considered directing Joker before Phillips was chosen, though a Warner Bros. source said he only became involved because the film needed a New York City-based producer.

According to Kim Masters and Borys Kit of The Hollywood Reporter, Jared Leto, who portrayed the Joker in the DCEU, was displeased by the existence of a project separate from his interpretation. In October 2019, Masters reported that Leto "felt 'alienated and upset'" when he learned that Warner Bros.—which had promised him a standalone DCEU Joker film—let Phillips proceed with Joker, going as far as to ask his music manager Irving Azoff to get the project canceled. Masters added that Leto's irritation was what caused him to end his association with Creative Artists Agency (CAA), as he believed "his agents should have told him about the Phillips project earlier and fought harder for his version of Joker". However, sources associated with Leto deny that he attempted to get Joker canceled and left CAA because of it.

Warner Bros. pushed for Phillips to cast Leonardo DiCaprio as the Joker, hoping to use his frequent collaborator Scorsese's involvement to attract him. However, Phillips said that Phoenix was the only actor he considered, and that he and Silver wrote the script with Phoenix in mind, "The goal was never to introduce Joaquin Phoenix into the comic book movie universe. The goal was to introduce comic book movies into the Joaquin Phoenix universe". Phoenix said when he learned of the film, he became excited because it was the kind he was looking to make, describing it as unique and stating it did not feel like a typical "studio movie". It took him some time to commit to the role, as it intimidated him and he said "oftentimes, in these movies, we have these simplified, reductive archetypes and that allows for the audience to be distant from the character, just like we would do in real life, where it's easy to label somebody as evil and therefore say, 'Well, I'm not that.

Writing

It was a yearlong process from when we finished the script just to get the new people on board with this vision, because I pitched it to an entirely different team than made it. There were emails about: 'You realize we sell Joker pajamas at Target.' There were a zillion hurdles, and you just sort of had to navigate those one at a time At the time, I would curse them in my head every day. But then I have to put it in perspective and go, 'They're pretty bold that they did this.'

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Todd Phillips

Phillips and Silver wrote Joker throughout 2017 and the writing process took about a year. According to producer Emma Tillinger Koskoff, it took some time to get approval for the script from Warner Bros., partly because of concerns over the content. Similarly, Phillips commented that there were "a zillion hurdles" during the year-long writing process due to the visibility of the character. Phillips said that while the script's themes may reflect modern society, the film was not intended to be political. He also noted that Joker is a story about child trauma and mental illness. In their script, Phillips talked about how difficult it is for patients to reveal their diagnoses, referring to a line from the film: "The worst part of having a mental illness is that people expect you to behave as if you don't".

The script draws inspiration from Scorsese films such as Taxi Driver (1976), Raging Bull (1980) and The King of Comedy (1983), as well as Phillips' Hangover Trilogy. Other films Phillips has cited as inspiration include character studies released in the 1970s—such as Serpico (1973) and One Flew Over the Cuckoo's Nest (1975)—the silent film The Man Who Laughs (1928) and several musicals. Phillips said that aside from the tone, he did not consider Joker that different from his previous work, such as his Hangover films. The film's premise was inspired by Alan Moore and Brian Bolland's graphic novel Batman: The Killing Joke (1988), which depicts the Joker as a failed stand-up comedian, while the climactic talk show scene was inspired by a similar scene in Frank Miller's The Dark Knight Returns (1986). However, Phillips said the film does not "follow anything from the comic books. That's what was interesting to me. We're not even doing Joker, but the story of becoming Joker". Phillips later clarified that he meant they did not look to a specific comic for inspiration, but rather "picked and chose what we liked" from the character's history. Having grown up in New York, Phillips also drew inspiration from life in New York City during the early 1980s. The Subway shooting scene and its aftermath were inspired by the 1984 New York City Subway shooting, while Arthur Fleck is partially based on the shooting's perpetrator, Bernhard Goetz.

Phillips and Silver found the most common Joker origin story, in which the character is disfigured after falling into a vat of acid, too unrealistic. Instead, they used certain elements of the Joker lore to produce an original story, which Phillips wanted to feel as authentic as possible. Because the Joker does not have a definitive origin story in the comics, Phillips and Silver were given considerable creative freedom and "pushed each other every day to come up with something totally insane". While the Joker had appeared in several films before, Phillips thought it was possible to produce a new story featuring the character. "It's just another interpretation, like people do interpretations of Macbeth", he told The New York Times. However, they did try to retain the ambiguous "multiple choice" nature of the Joker's past by positioning the character as an unreliable narrator—with entire storylines simply being his delusions and left what mental illnesses he suffers from unclear. As such, Phillips said the entire film is open to interpretation.

When a draft of the film's script, written in April 2018, was leaked and spread on the internet, Phillips stated that it was an old version from six months before filming began. Phillips also declined to take legal action against the spread of the script, stating that he liked having an old version circulate.

Pre-production

The logo of Joker. Chad Danielely printed the logo "aggressive / transparency / scraping / noise" effects, by letterpress using old wood type.

Following the disappointing critical and financial performance of Justice League (2017), in January 2018 Walter Hamada replaced Jon Berg as the head of DC-based film production at Warner Bros. Hamada sorted through the various DC films in development, canceling some while advancing work on others; the film was set to begin filming in late 2018 with a small budget of $55 million. Kim Masters of The Hollywood Reporter said Warner Bros. was reluctant to let Joker move forward and gave it a small budget in an effort to dissuade Phillips. Phillips said that Hamada did not understand what he was trying to do. By June, Robert De Niro was under consideration for a supporting role in the film. The deal with Phoenix was finalized in July 2018, after four months of persuasion from Phillips. Immediately afterwards, Warner Bros. officially green-lit the film, titled it Joker and gave it an October 4, 2019, release date. Warner Bros. described the film as "an exploration of a man disregarded by society that is not only a gritty character study, but also a broader cautionary tale".

Scorsese's longtime associate Koskoff joined to produce, although Scorsese left his producing duties due to other obligations. Scorsese considered serving as an executive producer, but was preoccupied with his film The Irishman. It was also confirmed that the film would have no effect on Leto's Joker and would be the first in a new series of DC films unrelated to the DCEU. In July, Zazie Beetz was cast in a supporting role and De Niro entered negotiations in August. Frances McDormand declined an offer to portray the mother of the Joker and Frances Conroy was cast. At the end of July, Marc Maron, and Bryan Callen joined the cast. Alec Baldwin was cast as Thomas Wayne on August 27, but dropped out two days later due to scheduling conflicts. Baldwin also noted the character's description as a reason for his departure, which called Thomas Wayne "a cheesy and tanned businessman who is more in the mold of a 1980s Donald Trump".

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Filming

The Newark Paramount Theatre. Street scenes were filmed in front of the abandoned theater in Downtown Newark, New Jersey.

A corrugated silver metal subway train sits with its doors open in a station. Its rollsign reads "0 Local / To Old Gotham all times / Downtown & Tricorner".

A New York City Subway C train with a rollsign for the fictional 0 train left over from filming for Joker

Principal photography commenced in September 2018 in New York City, under the working title Romeo. Shortly after filming began, De Niro, Brett Cullen, Shea Whigham, Glenn Fleshler, Bill Camp, Josh Pais and Douglas Hodge were announced to have joined the film, with Cullen replacing Baldwin. Bradley Cooper joined the film as a producer, and the director of photography was Lawrence Sher, both of whom Phillips had previously collaborated with. On September 22, a scene depicting a violent protest was filmed at the Church Avenue station in Kensington, Brooklyn, although the station was modified to look like the Bedford Park Boulevard station in the Bronx. Filming of violent scenes also took place at the abandoned lower platform of the Ninth Avenue station in Sunset Park, Brooklyn.

According to Beetz, Phillips rewrote the entire script during production; because Phoenix lost so much weight for the film, there would not be an opportunity for reshoots. She recalled, "we would go into Todd's trailer and write the scene for the night and then do it. During hair and makeup we'd memorize those lines and then do them and then we'd reshoot that three weeks later". Phillips recalled Phoenix sometimes walked off-set during filming because he lost self-control and needed to compose himself—to the confusion of other actors, who felt they had done something wrong. De Niro was one of the few Phoenix never walked out on and De Niro said he was "very intense in what he was doing, as it should be, as he should be".

Filming in Jersey City started on September 30 and shut down Newark Avenue, while filming in November, starting on November 9, shut down Kennedy Boulevard. Filming in Newark began on October 13 and lasted until October 16. Shortly before the Newark filming, SAG-AFTRA received a complaint that extras were locked in subway cars for more than three hours during filming in Brooklyn, a break violation. The issue was quickly resolved after a representative visited the set. That month, Dante Pereira-Olson joined the cast as a young Bruce Wayne. Whigham said towards the end of October the film was in "the middle" of production, adding that it was an "intense" and "incredible" experience. By mid-November, filming had moved back to New York. Filming wrapped on December 3, 2018, with Phillips posting a picture on his Instagram feed later in the month to commemorate the occasion.

In The Hollywood Reporter interview, Emma Tillinger Koskoff said that most stressful filming was the "Stair Dance" scene; because there were no laws on paparazzi in New York City, filming was disrupted by them. The South Bronx stairs used for the biographical crime film American Gangster (2007) were originally to be used for these scenes, according to The New York Times, but were deemed too repaved and beautified to be aesthetically acceptable for the film's tone. Initially, Lawrence Sher and Phillips had wanted to film on 65mm film for the 70mm format, but Warner Bros. rejected this due to cost, and the film was subsequently shot in using Arri Alexa 65 digital cameras. Warner Bros. did however end up giving Joker a limited theatrical release in converted 70mm and 35mm presentations.

The Creator Adventure Movie Story And Review

The Creator is a 2023 American science fiction film produced and directed by Gareth Edwards, who co-wrote the screenplay with Chris Weitz. The film stars John David Washington, Gemma Chan, Ken Watanabe, Sturgill Simpson, Allison Janney, and Madeleine Yuna Voyles (in her film debut). Its plot, set in a future impacted by war between the human race and the forces of artificial intelligence, follows an ex-special forces agent who is recruited to hunt down and kill the "Creator", who has developed a mysterious weapon with the power to end the war by destroying mankind itself, but must choose whose side he is on when he discovers what the weapon actually is.

Development began in November 2019 when Edwards signed on to direct and write an untitled science fiction project for New Regency and was officially announced in February 2020. He cited Apocalypse Now (1979), Baraka (1992), Blade Runner (1982), Akira (1988), Rain Man (1988), The Hit (1984), E.T. the Extra-Terrestrial (1982) and Paper Moon (1973) as this film's sources of inspiration. Originally titled True Love, it was changed to its current title. Filming began on January 17, 2022 and wrapped on May 30, 2022.

The Creator was released in the United States on September 29, 2023, by 20th Century Studios. The film received generally positive reviews from critics, with many praising its visual effects, direction, performances and its approach to the subject matter.

In 2055, an artificial intelligence created by the U.S. government detonates a nuclear warhead over Los Angeles, California. In response, the U.S. and its Western allies pledge to eradicate AI from the earth in order to prevent humanity's extinction. Their efforts are resisted by New Asia, a region in southeast Asia whose people continue to embrace AI despite outcry from the West. The U.S. military launches an extensive military campaign against AI, seeking to assassinate "Nirmata", the mysterious chief architect behind New Asia's AI advancements. The USS NOMAD (North American Orbital Mobile Aerospace Defense) is developed as an advanced high-altitude aerospace platform capable of launching destructive attacks from orbit.

