John Wick: Chapter 3 – Parabellum is practically a ballet of carefully choreographed violence, just as beautiful to watch as it is brutal. But those who pay attention to the detail may have realized that the latest installment of the Keanu Reeves-led franchise is virtually torture porn when compared to the first film, joyfully lingering on shots of punctured eyeballs and shattered toenails to the wake of Wick’s destruction.
Those behind the John Wick series have prided themselves on its perfect mix of ruthlessness and realism, especially directors David Leitch and Chad Stahelski. Former stunt performers themselves, the duo knew exactly how they wanted the violence portrayed on screen, and instructed their visual effects team to take a more reserved approach to the carnage.
Kirk Brillon, the VFX supervisor from John Wick: Chapter 2, recently revealed to Variety that Stahelski even had specific intentions for the amount blood seen throughout...
Those behind the John Wick series have prided themselves on its perfect mix of ruthlessness and realism, especially directors David Leitch and Chad Stahelski. Former stunt performers themselves, the duo knew exactly how they wanted the violence portrayed on screen, and instructed their visual effects team to take a more reserved approach to the carnage.
Kirk Brillon, the VFX supervisor from John Wick: Chapter 2, recently revealed to Variety that Stahelski even had specific intentions for the amount blood seen throughout...
- 5/24/2019
- by Mike Lee
- We Got This Covered
When Jeff Campbell, a visual effects supervisor with VFX studio Spin, initially set to work on the first “John Wick,” the 2014 action thriller from director Chad Stahelski and writer Derek Kolstad, he started with an industry-standard test: Establish a single, simple kill effect meant to get a sense of the look of the violence the filmmakers were after. “We did different levels of blood and gore,” Campbell remembers. “Everything up to the look of ‘300’ (2006), where it’s slo-mo blood flying everywhere.”
What Campbell found was surprising: Stahelski and Kolstad, both former stuntmen, asked for the violence to be stripped down, understated and “totally real.” “They wanted us to dial it all back, [using] just a little blood mist and muzzle flashes,” he says. “These are stunt guys, right? They claim they have seen all these effects before. They’ve witnessed broken limbs, gunshots. They’d sometimes catch us and say: ‘That...
What Campbell found was surprising: Stahelski and Kolstad, both former stuntmen, asked for the violence to be stripped down, understated and “totally real.” “They wanted us to dial it all back, [using] just a little blood mist and muzzle flashes,” he says. “These are stunt guys, right? They claim they have seen all these effects before. They’ve witnessed broken limbs, gunshots. They’d sometimes catch us and say: ‘That...
- 5/23/2019
- by Calum Marsh
- Variety Film + TV
Today was a busy day for some of the smaller guilds with the Visual Effects Society, the Cinema Audio Society, and the Makeup and Hairstylists Guilds all announcing their nominations for 2013.
First, we have the Ves, whose main category to look at is “Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture,” where we find Gravity and four other nominees that are just going to have to be happy with the fact that they got nominated. This is perhaps the easiest category to call in the entirety of awards season, and I don’t mean just here, but for the Oscar as well (Last year’s winner, Life of Pi, easily took this category before going on to claim the Oscar). It’s true that films like The Hobbit: The Desolation of Smaug and Star Trek Into Darkness had outstanding effects as well, but nothing even came close to the amazing,...
First, we have the Ves, whose main category to look at is “Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture,” where we find Gravity and four other nominees that are just going to have to be happy with the fact that they got nominated. This is perhaps the easiest category to call in the entirety of awards season, and I don’t mean just here, but for the Oscar as well (Last year’s winner, Life of Pi, easily took this category before going on to claim the Oscar). It’s true that films like The Hobbit: The Desolation of Smaug and Star Trek Into Darkness had outstanding effects as well, but nothing even came close to the amazing,...
- 1/15/2014
- by Jeff Beck
- We Got This Covered
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