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00:00:30 0 |
B-roll: Stan Lee on Panel Discussion w/WS of Panel at COMIC-CON
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00:01:59 89.67 |
Sound bite: Tad Stone – Hellboy Animated Series creator
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00:12:38 727.67 |
B-roll: Ghost Rider hell bike
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00:13:04 753.67 |
Sound bite: Randy Shoemaker – director of marketing - Hasbro
Ghost Rider is a great story, it is one of the fan favorite from the comic perspective and as you know it is coming to life from Sony this year, actually in February with the movie and we have a full line of toys behind it that we are very excited about. From 6 inch figures to the higher end collectables and some great toys for kids really featuring the action features of the movie. The stunt bike riding, the jumps. So we are really excited about it. They will be in stores in January, right before the movie comes out. |
00:14:00 809.67 |
Sound bite: Randy Shoemaker – director of marketing - Hasbro
(on the creation of the toys) |
00:14:29 838.67 |
Sound bite: Randy Shoemaker – director of marketing - Hasbro
(on the different Ghost Rider toys) |
00:15:22 891.67 |
B-roll: Ghost Rider Toys
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00:16:31 960.67 |
Sound bite: Randy Shoemaker – director of marketing - Hasbro
(On the different interactive Ghost Rider toys) |
00:17:13 1002.67 |
Sound bite: Randy Shoemaker – director of marketing - Hasbro
This is the flame cycle, from Sony. It is actually one of the movie props and they sent it to us to get people excited about the movie. We also use this as a model to bring some of the toys to life. |
00:17:37 1026.67 |
Sound bite: Randy Shoemaker – director of marketing - Hasbro
(on the big movie prop display hell cycle) |
00:17:43 1032.67 |
B-roll: Ghost Rider Flame cycle
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00:18:32 1081.67 |
Sound Bite: Genndy Tartakovsky
The new sequel to Dark Crystal is a follow up continuing not the same story but kind of continuing the story of Jen and Kira but also having a brand new story and my part of it would be the director of it. |
00:18:54 1103.67 |
Sound Bite: Genndy Tartakovsky
Yeah defiantly some of the favorites from the old movie Aughra and the (?) will be back and Jen and Kira kind of play a passive role in this one and we have two knew characters we will be focusing on. And Bryan Frow who designed the one original ones will be back to design the new characters for this one. So it will still have the sincerity of the original movie. (talks) It will hopefully due out next fall |
00:19:25 1134.67 |
Sound Bite: Genndy Tartakovsky
Yeah they shot most of it in England this one will be taking place most of the design will be here and in London with Bryan Frow. The puppet stuff will be with Henson’s and then we will be still kind of deciding where we are going to shoot it. |
00:19:53 1162.67 |
Sound Bite: Genndy Tartakovsky
Well one of the key things first that we wanted to focus on is still to have it be puppets because you know I think that’s the whole art of it and the whole majesty of it and the suspension of belief is in the puppets so were going to use still puppets but were going to put them in a CG environment so now we can really design instead of going to a set and kind of building it or going to like a live action shoot or real scenery were going to design a location from scratch so it will be more dark crystal then the original. Maybe even look more like Bryans drawings which would be great. |
00:21:05 1234.67 |
Sound Bite: Producer (?)
It’s called actually The Power of the Dark Crystal, we don’t call it Dark Crystal 2 we actually assuming that many people who see the movie will not have seen the original film and this film wouldn’t have been made without the loyalty of the fans of the original film and how it has succeeded you know for many years as a home video title and people you know have remained very very interested in the original film Dark Crystal but still with film we would hope to find a lot of new viewers so that’s why we wouldn’t call it Dark Crystal 2 I think for many people this will be there Dark Crystal. |
00:21:43 1272.67 |
Sound Bite:
I’m Producing the movie and have been working on it in development since we started a little bit over a year ago. The writer is David O’Dell he’s actually written it with his wife and he was the original writer of Dark Crystal. He worked on this idea with my father years ago and they kind of put it down but this is the original notion for the Dark Crystal sequel which many years later when I asked him do you have any idea for a Dark Crystal sequel and he sad yes and it is thee sequel idea, it’s the actual sequel idea. So he pitched it out to me and I said that’s a fantastic idea for a movie and so he wrote that as a script and that’s become the basis, he and his wife rather and that’s become the basis of this whole project. |
00:22:40 1329.67 |
Sound Bite:
I think the concept was floating around as an idea. Its pretty different and you know my father was never one to just want to do the same thing again so it he wouldn’t have been interested in a sequel lets say to the continuing adventures of Jen and Kira it wouldn’t be he wouldn’t be interested it like making the whole movie a second time and that would be boring creatively for him. So what this is as if he would have made it is kind of a discovery of a new dimension to the dark crystal world. In this case were learning about a dimension in a world of characters who live inside in the middle of the world. where there’s a sun that burns inside deep deep down in the middle of the earth that’s going out so you know in that sense its all new challenges technologically dealing with fire. At the time when he wanted to do this movie it wouldn’t have been technologically possible because the amount of fire that in the story but since we can now merge puppetry and CGI we can create a world of the dark crystal that’s both the same and different. |
00:24:02 1411.67 |
Sound Bite:
Well actually we look at it as not the same as Star Wars but the way were able to see what was happening beyond the peripheral that you were watching in Star Wars in any of those movies you would be aware what would happen before what happened after what might be happening simultaneously because the universe was very flushed out so were kind of heading in the same direction with the Dark Crystal where this sequel takes place hundreds of years after the original movie. But we actually know what happened hundreds of years before the original movie and we do have the mongo the Tokyo pock mongo which is being produced and that book comes out and takes place in a different period of time from the future sequel and we’ve also done television development on things that take place also in different periods of time so its kind of a deep world that allows if you’re interested in exploring a world as people are now so into virtual worlds this while not a virtual world it is deep. It allows you to go out and explore in there and that’s why we want to keep producing that’s that have to do with Dark Crystal because it kind of deepens the world opens up new nocks and crannies and you know of it that you wouldn’t know existed or you might guess. |
00:25:38 1507.67 |
Sound Bite:
And it has you know there are some secrets in the plot that we cant tell but some characters have lived that long but otherwise it is new characters. (talks) Its in kind of late late pre-production. We have character designs some of them have been sculpted. We have designs some good production designs, we have the script we have a story board team so you know were pretty far into it creatively. |
00:26:28 1557.67 |
Sound Bite: Bald man (?)