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A decade after the destruction of Los Angeles, U.S. sergeant Joshua Taylor is embedded as an undercover operative in New Asia and is married to Maya, who the U.S. army believes to be the daughter of Nirmata. When U.S. forces attack their home, exposing to Maya that Taylor is a covert agent seeking to use Maya to find Nirmata, a pregnant Maya runs away but is apparently killed in a subsequent NOMAD strike.

Five years later, Taylor works as part of the ground zero cleanup crew in Los Angeles. He is approached by General Andrews and Colonel Howell, recruiting him on a mission aimed at locating and destroying a new weapon engineered by Nirmata, "Alpha O," believed to be capable of destroying the NOMAD platform and thus shifting the balance of the war in favor of the AI. To recruit him, they play a video showing Maya alive, and suggest he might find and reunite with her if he joins the team. In New Asia, separated from the rest of the strike team, Taylor manages to enter the compound believed to hold the weapon but discovers only a robotic "simulant" in the form of a young child. It is revealed that the girl has the ability to remotely control technology. Dubbing her "Alphie", Taylor disobeys Howell's orders to kill the simulant and with Alphie heads to the provincial capital to find Drew, Taylor's former commanding officer.

Examining Alphie, Drew tells Taylor she is capable of becoming the most powerful weapon on the planet as her abilities to control technology will grow exponentially. New Asian police attack Drew's apartment, killing his simulant girlfriend Kami, as Howell and squad member McBride close in. With Drew's help, Taylor locates Maya's beacon but does not find her, and the group once again comes under attack. Before Drew dies, he tells Taylor that the raid five years earlier had happened because the army had intelligence that Maya was Nirmata. Taylor and Alphie are captured by New Asian forces led by Harun, a simulant soldier and former ally of Taylor's, and are brought to their village.

Harun states that the tragedy in Los Angeles was caused by a human coding error, and that the U.S. government unfairly cast the blame on AI, who only wish to peacefully co-exist with humanity; Maya became the second Nirmata after her father's death. After escaping his captors, Taylor rescues Alphie and prepares to flee as Howell leads an attack on the village. Alphie intervenes with her abilities but is gravely wounded by McBride. She is rushed to Nirmata, whom Taylor learns has been in a coma since the strike on her home, tended by simulant monks. Because simulants cannot harm Nirmata, she is "stranded" and unable to die. It is also revealed that Alphie was based on Joshua and Maya's unborn daughter, who had been scanned in utero. Distressed, Taylor takes Maya off life support as Howell and her forces arrive. They are killed by Harun, who tells Taylor NOMAD must be destroyed in order for the war to end.

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Taylor and Alphie are captured by U.S. forces and taken to Los Angeles, where Taylor is forced to kill Alphie with an Electroshock weapon. However, Andrews later discovers this to be a ruse, and the pair escapes before Alphie can be incinerated. Boarding a lunar shuttle at the Los Angeles Interplanetary Air and Space Port, Alphie forces the spacecraft to land aboard NOMAD just as Andrews orders a large-scale assault on remaining AI bases across the globe. Taylor plants a timed explosive while Alphie disables the ship's power. Before Taylor can arrive at the escape pod, Andrews activates a tentacled robot that prevents him from entering, and Taylor is forced to eject the vehicle with Alphie in it. As NOMAD explodes, halting the strike, Taylor reunites with a simulant bearing Maya's likeness, whom Alphie had activated using a memory chip containing information Taylor had downloaded from Maya when he took her off life support, and shares a final embrace and kiss with her. On Earth, Alphie lands safely in New Asia and witnesses its people celebrating the NOMAD's destruction.

Development

Director, co-producer and co-writer Gareth Edwards (left) and co-writer Chris Weitz (right)

Development on the film began in November 2019, when Gareth Edwards signed on to direct and write an untitled science fiction project for New Regency to produce, along with Edwards' Rogue One: A Star Wars Story (2016) co-producer Kiri Hart serving as producer. A test shoot and location scouting was conducted that year, with Edwards using it as the opportunity to envision the look of the film. He described the process as "I took a camera and a 1970s anamorphic lens, we went location-scouting in Vietnam, Cambodia, Japan, Indonesia, Thailand, and Nepal. Our whole plan was just to go to the greatest locations in the world, because the cost of a flight is way less than the cost of building a set. We were going to hopscotch around the world and shoot this film, then layer in the science-fiction on top afterwards. If our film is trying to achieve something visually, it's trying to feel real in terms of science-fiction.

In February 2020, Edwards was officially announced as director. Edwards cited films such as Apocalypse Now (1979), Baraka (1992), Blade Runner (1982), Akira (1988), Rain Man (1988), The Hit (1984), E.T. the Extra-Terrestrial (1982) and Paper Moon (1973) as this film's sources of inspiration.

Casting

Top row: John David Washington (left), Gemma Chan, Ken Watanabe and Sturgill Simpson

Bottom row: Allison Janney (left), Ralph Ineson, Marc Menchaca and Veronica Ngo

In May 2021, John David Washington was announced to star, and the film's working title was revealed to be True Love. In June 2021, Gemma Chan, Danny McBride, and Benedict Wong entered negotiations to star. The involvements of Chan and Wong were confirmed in January 2022, with Allison Janney, Sturgill Simpson, and Marc Menchaca joining the cast. Simpson was reported to be taking over for McBride who departed due to scheduling conflicts. In February 2022, Ken Watanabe joined the cast to replace Wong, who also had to drop out due to scheduling conflicts; Watanabe had previously worked with Edwards on Godzilla (2014).

Filming

On a production budget of $80 million, principal photography began in Thailand on January 17, 2022, with Greig Fraser (who also serves as a co-producer) and Oren Soffer serving as cinematographers, and COVID-19 safety precautions in place. To give the film the feel of classic Hollywood epics such as Ben-Hur (1959), the filmmakers opted to shoot the film in the 2.76:1 ultra-wide aspect ratio.

The film backdrop features landforms of Ban Mung, Thailand

Among the on-site filming locations in Thailand are Suvarnabhumi Airport, Ban Mung, Sangkhla Buri, Chiang Dao, and Sam Phan Bok.

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For their duties, Fraser was involved in the pre-production process before moving to working remotely due to his commitment to Dune: Part Two (2024), while Soffer, for his first major studio film, served as the main director of photography throughout the production shoot. In an interview with Total Film, Edwards, who also served as one of the camera operators, commended Soffer and what he brought to the film's production, calling him a "real future rising star in the DoP world. He's super-smart. He's got a great eye." The film was shot on the prosumer Sony FX3 camera, the low cost of which is a rarity for a blockbuster film. Edwards would ultimately confirm the camera's usage during Collider's "Directors on Directing" panel at the 2023 San Diego Comic-Con, where director and fellow panelist Louis Leterrier noting that this creative decision could "change cinema" forever. In light of the budget, the filmmakers utilized guerrilla filmmaking methods by having very few crew members and natural lighting on set for select on-location scenes, and limited sound recording. Rather than build sets, or rely exclusively on digital methods such as greenscreens or StageCraft, the production found it was more cost effective to pay to send a small crew to film in 80 locations around the world which came closest to matching the desired sci-fi look. Then, only once the film had finalised the edit would visual effects be layered into the image. Using this method for visual effects, Edwards estimated the production spent only $80 million on a project which would have typically cost $300 million.[24] Filming wrapped on May 30, 2022.

Visual effects and post-production

The visual effects were provided by Industrial Light & Magic, SDFX Studios, Yannix, Virtuos, Weta Workshop Folks VFX, MARZ, Misc Studios, Fin Design + Effects, Outpost VFX, Lekker VFX, Crafty Apes, Jellyfish Pictures, Proof, Territory Studio, Atomic Arts and VFX Los Angeles James Clyne, who worked as a concept artist on Rogue One, reunited with Edwards on this film as its production designer.

The USS NOMAD is noted as one of the film's most significant elements due to its distinctive visual design and sound effects.

One of the most significant elements of the film is the fictional U.S. military space station NOMAD, which was noted for its distinctive visual design and sound effects. Edwards revealed that it took the entirety of the lockdowns caused by the COVID-19 pandemic to design it, describing the ship as "a bird of prey and an all-seeing eye in the sky, always looking at everybody. So we kept playing with those two shapes and merging them in a way until it just felt right." Erik Aadahl and Ethan Van der Ryn, who worked with Edwards on Godzilla (2014), provided the sound effects work for the ship, described as "a dance, is probably the nice way to say it, between music and sound, and it's never a fight." The assembly cut of the film, which ran for 5 hours, did not use any temp tracks for the music and just the sound design, which Edwards likened to that of the talkies during the late-1920s. Because of this, it was decided that no music be added to the film throughout the entire editing process in order to get the pacing and story structure right in an efficient manner. Edwards called the experience "super interesting. Part of me thinks that I would do that again, because it puts a lot of pressure on the sound design, but then you're not hiding behind music to save the storytelling.

Music

Main article: The Creator (soundtrack)

On July 17, 2023, Edwards confirmed on the film's Twitter account that Hans Zimmer was hired to score the film. On September 19, 2023, Edwards revealed that he initially planned on having a company specialising in AI-generated music replicate Zimmer's style of music. Although the process gave him satisfying results, Edwards instead chose Zimmer to originally score the film. The soundtrack was digitally released by Hollywood Records on September 29, 2023.

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Marketing

A first look at the film was shown at CinemaCon on April 26, 2023, with Anthony D'Alessandro of Deadline Hollywood praising the production design, saying that it made "Blade Runner look like child's play". It was also announced that the title was renamed from True Love to The Creator. Edwards later explained why the title was changed, saying that it "sounded too much like a romantic comedy, and that message would confuse potential audiences who weren't familiar with the film's plot or trailer.

The film's teaser trailer, set to a remix of Aerosmith's "Dream On," premiered online on May 17, 2023. The official trailer was released on July 17, 2023, three days after the beginning of the 2023 SAG-AFTRA strike. James Whitbrook of Gizmodo and EJ Tangonan of JoBlo.com found the move coincidental, given the similarities between the film's premise and SAG-AFTRA's fears of the film studios using artificial intelligence to replicate the likenesses of actors without compensation. Edwards agreed with this take, saying "I have a trick with AI is to get the timing as a sweet spot window where it's before the apocalypse and not after, which I think it's in November — maybe December — and so, I think we got really lucky The joke would be that when you write a film, especially a science fiction film, I try to avoid putting a date at some point, you have to so, I picked 2070. Now I feel like an idiot because I should've gone for 2023 'cause everything that's been unfolding in the last few months is kind of scary and weird.

Exclusive footage from one of the film's battle sequences and a first listen to some of Zimmer's score were presented at the 2023 San Diego Comic-Con on July 21, 2023. A behind-the-scenes featurette introducing Edwards' vision for the film and featuring interviews with the cast was released on August 21, 2023. An IMAX fan event showcasing exclusive footage from the film with a live Q&A with Edwards took place in select IMAX theaters nationwide on August 29, 2023, one month before the film's release.

Publicity stunts were also conducted in September 2023 when actors dressed as "AI robots" depicted in the film appeared during a National Football League game between the Los Angeles Chargers and the Miami Dolphins at SoFi Stadium in Inglewood, California, a Major League Baseball game between the San Diego Padres and the St. Louis Cardinals at Petco Stadium in San Diego, and the first race of the Autotrader EchoPark Automotive 400 at Texas Motor Speedway in Fort Worth, Texas. A book showcasing concept artwork and a behind-the-scenes look at the making of the film, written by James Mottram, will be published by Insight Editions and released by Simon & Schuster on November 14, 2023.

