DID YOU READ

Serkis Circus: Performance capture and the Oscars

RISE OF THE PLANET OF THE APES

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The Oscar nominations are just one week away, and the studios are promoting their wares right down to the wire. One of the biggest online campaigns this week has come on behalf of Andy Serkis, the performance capture wizard who portrayed the hyper-intelligent ape Caesar in “Rise of the Planet of the Apes.” Fox is pushing Serkis as a Best Supporting Actor candidate with industry screenings and Q&As and promotional videos that compare Serkis’ live performance on set with the finished product. Serkis’ co-star (and last year’s Oscar co-host) James Franco even chimed in with a piece, originally published on Deadline, advocating on behalf of his co-star.

If any performance capture to date deserved an Oscar nomination, it’s Serkis’ in “Rise of the Planet of the Apes.” The character of Caesar is about as fully realized, visually and emotionally, as any digital movie creation has ever been. I don’t know anyone who would dispute that Serkis’ work as a performance capture artist — in films like “King Kong,” “The Adventures of Tintin,” and “The Lord of the Rings” trilogy — is the best in the industry. To me the question isn’t so much “Does Serkis’ deserves an Oscar?” as “Does any motion captured performance deserve an Oscar?” Is that really and truly acting?

Franco claims that it is. In his piece on Deadline, Franco compares the art of performance capture to prosthetic makeup. Here’s what he says:

“In acting school I was taught to work off my co-stars, not to act but react and that was how I would achieve unexpected results, not by planning a performance, but by allowing it to arise from the dynamic between actors, and on ‘Rise of the Planet of the Apes’ that’s exactly what I was able to do opposite Andy as Caesar. And Andy got to do the same because every gesture, every facial expression, every sound he made was captured, his performance was captured.  Then, what the Weta effects team did was to essentially ‘paint’ the look of Caesar over Andy’s performance.  This is not animation as much as it’s digital  ‘make-up.’  There are plenty of Oscar winning performances that depended on prosthetic make-up to help create the characters.”

As an example, Franco cites the performance of John Hurt as the title character in “The Elephant Man,” which was nominated for a Best Actor Academy Award in 1981. In a public Q&A hosted by and reported on by HitFix‘s Gregory Ellwood, Serkis made a similar argument, asking “Is there any less acting than John Hurt’s performance as ‘The Elephant Man’ who was completely unrecognizable or any kind of performance captured role where the actor is altered?”

There might not be less acting, but there’s still a clear difference between Serkis’ Caesar and Hurt’s John Merrick. When I see Hurt as Merrick in “The Elephant Man,” I’m still looking at Hurt. He’s buried beneath a mountain of Christopher Tucker’s incredible makeup, but he’s still there. When I see Serkis as Caesar, I’m not really looking at Serkis. I’m looking at Serkis’ movements and expressions as recorded and interpolated by computers and then tweaked and refined by animators. Hurt’s performance on set was his performance. Serkis’ performance on set was just one ingredient — the key ingredient, but one ingredient nonetheless — of his performance.

The counter-argument here is that digital effects, most of which go completely undetected by our untrained eyes, are constantly used to enhance performances. Directors like David Fincher are such technical wizards they can splice together an actor’s best moments from different takes into one seamless shot, or make Brad Pitt look like a 100-year-old baby, or graft the performance from one actor’s face onto the performance of another actor’s body. These special effects look so good, we sometimes forget we’re seeing special effects at all (until, of course, someone makes a promo real highlighting their work around Oscar time). Is that great acting? Or is that great technical wizardry? The answer, I suspect, lies somewhere in the middle.

See what you think. Here is the video from HitFix’s report on the “Rise of the Planet of the Apes” screening. You’ll see the scene first with Serkis’ on-set performance as Caesar, followed by the finished scene with the digital Caesar in his place.

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Honestly, looking at that clip makes me think it’s Franco, Freida Pinto, and Brian Cox who deserve Oscar nominations, not Serkis. They’re the ones who had to act opposite a man dressed like a futuristic custodian while he grunted like the ape. Doing that without cracking a smile — that’s a real acting challenge.

But seriously: the video does show how integral Serkis was to Caesar’s performance and to his co-stars’ performances (just a few years ago, motion capture was done entirely on green screen stages). But I don’t know that it conclusively proves that Serkis is Caesar in the way that Hurt is Merrick. The layer I’d really like to see, the one that would probably shed even more light on who did what, would be an earlier pass of the effects that shows a Caesar drawn purely from Serkis’ performance captured data, without any of Weta’s post-production sweetening. That would give us a better sense of how far from the finished product Serkis’ contribution really is.

Without that, I’m still left feeling like Caesar is the work of many people rather than one (admittedly remarkable) performer. Recognizing Serkis’ acting by itself feels a bit like a slight on all the technicians who turned that wacky looking futuristic custodian into the leader of the ape revolution. Does Serkis deserve an Oscar nomination for “Rise of the Planet of the Apes?” As a member of the visual effects team, absolutely. As an actor, I’m still on the fence.

Do you think Andy Serkis deserves an Oscar nomination for “Rise of the Planet of the Apes?” Tell us your thoughts in the comments below or write to us on Facebook and Twitter.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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