DID YOU READ

Serkis Circus: Performance capture and the Oscars

RISE OF THE PLANET OF THE APES

Posted by on

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.

video player loading . . .

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.

Watch More
FrankAndLamar_100-Trailer_MPX-1920×1080

Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

Posted by on

“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

Watch More
Brockmire-103-banner-4

Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

Posted by on

He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

Watch More
Brockmire_101_tout_2

Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

Posted by on
GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

Watch More
Powered by ZergNet