Controversy

On July 17, 2023, the official trailer for The Creator received negative criticism for using footage from the 2020 Beirut explosion as a visual effects plate shot of a futuristic Los Angeles being obliterated by a nuclear explosion. It was first noticed by a Reddit user and was subsequently covered by the YouTube channel Corridor Crew as part of their "VFX Artists React" series, where they expressed disdain at the incorporation of the footage.

On September 15, 2023, during a Reddit AMA with Gareth Edwards, he revealed that the alleged footage was never meant to be included in the trailer in the first place and that it is typical in filmmaking that archival footage be used as placeholders for VFX shots, while revealing that the shot is not in the film itself.

Release

An early press and industry screening of the The Creator, originally meant to have been its world premiere until being impacted by the 2023 Hollywood labor disputes, took place at the TCL Chinese Theatre in Los Angeles on September 18, 2023, with props and costumes from the film on display in the lobby. Edwards was also present and voiced his support for the film's cast, who could not attend and promote the film due to the strikes, in a speech before the film began. The film held its Texas premiere at Fantastic Fest on September 26, 2023, with a special screening as the opening night film of Beyond Fest that same day at the Aero Theatre in Santa Monica, California. The film's United Kingdom premiere took place on September 26, 2023, at the The Science Museum, South Kesington in London.

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It was released on September 29, 2023 in both conventional theaters and in IMAX, Dolby Cinema, 4DX and ScreenX, just two days after the end of the 2023 Writers Guild of America strike. It competed for opening weekend attendance with Paramount Pictures' PAW Patrol: The Mighty Movie and Lionsgate's Saw X. It had been originally set to be released on October 6, 2023 before it was announced at CinemaCon on April 26, 2023 that the film would be moving up a week.

John David Washington as Joshua Taylor, a military sergeant and undercover operative of the U.S. Army. He has an artificial right arm and left leg due to injuries he suffered during the nuclear explosion in Los Angeles, along with losing his parents and brother.

Madeleine Yuna Voyles as Alpha-O / "Alphie", a robotic simulant with the ability to remotely control technology.

Gemma Chan as Maya Fey-Taylor / Nirmata, the daughter of the original Nirmata (the titular "Creator") and Taylor's wife. Chan also portrays a simulant created by Alphie to replace the deceased Maya.

Allison Janney as Howell, a colonel in the U.S. Army who recruits Taylor. She harbors a deep prejudice against AIs due to losing both her sons in the war, one of whom was tortured by insurgents after being tricked by a simulant who seduced him.

Ken Watanabe as Harun, a simulant soldier in New Asia.

Sturgill Simpson as Drew, Taylor's former comrade and best friend.

Amar Chadha-Patel as Omni / Sek-on / Sergeant Bui, a citizen of New Asia who has donated his likeness to multiple simulants.

Marc Menchaca as McBride, a soldier in the U.S. Army who is part of Taylor's squad.

Robbie Tann as Shipley, a soldier in the U.S. Army who is part of Taylor's squad.

Ralph Ineson as Andrews, a general in the U.S. Army who recruits Taylor.

Michael Esper as Cotton, the captain of Taylor's squad.

Veronica Ngo as Kami, Drew's simulant girlfriend.

Action Movie Skyfall Information And Review

Skyfall is a 2012 spy film and the twenty-third in the James Bond series produced by Eon Productions. The film is the third to star Daniel Craig as fictional MI6 agent James Bond and features Javier Bardem as Raoul Silva, the villain, with Judi Dench returning as M. Directed by Sam Mendes and written by Neal Purvis, Robert Wade, and John Logan, the film has Bond investigating a series of targeted data leaks and co-ordinated attacks on MI6 led by Raoul Silva. It sees the return of two recurring characters, Miss Moneypenny (played by Naomie Harris) and Q (played by Ben Whishaw), after an absence of two films. Ralph Fiennes, Bérénice Marlohe and Albert Finney are among the supporting cast.

Mendes was approached to direct after the release of Quantum of Solace in 2008. Development of the film was suspended throughout 2010 after Metro-Goldwyn-Mayer (MGM) filed for Chapter 11 bankruptcy, which caused screenwriter Peter Morgan to leave the project. Production resumed in December 2010 after Purvis, Wade, and Logan were hired and a November 2012 release date was announced in January 2011. Principal photography began that November after the film's title was revealed and lasted until March 2012, with filming locations including London, Shanghai, Istanbul, and Scotland.

Skyfall premiered at the Royal Albert Hall on 23 October 2012, and was released theatrically in conventional and IMAX formats in the United Kingdom three days later and in the United States on 9 November, to coincide with the 50th anniversary of the first James Bond film Dr. No (1962). Skyfall received praise for Mendes's direction, cast performances, action sequences, cinematography, and musical score. The film was nominated for five awards at the 85th Academy Awards, winning two, and received numerous other accolades. Skyfall grossed $1 billion worldwide, the fourteenth film to do so, and became the then-seventh-highest-grossing film of all time, the highest-grossing James Bond film, the second-highest-grossing film of 2012, and the then-highest-grossing film released by Sony or MGM. The next film in the series, Spectre, was released in 2015.

In Istanbul, MI6 agents James Bond and Eve Moneypenny pursue mercenary Patrice, who has stolen a hard drive containing details of undercover agents. As Bond and Patrice fight atop a moving train, M orders Moneypenny to shoot Patrice, despite not having a clear shot; Moneypenny inadvertently hits Bond, who falls into a river. Bond is presumed dead and Patrice escapes with the hard drive.

Three months later, due to a public inquiry into M's handling of the stolen hard drive, she is pressured to retire by Gareth Mallory, the chairman of the Intelligence and Security Committee of Parliament and a former SAS officer. Although she claims she is still useful, MI6's servers are hacked, and M receives a taunting computer message moments before the MI6 building explodes. Bond, who used his presumed death to retire, learns of the attack and returns to service in London. He fails a series of physical, medical, and psychological examinations, but M approves his return to the field, ordering him to identify Patrice's employer, recover the hard drive, and kill Patrice. He meets Q, MI6's new quartermaster, who gives him a radio beacon and a Walther PPK pistol.

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In Shanghai, Bond follows Patrice and witnesses him killing a target. The two fight and Patrice falls to his death before Bond can learn his employer's identity. Moneypenny joins Bond in his investigation on orders from Mallory. Bond finds a casino token Patrice intended to cash in for the assassination, leading him to a casino in Macau. There, Bond is approached by Sévérine, Patrice's accomplice. Recognising her tattoo, he concludes she was a sex slave "rescued" by a criminal who now employs her, a man Bond wishes to meet. She warns him he is targeted by her bodyguards, but promises to help if Bond kills her employer. Bond thwarts the attack and joins Sévérine on her yacht, the Chimera. They travel to an abandoned island off the coast of Macau, where the crew captures and delivers them to Sévérine's employer, Raoul Silva. Once an MI6 agent, Silva turned to cyberterrorism and orchestrated the attack on MI6. Silva kills Sévérine, but Bond alerts MI6 reinforcements who capture Silva for rendition to Britain.

At MI6's new underground headquarters, Q attempts to decrypt Silva's laptop, but inadvertently gives it access to the MI6 servers, allowing Silva to escape. Q concludes Silva wanted to be captured as part of a plan to kill M, whom he hates for disavowing and betraying him to the Chinese government during the handover of Hong Kong in 1997, leaving him to be tortured and disfigured by a suicide attempt by cyanide pill. Silva escapes his cell and Bond chases him through the London Underground and thwarts Silva's attack at a Parliament inquiry where M is present.

Instructing Q and Bill Tanner to leave an electronic trail for Silva to follow, Bond uses his Aston Martin DB5 to take M to Skyfall, his childhood home in the Scottish Highlands. They meet Skyfall's gamekeeper Kincade, and together the trio set up a series of booby traps throughout the house. When Silva's men arrive, Bond, M, and Kincade kill most of them, but M is wounded. Silva arrives by helicopter with more men and heavy weapons, so Bond sends M and Kincade through a priest hole to hide in a nearby chapel, and rigs propane tanks to explode. As the house and the helicopter are destroyed, Bond escapes down the same tunnel.

Silva survives the destruction of the house, following Kincade and M to the chapel. Confronting M, Silva forces his gun into her hand and presses his temple to hers, begging her to kill them both. Bond arrives and kills Silva by throwing a knife into his back. M then succumbs to her wounds and dies in Bond's arms.

Following M's funeral, Moneypenny formally introduces herself to Bond and tells him she is retiring from fieldwork to become secretary for Mallory, the newly appointed M. Bond meets with Mallory, and tells him he is ready to get back to work.

Development

Development of Bond 23 began in 2009 but was suspended throughout 2010 because of MGM's financial troubles. Preproduction resumed following MGM's exit from bankruptcy on 21 December 2010, and in January 2011, the film was officially given a release date of 9 November 2012 by MGM and the Broccoli family, with production scheduled to start in late 2011. Subsequently, MGM and Sony Pictures announced that the UK release date would be brought forward to 26 October 2012, two weeks ahead of the US release date, which remained scheduled for 9 November 2012. The film's budget is estimated to have been between US$150 million and $200 million, compared to the $200 million spent on Quantum of Solace. Skyfall was part of year-long celebrations of the 50th anniversary of Dr. No and the Bond film series.

Pre-production

After the release of Quantum of Solace in 2008, producer Barbara Broccoli commented that Skyfall, untitled at the time, may continue the plot of the Quantum organisation, introduced in Casino Royale and continued in Quantum of Solace.

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In August 2011, the Serbian newspaper Blic stated that Bond 23 would be titled Carte Blanche and would be an adaptation of the recent continuation novel by Jeffery Deaver. On 30 August, Eon Productions officially denied any link between Bond 23 and Carte Blanche, stating that "the new film is not going to be called Carte Blanche and will have nothing to do with the Jeffery Deaver book". On 3 October 2011, fifteen domain names including jamesbond-skyfall.com and skyfallthefilm.com were reported to have been registered on behalf of MGM and Sony Pictures by Internet brand-protection service MarkMonitor. Skyfall was confirmed as the title at a press conference on 3 November 2011, during which co-producer Barbara Broccoli said that the title "has some emotional context which will be revealed in the film". The title refers to the name of Bond's childhood home, "Skyfall", and the setting for the film's finale.

Casting

The main cast was announced at a press conference held at the Corinthia Hotel in London on 3 November 2011, fifty years after Sean Connery had been announced as James Bond in the film Dr. No. Daniel Craig returned as James Bond for the third time, saying he felt lucky to have the chance. Mendes described Bond as experiencing a "combination of lassitude, boredom, depression [and] difficulty with what he's chosen to do for a living". Judi Dench returned as M for her seventh and final time. Over the course of the film, M's ability to run MI6 is called into question, culminating in a public inquiry into her running of the service.

Javier Bardem was cast as the principal villain, Raoul Silva, a cyberterrorist seeking revenge against those he holds responsible for betraying him. Bardem described Silva as "more than a villain", while Craig stated that Bond has a "very important relationship" to Silva. Mendes admitted that he had lobbied hard for Bardem to accept the part, and saw potential for the character to be recognised as one of the most memorable in the series. He wanted to create "something [the audience] may consider to have been absent from the Bond movies for a long time", and felt that Bardem was one of the few actors able to become "colourless" and exist as more than just a function of the plot. In preparing for the role, Bardem had the script translated into his native Spanish, which Mendes cited as a sign of his commitment. Bardem dyed his hair blond for the role, after brainstorming ideas for a distinct visual look with Mendes, which led some commentators to suggest a resemblance to WikiLeaks founder Julian Assange. Bérénice Marlohe was cast as Séverine, saved from the Macau sex trade by Silva and now working as his representative. Marlohe described her character as being "glamorous and enigmatic",[20] and that she drew inspiration from GoldenEye villain Xenia Onatopp (played by Famke Janssen).

Ralph Fiennes was cast as Gareth Mallory, a former lieutenant colonel in the British Army and now Chairman of the Intelligence and Security Committee, which regulates MI6. At the end of the film, Mallory becomes the head of MI6, assuming the title of 'M'. During production, Fiennes stated that he could not say anything specific about the role other than that it was a "really interesting part which is really quite fun". Fiennes had previously been considered to play Bond during the casting of GoldenEye. Naomie Harris was cast as the returning character of Miss Moneypenny. Harris's role was initially presented as that of Eve, an MI6 field agent who works closely with Bond. Despite media speculation that Harris had been cast as Miss Moneypenny, this was not confirmed by anyone involved in production, with Harris herself dismissing claims that Eve was in fact Moneypenny. According to Harris, Eve she is Bond's equal, but she is really his junior". Another returning character was Q, played by Ben Whishaw. Mendes had initially declined to confirm which part Whishaw would play, and later said the idea of the re-introduction was his, saying, "I offered ideas about Moneypenny, Q and a flamboyant villain and they said yes". To play the part of Kincade, Mendes cast Albert Finney. The producers briefly considered approaching Sean Connery to play the role in a nod to the 50th anniversary of the series, but decided not to as they felt Connery's presence would have been seen as stunt casting and might disengage the audience.

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Director Sam Mendes at the film's premiere in Paris, October 2012

Mendes first signed on to direct the project shortly after Quantum of Solace was released, and remained as a consultant during the uncertainty surrounding MGM's financial situation. Mendes, who had previously worked with Craig on Road to Perdition, was approached after seeing Craig in A Steady Rain, meeting after a performance, where Craig broached the subject of directing a Bond film for the first time. He was at first hesitant, as the job had little appeal to him, but he did not reject the offer immediately because of Craig's involvement and enthusiasm; Mendes described Craig's casting and performance in Casino Royale as being what he felt the Bond franchise needed. He agreed to direct after meeting producers Michael G. Wilson and Barbara Broccoli, and seeing the early direction the film was going to take. Media speculation was that Mendes had commissioned rewrites of the script to action scenes in favour of 'characterful performances'" with the hope of securing an Academy Award. Mendes denied this, saying that the action scenes were an important part of the film.

Roger Deakins signed on as cinematographer, having previously worked with Mendes on Jarhead and Revolutionary Road. Dennis Gassner returned as production designer, the costume designer was Jany Temime, Alexander Witt was director of the second unit, the stunt co-ordinator was Gary Powell and Chris Corbould supervised the special effects, while the visual effects supervisor was Steve Begg. All had worked on previous Bond films. Daniel Kleinman returned to design the title sequence after stepping aside to allow graphic design studio MK12 to create the Quantum of Solace sequence.

Writing

Peter Morgan was originally commissioned to write a script, but left the project when MGM filed for bankruptcy and production of the film stalled; despite his departure, Morgan later stated that the final script was based on his original idea, retaining what he described as its "big hook". Mendes denied this as "just not true", insisting that Morgan's approach had been discarded once he had agreed to direct. Robert Wade later said that "Neal and I were pretty steeped in Fleming. I think Peter was more interested in Le Carré. It just didn't work. Morgan cowrote the treatment Once Upon a Spy with Neal Purvis and Robert Wade, which had M being blackmailed by a Russian oligarch, who would be a former KGB agent she had an affair with while stationed in West Berlin during the Cold War. The script would have ended with Bond being forced to kill M. Mendes disliked most of the script but asked to keep the ending with M's death.

Purvis and Wade then wrote a new script drawing from You Only Live Twice (1964) and The Man with the Golden Gun (1965), in which Bond is presumed dead after an accident and travels back to London to an uncertain MI6. The original screenplay would have more closely followed the literary series' story arc with Bond becoming an amnesiac and unknowingly impregnating his lover Lily in Turkey, who would have tracked him down to London after he returned to MI6. It would have featured Bond tracking down a Francisco Scaramanga-esque villain into the Andes Mountains, and would have had a "Heart of Darkness feel. The screenplay was delayed because of MGM's financial problems. At the end of 2010, Purvis and Wade completed a draft titled Nothing is Forever in which a villain called Raoul Sousa kills M with a bombing aboard the Barcelona Metro and leaves a bureaucrat named Mallender as the new M. They still disliked the third act, and so later revised it to include the ending in Scotland. The final script was rewritten by John Logan, who kept most of Purvis and Wade's basic story. Logan recounted being brought into the project by his long-time friend Mendes, describing the process between Mendes and the writers as "very collaborative", and that writing Skyfall was one of the best experiences he had had in scripting. British playwright Jez Butterworth also provided uncredited contributions.

Location scouting

In April 2011, Mendes and Broccoli travelled to South Africa for location scouting. With the film moving into pre-production in August, reports emerged that shooting would take place in India, with scenes to be shot in the Sarojini Nagar district of New Delhi and on railway lines between Goa and Ahmedabad. The production crew faced complications in securing permission to close sections of the Konkan Railway. Similar problems in obtaining filming permits were encountered by production crews for The Dark Knight Rises and Mission: Impossible – Ghost Protocol. Permission was eventually granted to the Bond production crew; the production ultimately did not shoot in India.

Filming

The Aston Martin DB5 featured in the film

The MI6 Building in London

Principal photography was scheduled to take up to 133 days, although actually took 128. It began on 7 November 2011 in London, with Deakins using Arri Alexa digital cameras to shoot the entire film. It was the first Bond film to be shot digitally. Scenes were shot in London Underground stations, Smithfield car park in West Smithfield, the National Gallery, Southwark, Whitehall, Parliament Square, Charing Cross station, the Old Royal Naval College in Greenwich, Cadogan Square and Tower Hill. St Bartholomew's Hospital was used for the scene in which Bond enters MI6's underground headquarters, while the Old Vic Tunnels underneath Waterloo Station served as the MI6 training grounds. The meeting between Q and Bond was filmed when the National Gallery was closed at night.

The Department of Energy and Climate Change offices were used for the scene near the end, when Bond stands on the roof. Vauxhall Bridge and Millbank were closed to traffic for filming the explosion at the MI6 headquarters at Vauxhall Cross. Unlike for The World Is Not Enough, which featured an explosion at the building filmed at a large-scale replica, this explosion was added digitally during post-production. The finale was planned for Duntrune Castle in Argyll, but shortly after filming began the location was changed to Glencoe. Although supposedly in Scotland, Bond's family home was constructed on Hankley Common in Surrey using a plywood and plaster full-scale model of the building.

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The Varda Viaduct was used for the scene in which Bond is shot.

Production moved to Turkey in March 2012, with filming continuing until 6 May. Adana stands in for the outskirts of Istanbul. Some Turkish teenagers infiltrated a closed set in railway sidings in Adana, during film rehearsals of the fight on top of a train, before they were caught by security. The train scene depicted in trailers showed the Varda Viaduct outside Adana, during which Bond stunt double Andy Lister dived backwards off the 300-foot (91 m) drop, with a crane on a train carriage holding a safety line. Parts of Istanbul—including the Spice Bazaar, Yeni Camii, the Grand Post Office, Sultanahmet Square and the Grand Bazaar—were closed for filming in April. Affected store owners were reportedly allowed to open their shops, but not allowed to conduct business, instead being paid TRY₺750 ($418) per day as compensation. Production was criticised for allegedly damaging buildings while filming a motorcycle chase across rooftops. Wilson denied this, pointing out that the crew had removed sections of rooftop before filming, and replaced them with temporary replicas. The production team negotiated with 613 part-owners of Calis Beach in Fethiye to film along the coastline.

Mendes confirmed that China would feature in the film, with shooting scheduled for Shanghai and "other parts" of the country. Logan asserted that they deliberately sought locations that were "in opposition" to London, with an exotic quality as "places for Bond to be uncomfortable". Scenes with the principal actors were not filmed on location in Shanghai, but in the UK. The Virgin Active pool in London's Canary Wharf acted as Bond's hotel pool, Ascot Racecourse stood in for Shanghai Pudong International Airport, and London's Broadgate Tower was used as the entrance and lobby of the Shanghai office building. The Golden Dragon casino in Macau was constructed on a sound stage at Pinewood Studios, with 300 floating lanterns and two 30-foot-high dragon heads lighting the set. The production received permission to shoot second unit aerial footage of Shanghai from a helicopter loaned by the Chinese government. The first official image from the film was released on 1 February 2012, showing Craig on set at Pinewood within a recreation of a Shanghai skyscraper.

The lair of villain Silva was inspired by Hashima, an abandoned island off the coast of Nagasaki, Japan. In the film, the fictionalized island is located near Macau. Mendes explained that the sequence was created with a combination of large sets of the city streets and computer-generated establishing shots. The Hashima setting was included after Craig met with Swedish film-maker Thomas Nordanstad while shooting The Girl with the Dragon Tattoo in Stockholm. Nordanstad, who produced a short 2002 documentary on the island entitled Hashima, recalled Craig taking extensive notes during the meeting, but was unaware of his interest in it until Skyfall was released.

The film was later converted into the IMAX format for projection in IMAX cinemas. Deakins was unaware that the film was to be released on IMAX until after he had made the decision to shoot the film with the Arri Alexa cameras, and was unhappy with the IMAX tests made from his footage as the colours "didn't look great". After exploring the IMAX system further and discovering that the IMAX Corporation was using their proprietary re-mastering process, Deakins had further tests made without the process and found that "the images looked spectacular on the big IMAX screen", quelling his doubts about the format.

Critical response

Skyfall received "generally positive reviews from critics and fans", according to the GlobalPost. On review aggregator website Rotten Tomatoes, the film received an approval rating of 92% based on 384 reviews, with an average rating of 8.20/10. The site's critical consensus reads, "Sam Mendes brings Bond surging back with a smart, sexy, riveting action thriller that qualifies as one of the best 007 films to date. On Metacritic, the film has a weighted average score of 81 out of 100 based on 49 critics, indicating "universal acclaim". CinemaScore polls reported that the average grade filmgoers gave the film was an "A" on an A+ to F scale.

A number of critics, including Kate Muir, reviewing for The Times, Philip French, writing in The Observer, IGN's Daniel Krupa and the reviewers for the Irish Independent and the Daily Record, all asked whether Skyfall was the best Bond film. The Daily Telegraph's film reviewer, Robbie Collin, considered Skyfall to be "often dazzling, always audacious", with excellent action sequences in a film that contained humour and emotion. Todd McCarthy of The Hollywood Reporter thought that Skyfall was "dramatically gripping while still brandishing a droll undercurrent of humor", going on to say that it was a film that had "some weight and complexity to it". Variety's Peter DeBruge suggested that the film's greatest strength lay in its willingness to put as much focus on characterisation as it did action set-pieces, allowing the two to co-exist rather than compete for the audience's attention, while Manohla Dargis, reviewing for The New York Times, considered Skyfall to be "a superior follow-up to Casino Royale" which is "opulent rather than outlandish and insistently, progressively low-key".

Kim Newman, reviewing the film for Empire, concluded, "Skyfall is pretty much all you could want from a 21st Century Bond: cool but not camp, respectful of tradition but up to the moment, serious in its thrills and relatively complex in its characters but with the sense of fun that hasn't always been evident lately". Roger Ebert of the Chicago Sun-Times gave the film 4 out of 4 stars, describing it as "a full-blooded, joyous, intelligent celebration of a beloved cultural icon". Reviewing for the New Statesman, Ryan Gilbey saw that "nostalgia permeates the movie", going on to say that "sometimes the old ways are the best".

A number of reviewers praised Daniel Craig's lead performance. Roger Ebert believed that in Skyfall, "Daniel Craig takes full possession of a role he earlier played well in 'Casino Royale,' not so well in 'Quantum'"; Philip French commented that "Craig manages to get out of the shadow of Connery"; while Daniel Krupa thought Craig's Bond was a "defining performance" for "a great actor". Edward Porter, writing in The Sunday Times, considered that "Craig has developed an authoritative Bond persona, dry and intelligent". Ryan Gilbey thought Craig had "relaxed into Bond without losing any steeliness".

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The supporting cast also received praise. Roger Ebert reflected that Skyfall "at last provides a role worthy of Judi Dench, one of the best actors of her generation. She is all but the co-star of the film, with a lot of screen time, poignant dialogue, and a character who is far more complex and sympathetic than we expect in this series". Jenny McCartney, writing in The Sunday Telegraph, agreed, describing Dench as "compellingly luminous" in the film, and the one that "the camera caresses most meaningfully and often". McCartney thought Javier Bardem played Silva "with worrisome élan", while Henry K Miller considered his character "the most authentically Bondian Bond villain in decades". A number of critics noted the strength of the supporting cast; Kim Newman found the "warmth and gravitas" of Finney's performance noteworthy, while other reviewers, including Edward Porter, Daniel Krupa and The Playlist's Oliver Lyttelton, singled out Ralph Fiennes as Mallory and Ben Whishaw as Q.

Ann Hornaday, writing for The Washington Post, thought Sam Mendes had reinvigorated the series, with Skyfall being "sleek, crisp, classy exhibiting just the right proportion of respect for legacy and embrace of novelty". Henry K. Miller of Sight & Sound agreed, and praised Mendes, who he thought was worthy of directing more Bond films. Kim Newman also praised Mendes's direction of the action sequences. The work of cinematographer Roger Deakins also received praise: Newman commented that he "delivers the most impressive visuals this series has had since the 1960s", and Miller described the film as "dazzlingly photographed".

The film did not escape criticism, with reviews pointing to its two and a half-hour running time, and the final third of the film being "protracted", and not matching the first two thirds in its momentum as the underlying flaws in the film. Xan Brooks of The Guardian, in an otherwise positive review, criticised the "touchy-feely indulgence" of "the bold decision to open Bond up – to probe at the character's back-story and raise a toast to his relationship with M". Daniel Krupa also singled out Naomie Harris as "awkward" and having "virtually non-existent chemistry" with Craig. Similarly Philip French in The Observer tempered his praise for the film by highlighting "some lazy repetition" and argued, "the badinage is often perfunctory and Bond is as usual captured too easily and too easily escapes". Edward Porter, writing in The Sunday Times, considered that while aspects of the film were "achieved with wit and panache", he found that the climax to the film was slightly disappointing, although the "weaknesses in the final stages are not serious, however, and the film's brief epilogue is wonderful".

Aquaman Adventure Movie Information And Review

Aquaman is a 2018 American superhero film based on the DC character of the same name. Co-produced and distributed by Warner Bros. Pictures, it is the sixth film in the DC Extended Universe (DCEU). The film was directed by James Wan from a screenplay by David Leslie Johnson-McGoldrick and Will Beall. It stars Jason Momoa as Arthur Curry / Aquaman, who sets out to lead the underwater kingdom of Atlantis and stop his half-brother, King Orm, from uniting the seven underwater kingdoms to destroy the surface world. Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II, and Nicole Kidman appear in supporting roles.

Development began in 2004 but did not gain traction until Man of Steel was released in 2013. In August 2014, Beall and Kurt Johnstad were hired to write competing scripts. Wan signed on as director in April 2015, and in July 2016, the film moved forward with Beall's screenplay. The main cast was confirmed through 2016 and early 2017. Principal photography began in Australia in May 2017, taking place at Village Roadshow Studios on the Gold Coast, Queensland, Australia, with additional production teams in Canada, Italy and Morocco. Filming concluded the following October. Several vendors provided visual effects, ranging from high-detail hair simulations to the creation of CGI animals and locations.

Aquaman premiered in London on November 26, 2018, and was released in the United States on December 21. While the film received mixed reviews from critics, it grossed $1.150 billion worldwide, making it the highest-grossing DCEU film, the highest-grossing film based on a DC Comics character, the fifth-highest-grossing film of 2018, and the 20th highest-grossing film of all time. An animated miniseries set after the film, Aquaman: King of Atlantis, aired from October 14 to October 28, 2021, while a live-action sequel film, Aquaman and the Lost Kingdom, is set to be released on December 20, 2023.

In 1985 Maine, lighthouse keeper Thomas Curry rescues Atlanna, queen of the underwater kingdom of Atlantis, during a storm. They fall in love and have a son named Arthur, who has the power to communicate with sea creatures. When Atlantean soldiers sent by King Orvax (the ruler of Atlantis) arrive for Atlanna, who fled her arranged marriage, she is forced to leave her family to protect them from her people. She promises to return when it's safe and goes back to Atlantis, entrusting her advisor, Nuidis Vulko, to train Arthur. Becoming a skilled warrior, Arthur rejects Atlantis upon learning that Atlanna was executed by Orvax for loving a human and a half-breed son.

In the present, Arthur has become known as the metahuman dubbed as the "Aquaman" by the public. One year after Steppenwolf's defeat, Arthur confronts pirates hijacking a Russian Akula-class submarine. Their leader, Jesse Kane, is killed, leading his son David to vow revenge. King Orm Marius, Orvax's son (now Atlantis's new ruler) and Arthur's younger half-brother, convinces King Nereus of Xebel to help unite Atlantis and destroy the surface world for polluting the oceans. If Orm unites all four kingdoms, he will receive the title of Ocean Master, commander of the most powerful force on the planet.

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Nereus' daughter Mera, betrothed to Orm, refuses to aid them and requests Arthur's help. Arthur accompanies her to Atlantis after Orm sends a tsunami that nearly kills his father. Vulko urges him to find the Trident of Atlan, a powerful artifact of Atlantis' first ruler, to reclaim his rightful place as king. They are ambushed by Orm's men, and Arthur is captured. Orm blames him for Atlanna's death and nearly kills him in a duel before Mera rescues him. Arthur and Mera journey to the fallen Kingdom of the Deserters hidden under the Sahara, where the trident was forged, and unlock a holographic message that leads them to Sicily, Italy, where they retrieve the trident's coordinates.

Orm gives David an Atlantean battle suit to kill Arthur, imprisons Vulko, and coerces the Kingdom of the Fishermen to pledge their allegiance to him by killing their king. It is revealed that Orm hired David and his father to hijack the Russian submarine to win Nereus's support. An armored David rechristens himself Black Manta but Arthur defeats him. Arthur and Mera fend off amphibious monsters of the Trench, and a wormhole transports them to an uncharted sea at the center of the Earth. They are reunited with Atlanna, who was sacrificed to the Trench for Arthur's illegitimate birth 20 years ago. She had survived however, and escaped to the uncharted sea, unable to find her way back.

Arthur faces the Karathen, a mythical sea monster and keeper of the trident, and reclaims the trident, which grants him control over the seven seas. Orm leads his army against the Kingdom of the Brine to declare himself Ocean Master, while Arthur leads an army of marine creatures against him. Orm's followers embrace Arthur as the true king upon learning that he wields Atlan's trident. Arthur spares Orm's life, and Orm accepts his imprisonment after discovering that Arthur rescued their mother. Atlanna reunites with Thomas, while Arthur ascends to the throne.

In a mid-credits scene, David is rescued by Dr. Stephen Shin, a marine scientist and conspiracy theorist obsessed with Atlantis, and agrees to lead Shin there in exchange for help in his revenge on Arthur.

Development

In 2004, FilmJerk.com reported that Sunrise Entertainment's Alan and Peter Riche planned to bring Aquaman to the big screen for Warner Bros., with Robert Ben Garant writing the screenplay. However, the attempt fell through. In 2007, Warner Bros. announced the development of a Justice League film with Michele and Kieran Mulroney writing the screenplay. The film, reportedly titled Justice League: Mortal, would have been Aquaman's cinematic debut. George Miller signed on to direct later that year. However, the film would be cancelled following production delays stemming from the 2007–08 Writers Guild of America strike. Prior to the film's cancellation in 2008, actor Santiago Cabrera had been cast as Aquaman. In July 2009, it was reported that Aquaman was in development at Leonardo DiCaprio's Appian Way. Warner chairman and CEO Barry Meyer said that an Aquaman film was in development. After Man of Steel's release in 2013, a source from Warner Bros. told The Wrap that they were discussing future films, with the mention of more Man of Steel movies as well as a Superman/Batman film, a Wonder Woman film and an Aquaman film. Geoff Johns told Variety that Aquaman was a priority character. On August 12, 2014, Warner Bros. announced that it had hired screenwriters Will Beall and Kurt Johnstad to pen separate scripts. The film was developed on dual tracks, although only the better version would move forward.

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James Wan at Comic Con

Peter Jackson was approached to direct the film but he declined. On April 10, 2015, The Hollywood Reporter reported that James Wan was the front-runner to direct. In June 2015, Wan was confirmed to direct and overlook the screenplay by Johnstad. On November 12, 2015, David Leslie Johnson-McGoldrick was hired to write the script; however, it was unclear whether his would be separate or work with Wan. Previous script plans had been scrapped and Wan and Johns planned to move forward with a new script written by Beall.Later, Johnson-McGoldrick was brought back to the project to rewrite Beall's script.

In March 2016, it was announced that the events of Aquaman would be set after Justice League. Wan confirmed that cinematographer Don Burgess, who had previously worked with Wan on The Conjuring 2, would serve as cinematographer. Pre-production began in Australia in late November 2016.

Casting

Jason Momoa at 2017 San Diego Comic-Con International

In October 2014, Warner Bros. announced Aquaman as a part of the DC Extended Universe, with Jason Momoa starring. On October 20, 2014, Momoa revealed that he was preparing for a Justice League film, and that he did not know whether a solo Aquaman film would come before or after. He thought it might be an origin story. In December 2014, it was revealed that Momoa had signed a four-picture deal with the studio and DC, and he wanted Zack Snyder to direct.

On January 13, 2016, The Hollywood Reporter announced that Amber Heard had entered negotiations to play Mera; her casting was confirmed two months later. In April 2016, Willem Dafoe was cast in an undisclosed role, later revealed to be Nuidis Vulko. On December 12, 2016, it was confirmed that Patrick Wilson would play Aquaman's half-brother. On January 31, 2017, Yahya Abdul-Mateen II was added to the cast as Black Manta, Aquaman's archenemy in the comics. Michael K. Williams was also considered for the role. That same day, press reports noted that Nicole Kidman had entered talks to play Queen Atlanna. Two months later, Kidman confirmed her participation.

By February 2017, New Zealand actor Temuera Morrison had entered talks to play Thomas Curry. On April 12, Dolph Lundgren was cast as Nereus. Ludi Lin was cast in the film on May 15, 2017. Almost two weeks later, Michael Beach, who voiced Devil Ray, a character loosely based on Black Manta in Justice League Unlimited, was cast as Black Manta's father. In October 2017, Graham McTavish revealed that he had a role. In April 2018, Randall Park was cast as Dr. Stephen Shin, and in July, Djimon Hounsou, Natalia Safran and Sophia Forrest were cast as the Fisherman King, Fisherman Queen, and Fisherman Princess, respectively. In November 2018, it was revealed that Julie Andrews had a voice role.

Filming

Principal photography began in Australia on May 2, 2017, under the working title Ahab. A majority of the film was shot at Village Roadshow Studios in Gold Coast, Queensland, with additional production in Newfoundland, Sicily and Morocco. Between May and August 2017, location shooting took place on the Australian Gold Coast, including Main Beach, Coomera, Southport and Amity Point in North Stradbroke Island, Queensland, as well as Hastings Point, in New South Wales. On filming underwater sequences, Wan stated that "the underwater world is super complicated" and "it's not an easy shoot".

Filming would have begun on the Lighthouse set at Hastings Point on August 11, 2017, and ended later that month. Filming took place in Newfoundland and Labrador. Willem Dafoe finished up his part by late September. On October 13, James Wan announced that Patrick Wilson had wrapped. Filming on location took place in Morocco by mid-October, which included the cities of Merzouga and Erfoud. Principal photography wrapped on October 21, 2017.

Post-production

James Wan's five-time collaborator Kirk Morri served as the editor for Aquaman. Two-time Academy Award winner Charles Gibson (Babe and Pirates of the Caribbean: Dead Man's Chest) and Kelvin McIlwain (Fast & Furious franchise) served as overall visual effects supervisors. On November 3, 2018, Wan announced that post-production was complete.

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Some additional detail of blood was removed from the UK version of the film to achieve a lower age rating.[66]

Visual effects

Two thousand three hundred visual effects shots (VFX) appear in the movie, completed by Lucasfilm's Industrial Light & Magic (ILM), Base FX, Rodeo FX, Scanline VFX, DNEG, Luma Pictures, Weta Digital, Moving Picture Company (MPC), Method Studios, Digital Domain and Clear Angle Studios. The visual effects for the director's cut were created at the same time as the theatrical cut.

ILM was the lead VFX vendor and worked on creating Atlantis and all its CGI animals, the Karathen and the final battle. Jeff White served as the VFX supervisor for ILM. For the underwater sequences, the actors were shot dry-for-wet on special tuning fork rigs designed by the FX team, and later the bodies of the actors were replaced with digital doubles in post-production. For creating Atlantis, the team relied on the designs provided by the art department. ILM's environment team created over 200 buildings, including the signature jellyfish buildings, and laid over 7,000 buildings in districts covering almost 600 square miles for the action to travel through. The underwater ships were modeled off organic creatures and designed to move that way. For the entrance to the Atlantis sequence, the team built over 150,000 ships to fill the traffic lanes leading into Atlantis. All the animals, including the Karathen, were built by ILM and animated using keyframe animation.

Approximately 700 shots in the film required high-detail hair simulations. ILM had to significantly improve its hair simulation software due to the unique aspects of hair flowing underwater. Normally, hair simulations use guide strands to define or influence the movement of groups of hair strands. This did not provide a satisfying look, so ultimately, ILM simulated strands individually, which required heavy computations. Additionally, Wan wanted to be able to direct the hair when the physically accurate simulation resulted in undesirable results. ILM delivered 670 shots.

Weta Digital handled most of the digital de-aging involved in the film. They digitally de-aged Nicole Kidman and Temuera Morrison for flashback sequences. DNEG digitally de-aged Willem Dafoe for the scene where his character Nuidis Vulko trains the young Arthur.

Jay Barton served as the VFX supervisor for Digital Domain. They worked on creating the Dead King's Island environment. For the sequence, the actors were shot in a pool of water against blue screen backgrounds, with Digital Domain adding CGI extensions, waterfalls, mountains and dinosaurs in post production. Most of the waterfalls in the scene were created using Houdini, while some were created using practical elements of things such as pouring salt and glass beads. They also built an extensive library of shot FX elements. The dinosaurs were animated using keyframe animation. Digital Domain delivered 19-20 shots.

David Nelson and Craig Wentworth served as VFX supervisors for Method Studios. Method handled the Sicily fight sequence between Arthur, Mera and Black Manta; Arthur's encounter with the Karathen in the Well of the Souls; and his acquisition of Atlan's trident. For the Sicily fight sequence, the team built the main square of the Italian village and terracotta tiled roof set pieces that were backed with blue screen. A completely CGI village was also created based on scans and documentation of the real village. For the Well of the Souls sequence, Momoa was filmed dry-for-wet and captured on set in rigs that simulated underwater movements, but they ultimately felt restrictive so artists replaced the majority of his performance with a digital body double and added the CGI environment, Karathen and Arthur's free-flowing locks. A specially designed 700fps shot was used in the scene where the camera travels through Arthur's eyes.

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Rodeo FX worked on two key sequences, with Sebastien Moreau as VFX Supervisor. For the aquarium that young Arthur visits near the beginning, Rodeo FX used simulations as well as algorithms for the fish behavior. They created hard and soft corals by developing a colonization growth system, along with procedural stem and tentacle generation tools. They also created the environments for the Atlantis ruins below the desert. Artists used a Lego-type approach to layer the environment with a large amount of sand, dust and rocks, all of which would realistically give way to the characters' interactions. From there, they sculpted ruined buildings, bridges, towers, statues and temples, which were textured and shaded to add depth to the ruined city.

Scanline VFX delivered 450 shots. Bryan Hirota served as VFX supervisor. The main sequences produced by them were the lighthouse and its surrounding environment, the "Aquaman" title card that follows the Boston aquarium, Aquaman pushing the submarine to the surface and rescuing the sailors inside, Orm's tidal wave that sweeps away Arthur and Tom, including the rescue and aftermath, Black Manta being paid by Orm for the submarine's delivery, and Arthur and Mera's visit to the Kingdom of the Trench. For the title card, the team relied on Rodeo's work on the aquarium sequence and simulated up to 60,000 fish. The tidal wave sequence was realized with a large-scale simulated wave, which was integrated with a combination of day-for-night footage, blue screen shots for the actors in truck interiors, a truck on a rotisserie rig, an interior cabin in a water tank, and VFX simulations for debris. For creating the lighthouse, a full-size house with the base of the lighthouse tower was constructed by the FX team. Additional house and dock sets were built on sound stages. A digital build-out was done to complete the lighthouse tower and extend the dock fully out into the sea. For the sequence where the camera pushes into a toy snow globe with a tiny lighthouse inside, a CGI transition was created from the lighthouse's living room set to a fully CGI winter coastline. For creating the Trench creatures, motion capture was done on set by stunt performers.

Music

Main article: Aquaman (soundtrack)

On March 7, 2018, Rupert Gregson-Williams was announced as the composer for Aquaman. Gregson-Williams previously wrote the score for Wonder Woman, the fourth film in the DC Extended Universe. The soundtrack was released by WaterTower Music on December 14, 2018. The album features an original song by American musician Skylar Grey titled "Everything I Need", written by Grey and Elliott Taylor. Joseph Bishara, Wan's frequent collaborator, composed a piece called "Trench Engaged" for the trench sequence.

Marketing

In March 2017, prior to filming, a first look at Aquaman was shown during CinemaCon in Las Vegas, Nevada, with Momoa introducing a video of director James Wan displaying a concept art sizzle reel. Later, on July 22, the film's footage made its debut at San Diego Comic-Con (SDCC) 2017 with a teaser presented by Momoa during the Warner Bros. panel; director Wan presented the footage, stating that "in a lot of ways, this is an origin story, In April 2018, another teaser, with new footage, was shown by Wan and Momoa at CinemaCon, joined by Amber Heard, Patrick Wilson and Yahya Abdul-Mateen II on stage. Wan teased the conflict between Arthur and Ocean Master, stating that "it's almost a very classic Shakespearean story about brother from another world vs. brother from another world. And it really is a classic story of sibling rivalry.

On June 11, 2018, the film's first trailer was previewed at CineEurope. On July 21, 2018, the first trailer was released at SDCC 2018, considered the best received trailer; it was later attached to theatrical showings of Teen Titans Go! To the Movies, Mission: Impossible – Fallout, The Meg, The Predator and Venom. The cast appeared on Sunday, July 22, as guests on Conan with Conan O'Brien during SDCC. By late August the studio held early test screenings with mixed reactions shared on social media describing the film as good but not great. On October 5, 2018, a 5-minute Extended Video was released by Warner Bros. The first official TV spot for the film came on October 16, followed by a second on November 1. The same month, character posters were released for Aquaman, Mera, Black Manta, Ocean Master, King Nereus, Queen Atlanna and Nuidis Vulko.

On November 7, the studio announced the promotion tour schedule, which would take place during November and December with fan events, screenings and premieres, including Beijing, London, New York City, Manila, Los Angeles, Miami, Gold Coast, Sydney and Honolulu. Additionally, it was announced that the film would be screened on December 7, 2018, during Brazil Comic Con (CCXP) in São Paulo. The following week, an official behind the scenes featurette was released, which included footage not seen in the mainstream trailers. Two days later, the film's two main posters were released, depicting Aquaman and Mera in their costumes. On November 19 the final trailer was released, alongside the announcement of ticket sales. The same day, 30 minutes of footage was shown in China during the first stop of the film's promotion tour, generating rave reactions.

The film's financial success has been attributed to the studio's marketing plan that attracted a broad demographic (particularly women) through advertising, social media and promotional partners.

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Aquaman had its world premiere at the Empire, Leicester Square, in London on November 26, 2018. It was released in the United States by Warner Bros. Pictures on December 21. On November 19, Atom Tickets announced that Amazon Prime members in the United States would have early access to tickets for a December 15 screening of the film at select AMC, Regal, National Amusements, and ArcLight Cinemas.

It was previously set for July 27, 2018, and then moved to October 5, 2018, before settling on its release date.

Aquaman was released for digital download on March 5, 2019, and on Blu-ray, 4K Blu-ray Ultra HD, 3D Blu-ray and DVD on March 19. It has an estimated total of $27.4 million in US DVD sales, as well as an estimated total of $42.2 million in Blu-ray sales, bringing in a total of $69.7 million in domestic video sales. Director James Wan has revealed there will not be a director's cut.

Aquaman grossed $335.1 million in the United States and Canada and $813.4 million in other territories, for a total worldwide gross of $1.150 billion. It became the highest-grossing installment in the DCEU and the highest-grossing film based on any DC character as well as Warner Bros.' third-highest-grossing film worldwide behind Barbie ($1.403 billion) and Harry Potter and the Deathly Hallows – Part 2 ($1.342 billion). Deadline Hollywood calculated the net profit of the film to be $260.5 million when factoring together all expenses and revenues, making it the fifth-most-profitable release of 2018.

Animation Movie Frozen Story And Information

Frozen is a 2013 American computer-animated musical fantasy film produced by Walt Disney Animation Studios and released by Walt Disney Pictures. The 53rd Disney animated feature film, it is inspired by the 1844 Danish fairy tale The Snow Queen by Hans Christian Andersen. The film was directed by Chris Buck and Jennifer Lee (in her feature directorial debut) and produced by Peter Del Vecho, from a screenplay written by Lee, and a story by Buck, Lee, and Shane Morris. It stars the voices of Kristen Bell, Idina Menzel, Josh Gad, Jonathan Groff and Santino Fontana. Frozen tells the story of Princess Anna as she teams up with an iceman, his reindeer, and a snowman to find her estranged sister Elsa, whose icy powers have inadvertently trapped their kingdom in eternal winter.

Frozen underwent several story treatments before being commissioned in 2011 as a screenplay by Lee. Kristen Anderson-Lopez and Robert Lopez were hired to write the songs for the film, while Christophe Beck composed the score.

Frozen premiered at the El Capitan Theatre in Los Angeles on November 19, 2013, and went into its general theatrical release on November 27. It was praised for its visuals, screenplay, themes, music, and voice acting; some film critics consider Frozen to be Disney's best animated film since the studio's renaissance era. Frozen received two awards at the 86th Academy Awards, and numerous other accolades. It was the first Walt Disney Animation Studios film to win Best Animated Feature.

During its theatrical run, the film was a significant commercial success, earning $1.285 billion in worldwide box office revenue, overtaking Toy Story 3 to become the highest-grossing animated film of all time, and carried its position until it was overtaken by the remake of The Lion King in 2019. It also became the fifth-highest-grossing film of all time and the highest-grossing film of 2013. By January 2015, the film became the best-selling Blu-ray Disc in the United States, which resulted in the film launching a franchise, including an animated short in 2015, an animated featurette in 2017, and a feature-length sequel, Frozen II, in November 2019.

Princess Elsa of Arendelle possesses magical powers allowing her to control ice and snow, often using them to play with her younger sister Anna. After Elsa accidentally injures Anna with her magic, their parents—the King and Queen—take them to a colony of stone trolls led by Grand Pabbie, who heals Anna but erases her memories of Elsa's magic. Grand Pabbie warns Elsa that she must learn to control her powers, and that fear will be her enemy. The sisters are isolated within the castle, whose gates are closed off to the public. Out of fear of her increasingly unpredictable powers, Elsa ceases all contact with Anna, causing them to become emotionally distant. When the sisters are teenagers, the King and Queen are lost at sea and presumed dead.

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At the age of 21, Elsa is due to be crowned queen, but fears that her subjects will discover her magic and fear her. The castle gates are opened for the first time in years to the public and visiting dignitaries, including the scheming Duke of Weselton and the handsome Prince Hans of the Southern Isles. Elsa's coronation proceeds without incident, but she remains distant from Anna. Anna and Hans develop a romantic connection during the festivities, and he impulsively proposes to her, but Elsa objects when they seek her blessing. Hurt and confused, Anna protests, begging Elsa to explain her fear and isolation. The emotional strain causes Elsa to accidentally unleash her powers before the court. Branded a monster by the Duke, Elsa flees to the North Mountain, where she finally acknowledges her powers, building an ice palace to live a hermit life. Unbeknownst to Elsa, her magic has caused Arendelle to fall under an eternal winter.

Anna ventures to find Elsa and end the winter, leaving Hans in command. After getting lost, she meets an iceman named Kristoff and his reindeer Sven, recruiting them to take her to the mountains. An attack by wolves damages Kristoff's sleigh beyond repair. Forced to continuing the journey on foot, Anna and Kristoff meet Olaf, a talking snowman unknowingly created by Elsa, who offers to guide them to her. When Anna's horse reports back to Arendelle without her, Hans sets out to find her along with the Duke's minions, whom the Duke secretly gives orders to kill Elsa.

When Anna reaches the ice palace and reveals to Elsa what has become of Arendelle, a horrified Elsa confesses she does not know how to undo her magic. Her fear causes her powers to manifest themselves once more, and she accidentally freezes Anna's heart, mortally injuring her. In desperation to keep Anna safe, Elsa creates a giant snow monster named Marshmallow, who chases Anna, Kristoff and Olaf away. Realizing the effects of Elsa's spell on Anna, Kristoff takes her to the trolls, his adoptive family. Grand Pabbie reveals that Anna will freeze solid unless "an act of true love" reverses the spell. Kristoff and Olaf race Anna back home so Hans can give her true love's kiss. Hans and his men reach Elsa's palace, defeating Marshmallow, who falls into a chasm, and capturing Elsa.

Anna is delivered to Hans, but rather than kissing her, Hans reveals he was actually planning to seize the throne of Arendelle by eliminating both sisters. Hans locks a heartbroken Anna in a room to die and then manipulates the dignitaries and the Duke into believing that she died from Elsa's spell. He orders the queen's execution, only to discover she has escaped her detention cell. Anna is freed by Olaf, and they venture into the blizzard outside to meet Kristoff, whom Olaf has revealed is in love with her. Hans confronts Elsa outside, claiming that she killed Anna, causing Elsa to break down and abruptly stop the storm. Moments before Hans can kill Elsa, Anna leaps in the way and freezes solid, stopping Hans. Devastated, Elsa hugs and mourns over her sister, who thaws out, her heroism constituting "an act of true love".

Realizing that love is the key to controlling her magic, Elsa dispels the eternal winter, and gives Olaf a flurry small cloud to experience warmth. Hans is arrested and banished from Arendelle for his treason while Elsa cancels the trade agreement with Weselton to get back at the Duke. Anna gives Kristoff a new sleigh and the two kiss. The sisters are reunited, and Elsa promises never to lock the castle gates again.

Marshmallow, having survived the fall, finds Elsa's discarded crown and places it on top of its head.

Conception and early attempts to adapt The Snow Queen

Concept art from Disney's shelved hand-drawn film adaptation of The Snow Queen.

In March 1940, Walt Disney suggested a co-production to film producer Samuel Goldwyn, where his studio would shoot the live-action sequences of Hans Christian Andersen's life and Disney's studio would animate Andersen's fairy tales. The animated sequences would be based on some of Andersen's best-known works, such as The Little Mermaid, The Little Match Girl, The Steadfast Tin Soldier, The Snow Queen, Thumbelina, The Ugly Duckling, The Red Shoes, and The Emperor's New Clothes. However, the studio encountered difficulty with The Snow Queen, as it could not find a way to adapt and relate the Snow Queen character to modern audiences.

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After the United States entered World War II, Disney focused on making wartime propaganda, which caused development on the Disney–Goldwyn project to grind to a halt in 1942. Goldwyn went on to produce his own live-action film version in 1952, entitled Hans Christian Andersen, with Danny Kaye as Andersen, Charles Vidor directing, Moss Hart writing, and Frank Loesser penning the songs. All of Andersen's fairy tales were, instead, told in song and ballet in live-action, like the rest of the film. It went on to receive six Academy Award nominations the following year. Back at Disney, The Snow Queen, along with other Andersen fairy tales (including The Little Mermaid), were shelved.

"Hans Christian Andersen's original version of The Snow Queen is a pretty dark tale and it doesn't translate easily into a film. For us the breakthrough came when we tried to give really human qualities to the Snow Queen. When we decided to make the Snow Queen Elsa and our protagonist Anna sisters, that gave a way to relate to the characters in a way that conveyed what each was going through and that would relate for today's audiences. This film has a lot of complicated characters and complicated relationships in it. There are times when Elsa does villainous things but because you understand where it comes from, from this desire to defend herself, you can always relate to her. 'Inspired by' means exactly that. There is snow and there is ice and there is a Queen, but other than that, we depart from it quite a bit. We do try to bring scope and the scale that you would expect but do it in a way that we can understand the characters and relate to them."

Producer Peter Del Vecho, on the difficulties adapting The Snow Queen

In the late 1990s, Walt Disney Feature Animation started developing a new adaptation of The Snow Queen after the tremendous success of their recent films during the Disney Renaissance era (1989–1999), but the project was scrapped completely in late 2002, when Glen Keane reportedly quit the project and went on to work on another project which became Tangled (2010). Even before then, Harvey Fierstein pitched his version of the story to Disney's executives, but was turned down. Paul and Gaëtan Brizzi, Dick Zondag and Dave Goetz reportedly all tried their hand at it, but failed. After a number of unsuccessful attempts from 2000 to 2002, Disney shelved the project again. 10–11  During one of those attempts, Michael Eisner, then-chairman and chief executive officer of The Walt Disney Company, offered his support to the project and suggested doing it with Oscar-winning director John Lasseter at Pixar after the then-expected renewal of Pixar's contract with Disney. But negotiations between Pixar and Disney collapsed in January 2004 and that contract was never renewed. Instead, Eisner's successor Bob Iger negotiated Disney's purchase of Pixar in January 2006 for $7.4 billion, and Lasseter was promoted to chief creative officer of both Pixar and Disney Animation.

Development

Development of Frozen began in 2008, when Lasseter was able to convince Chris Buck (who co-directed the 1999 film Tarzan for the studio) to return to Walt Disney Animation Studios from Sony Pictures Animation (where he had recently co-directed the Oscar-nominated 2007 film Surf's Up); that September, Buck pitched several ideas to Lasseter, one of which was The Snow Queen. Buck later revealed that his initial inspiration for The Snow Queen was not the Andersen fairy tale itself, but that he wanted "to do something different on the definition of true love." "Disney had already done the 'kissed by a prince' thing, so thought it was time for something new," he recalled. It turned out Lasseter had been interested in The Snow Queen for a long time; back when Pixar was working with Disney on Toy Story in the 1990s, he saw and was "blown away" by some of the pre-production art from Disney's prior attempts. Development began under the title Anna and the Snow Queen, which was planned to be traditionally animated. According to Josh Gad, he first became involved with the film at that early stage, when the plot was still relatively close to the original Andersen fairy tale and Megan Mullally was going to play Elsa. By early 2010, the project entered development hell once again, when the studio again failed to find a way to make the story and the Snow Queen character work.

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Resurgence

On December 22, 2011, following the success of Tangled, Disney announced a new title for the film, Frozen, and a release date of November 27, 2013. A month later, it was confirmed that the film would be a computer-animated feature instead of the originally intended hand-drawn animation due to complex elements in the script regarding strong visuals. Kristen Anderson-Lopez and Robert Lopez joined the project and started writing songs for Frozen in January 2012. On March 5, 2012, it was announced that Buck would be directing, with Lasseter and Peter Del Vecho producing.

After Disney decided to advance The Snow Queen into development again, one of the main challenges Buck and Del Vecho faced was the character of the Snow Queen, who was then a villain in their drafts. The studio has a tradition of screening animated films in development every twelve weeks, then holding lengthy "notes sessions" in which its directors and screenwriters from different projects provide extensive "notes" on each other's work.

Buck and Del Vecho presented their storyboards to Lasseter, and the entire production team adjourned to a conference to hear his thoughts on the project. Art director Michael Giaimo later acknowledged Lasseter as the "game changer" of the film: "I remember John saying that the latest version of The Snow Queen story that Chris Buck and his team had come up with was fun, very light-hearted. But the characters didn't resonate. They aren't multi-faceted. Which is why John felt that audiences wouldn't really be able to connect with them.

The production team then addressed the film's problems, drafting several variations on The Snow Queen story until the characters and story felt relevant. At that stage, the first major breakthrough was the decision to rewrite the film's protagonist, Anna (who was based on the Gerda character from The Snow Queen), as the younger sibling of Elsa, thereby effectively establishing a family dynamic between the characters. This was unusual in that relationships between sisters are rarely used as a major plot element in American animated films, with the notable exception of Disney's Lilo & Stitch (2002). To fully explore the unique dynamics of such relationships, Disney Animation convened a "Sister Summit", at which women from all over the studio who grew up with sisters were asked to discuss their relationships with their sisters.

Writing

In March 2012, Jennifer Lee, one of the writers of Wreck-It Ralph, was brought in as screenwriter. Before Lee was brought on board, the efforts of the previous screen and songwriters had "imploded", which allowed the songwriters "to put a lot of their DNA" into the new script. The production team "essentially started over and ... had 17 months," which resulted in a very "intense schedule" and implied "a lot of choices had to be made fast".

While developing the story, Jennifer Lee and Chris Buck drew influence from several sources. They said the biggest influence on the film was the country of Norway, when the art department visited the country, drawing inspiration from the country's culture and environment. They also cited the influence of several films, including Hayao Miyazaki's anime productions along with the David Lean productions Lawrence of Arabia (1962) and Doctor Zhivago (1965), stating that they were inspired by their sense of "epic adventure and that big scope and scale and then the intimacy of funny quirky characters.

According to Lee, several core concepts were already in place, such as the film's "frozen heart" hook: "That was a concept and the phrase ... an act of true love will thaw a frozen heart. They already knew the ending involved true love in the sense of the emotional bond between siblings, not romance, in that "Anna was going to save Elsa. We didn't know how or why. Lee said Edwin Catmull, president of Disney Animation, told her early on about the film's ending: you have to earn that ending. If you do it will be great. If you don't, it will suck". However, the final version differed sharply from the earlier ones. In the original, Elsa had been evil from the start, kidnapping Anna from her own wedding to intentionally freeze her heart and later descending upon the town with an army of snowmen. The whole second act was about Anna trying to get to Hans and to kiss him and then Elsa trying to stop her". Buck revealed that the original plot attempted to make Anna sympathetic by focusing on her frustration as the "spare" in relation to the "heir". The pacing of the revised plot focused on musical comedy with less action and adventure.

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A breakthrough was the composition of the song "Let It Go" by Lopez and Anderson-Lopez, which forced a reimagining of Elsa as a more complex, vulnerable, and sympathetic character. In The Daily Telegraph's words, the songwriters saw Elsa not as a villain but as "a scared girl struggling to control and come to terms with her gift". "Bobby and Kristen...started talking about what would it feel like", Lee said. "And this concept of letting out who she is that she's kept to herself for so long and she's alone and free, but then the sadness of the fact that the last moment is she's alone". Del Vecho explained that "Let It Go" changed Elsa into a person "ruled by fear and Anna was ruled by her own love of other people and her own drive", which caused Lee to "rewrite the first act and then that rippled through the entire movie. So that was when we really found the movie and who these characters were".

Another breakthrough was developing the plot twist that Prince Hans, having not even been in the first drafts, would be revealed as the true villain only near the end. Del Vecho said, "if we were going to make the ending so surprising you had to believe at one point that Hans was the answer he's not the answer, it's Kristoff. If you can get the audience to leap ahead and think they have figured it out you can surprise them by turning it the other way". Lee acknowledged that Hans was written as "sociopathic" and "twisted". "It was difficult to lay the foundation for Anna's belated turn to Kristoff without also making Hans' betrayal of Anna too predictable, in that the audience had to "feel ... her feeling something but not quite understanding it ... Because the minute it is [understood,] it deflated. In earlier drafts, Anna openly flirted with Kristoff at their first meeting, but that was changed after Walt Disney Studios chairman Alan Horn pointed out that it would confuse and annoy viewers, since Anna was already engaged to Hans.

Lee had to work through how to write Anna's personality; some of her colleagues felt Anna should be more dysfunctional and co-dependent. Lee disagreed, but it took her almost a year to convincingly articulate "this is what Anna's journey is. No more than that. No less than that. In the end, Lee successfully argued for a simple coming-of-age story, "where she goes from having a naive view of life and love – because she's lonely – to the most sophisticated and mature view of love, where she's capable of the ultimate love, which is sacrifice". Lee also had to let go of ideas that she liked, such as a scene portraying Anna and Elsa's relationship as teenagers, because they needed to maintain the separation between Anna and Elsa. To construct Anna and Elsa's relationship, Lee found inspiration from her own relationship with her older sister. Lee called her older sister "my Elsa" in an op-ed in the Los Angeles Times, and walked the red carpet with her at the 86th Academy Awards. Lee explained, "having to ... lose each other and then rediscover each other as adults, that was a big part of my life".

The team also turned Olaf from Elsa's obnoxious sidekick into Anna's comically innocent one. Lee's initial response to the original "mean" version of Olaf had been, "Kill the f-ing snowman", and she found Olaf by far "the hardest character to deal with". The problem of how Anna would save Elsa at the climax was solved by story artist John Ripa. At the story meeting where Ripa pitched his take on the story, Lasseter said, "I've never seen anything like that before", followed by a standing ovation. Along the way, the team abandoned a lot of the detail of earlier drafts, such as a troll with a Brooklyn accent to explain the backstory behind Elsa's magical powers, and a regent for whom Lee was hoping to cast comedian Louis C.K. These were excised because they amounted to a "much more complex story than really we felt like we could fit in this 90-minute film". As Del Vecho put it, "the more we tried to explain things at the beginning, the more complicated it got".

Given Lee's extensive involvement in the development process, she was promoted to co-director by studio heads Lasseter and Catmull in August 2012, which was announced that November, making Lee the first woman to direct a full-length animated film from Walt Disney Animation Studios. Lee later said that she was "really moved by a lot of what Chris had done" and that they "shared a vision" of the story, having "very similar sensibilities".

By November 2012, the team thought they had finally "cracked" the film's story, but according to Del Vecho, in late February 2013 it was realized that it still "wasn't working", which necessitated more rewriting from February through June 2013. He explained, "we rewrote songs, we took out characters and changed everything, and suddenly the movie gelled. But that was close. In hindsight, piece of cake, but during, it was a big struggle. Looking back, Anderson-Lopez joked she and Lopez thought they could have ended up working as "birthday party clown[s]" if the final product "pulled ... down" their careers and recalled that "we were really writing up until the last minute". In June (five months before the announced release date), the songwriters finally got the film working when they composed the song "For the First Time in Forever", which, in Lopez's words, "became the linchpin of the whole movie". That month, Disney conducted test screenings of the part-completed film with two audiences (one of families and the other of adults) in Phoenix, Arizona, at which Lasseter and Catmull were present. Lee recalled that it was the moment when they realized they "had something, because the reaction was huge". Catmull told her afterwards, "you did it".

Similar to Tangled, Frozen employed a unique artistic style by blending together features of both computer-generated imagery (CGI) and traditional hand-drawn animation. From the beginning, Buck knew Giaimo was the best candidate to develop the style he had in mind – which would draw from the best Disney hand-drawn films of the 1950s, the Disney Little Golden Books, and mid-century modern design – and persuaded him to come back to Disney to serve as the art director for Frozen. Buck, Lasseter, and Giaimo were all old friends who had first met at the California Institute of the Arts, and Giaimo had previously served as the art director for Disney's Pocahontas (1995), which Buck had worked on as a supervising animator.

To create the look of Frozen, Giaimo began pre-production research by reading extensively about the entire region of Scandinavia and visiting the Danish-themed city of Solvang near Los Angeles, but eventually zeroed in on Norway in particular because "80 percent" of the visuals that appealed to him were from Norway. Disney eventually sponsored three research field trips. Animators and special effects specialists were dispatched to Jackson Hole, Wyoming, to experience walking, running, and falling in deep snow in a variety of types of attire, including long skirts (which both female and male personnel tried on); while lighting and arts teams visited an Ice Hotel in Quebec City, Quebec to study how light reflects and refracts on snow and ice. Finally, Giaimo and several artists traveled to Norway to draw inspiration from its mountains, fjords, architecture, and culture. "We had a very short time schedule for this film, so our main focus was really to get the story right but we knew that John Lasseter is keen on truth in the material and creating a believable world, and again that doesn't mean it's a realistic world – but a believable one. It was important to see the scope and scale of Norway, and important for our animators to know what it's like," Del Vecho said. "There is a real feeling of Lawrence of Arabia scope and scale to this," he finished.

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During 2012, while Giaimo and the animators and artists conducted preparatory research and developed the film's overall look, the production team was still struggling to develop a compelling script, as explained above. That problem was not adequately solved until November 2012, and the script would later require even more significant revisions after that point. As a result, the single "most daunting" challenge facing the animation team was a short schedule of less than 12 months to turn Lee's still-evolving shooting script into an actual film. Other films like Pixar's Toy Story 2 had been successfully completed on even shorter schedules, but a short schedule necessarily meant "late nights, overtime, and stress. Lee estimated the total size of the entire team on Frozen to be around 600 to 650 people, "including around 70 lighting people, 70-plus animators," and 15 to 20 storyboard artists.

Del Vecho explained how the film's animation team was organized: "On this movie we do have character leads, supervising animators on specific characters. The animators themselves may work on multiple characters but it's always under one lead. I think it was different on Tangled, for example, but we chose to do it this way as we wanted one person to fully understand and develop their own character and then be able to impart that to the crew. Hyrum Osmond, the supervising animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee, it's her first time leading a character and we wanted her to lead Anna. Acting coach Warner Loughlin was brought in to help the film's animators understand the characters they were creating. In order to get the general feeling of each scene, some animators did their own acting. "I actually film myself acting the scene out, which I find very helpful," said animation supervisor Rebecca Wilson Bresee. This helped her discover elements that made the scene feel real and believable. Elsa's supervising animator was Wayne Unten, who asked for that role because he was fascinated by the complexity of the character. Unten carefully developed Elsa's facial expressions in order to bring out her fear as contrasted against Anna's fearlessness. He also studied videos from Menzel's recording sessions and animated Elsa's breathing to match Menzel's breathing. Head of Animation, Lino DiSalvo, said, "The goal for the film was to animate the most believable CG characters you've ever seen.

Regarding the look and nature of the film's cinematography, Giaimo was greatly influenced by Jack Cardiff's work in Black Narcissus (1947). According to him, it lent a hyper-reality to the film: "Because this is a movie with such scale and we have the Norwegian fjords to draw from, I really wanted to explore the depth. From a design perspective, since I was stressing the horizontal and vertical aspects, and what the fjords provide, it was perfect. We encased the sibling story in scale." Ted D. McCord's work in The Sound of Music was another major influence for Giaimo. It was also Giaimo's idea that Frozen should be produced in the CinemaScope widescreen process, which was approved by Lasseter. This made Frozen the first animated film to be completely produced in CinemaScope since 2000's Titan A.E.. Giaimo also wanted to ensure that Norway's fjords, architecture and rosemaling folk art, were critical factors in designing the environment of Arendelle. Giaimo, whose background is in traditional animation, said that the art design environment represents a unity of character and environment and that he originally wanted to incorporate saturated colors, which is typically ill-advised in computer animation. For further authenticity, a live reindeer named Sage was brought into the studio for animators to study its movements and mannerisms for the character Sven.

Another important issue Giaimo insisted on addressing was costumes, in that he "knew from the start" it would be a "costume film". To realize that vision, he brought in character designer Jean Gillmore to act as a dedicated "costume designer". While traditional animation simply integrates costume design with character design and treats clothing as merely part of the characters, computer-generated animation regards costume as almost a separate entity with its own properties and behaviors and Frozen required a level of as-yet untried detail, down to minutiae like fabrics, buttons, trim, and stitching. Gillmore explained that her "general approach was to meld the historic silhouettes of 1840 Western Europe (give or take), with the shapes and garment relationships and details of folk costume in early Norway, circa 19th century. This meant using primarily wool fabric with accents of velvet, linen, and silk. During production, Giaimo and Gillmore "ran around" supplying various departments with real-world samples to use as references; they were able to draw upon both the studio's own in-house library of fabric samples and the resources of Walt Disney Parks and Resorts' costume division in Fullerton, California. The film's "look development artists" (the Disney job title for texture artists created the digitally painted simulation of the appearance of surfaces, while other departments dealt with movement, rigging and weight, thickness and lighting of textile animation.

During production, the film's English title was changed from The Snow Queen to Frozen, a decision that drew comparisons to another Disney film, Tangled. Peter Del Vecho explained that "the title Frozen came up independently of the title Tangled. It's because, to us, it represents the movie. Frozen plays on the level of ice and snow but also the frozen relationship, the frozen heart that has to be thawed. We don't think of comparisons between Tangled and Frozen, though." He also mentioned that the film will still retain its original title, The Snow Queen, in some countries: "because that just resonated stronger in some countries than Frozen. Maybe there's a richness to The Snow Queen in the country's heritage and they just wanted to emphasize that.