I’m actually one of the Producers of the movie The Power of the Dark Crystal and we have a company called ( ) which is part of another company called the Orphanage which is a feature visual effects company. We’ve worked on films like Superman Returns and Pirates of the Caribbean 2. For the Dark Crystal were going to be creating all the visual effects as well as all the virtual environments that the animatronics characters will be existing in. |
00:27:19 1608.67 |
Sound Bite:
Stylistically were going to try to, one of the ways to maintain the stylistic integrity of the original film is to bring the original designer back which is Bryan Frow who will be doing, he was the one who accentually it’s a very Bryan Frow would that he created but were doing one of the films we also worked on was Sin City and so you know we have a lot of experience. We also worked on Sky Captain a World Tomorrow so we have a lot of experience in creating live action in virtual digital environments and we think that with a Film like The Power of the Dark Crystal its even better suited for something like that because you can fully visualize the world in away that is both you know feels real because puppets are real but also feels stylized in a way that there’s a great richness in detail that we think we can bring now with today’s technology And although one of the things I’m so excited to be working on this movie, the other people working on this movie now we grew up with it and it was so influential and we really wanted to make sure that we honored it but we also wanted to see if we could take it further then what could have been done then. And I think with today’s technology it allows us to more fully realize the world you know we have we could realize Tthe World of the Dark Crystal with a greater comprehensiveness then by using digital environments and digital effects. But that was a really important part about also being able to keep the animatronics puppets because I think that’s really the Dark Crystal for a lot of people. I think if we did it all CG characters and an all CG film which you could image would be one of the ways to take and do this movie it would lose something of its something of the spirit of it. I love animated films, we doing animated films at the animation studio but there’s a certain quality to the puppets you fell that they’re there and that there real. And we wanted the world we just wanted to be able to build a bigger world for them to live in and not be restricted to sound stages. The original film was all done on sound stages and they could, they were the largest sound stages ever at the time in the early eighties but there’s a limit. And now we can kind of take them kind of anywhere we want to and make it feel real. You know we can travel across the surface of the planet we go down to the center of the planet int his film. And the other thing that’s really exciting about it is that we can allow puppets to do things that you could never do before with visual effects by allowing the puppeteer to actually puppeteer the puppet but being able to remove the puppeteer in the final composite we can have the puppets run, we can have the puppets climb, we can have them fight in a way. So we can make a you know make Genndy’s known you know Genndy Tartakovsky the director of the film is known for action you know one of the trade mark signatures is his ability to create really compelling graphic action sequences and to be able to do that with puppets in a way that we going to try to do that I don’t think anyone’s really seen quite like what were going to try and do. To really make it feel like an action adventure film where the puppets are able to do anything and fight and climb and run and jump and your not going to have to worry about where are the wires, where are the puppeteers. So you can do it we can make it look real and you wouldn’t have been able to do that before we had computers to digital compositing. |
00:31:07 1836.67 |
Sound Bite:
No I mean you know we its kind of an means to an end using digital effects and digital techniques to try to enhance it. So one of the things you might imagine that we would do is that it could help us maybe achieve better lip-sync then you might have in puppeteering although the lip-sync is usually really really really good I don’t think anyone’s had a problem with the lip-sync of the Muppet Show you know what I mean. Everyone feels Miss Piggy and Kermit and all those characters are real, I grew up thinking that they were real characters I never had a problem with the way that they spoke. But also you can use those digital techniques on top of the animatronics to be able to get lip-sync even better, more precise, in certain situations where its necessary or eye lines make sure the eye lines are working better and you know the strangest thing is we do that with live action as well you know I mean there’s so much elasticity to filmmaking now a days that you know we’ve worked on movies where we’ve had to change eye lines of actors and make them look at different characters that maybe digital characters that aren’t there and there not quite looking in the right place so we change there eye lines. That’s something you can image doing with puppets but just in the same way were doing with people (talks) Yeah we adjust there eyes in the composite. You know we take there eye balls and we can move them over. |
00:33:16 1965.67 |
Sound Bite:
Not yet were co-producing this movie with the Henson company and were excited to be working on this one and this is just the beginning. This is the first project were walking on together and hopefully its you know its going to be really successful and I think its going to come out and really please audiences who have fond memories for the first one and I hope we can do a bunch more together. |
00:34:03 2012.67 |
Sound bite: David R. Ellis
25 million dollars, no seriously the concept high concept movie which is cool, Sam Jackson being a part of it which is awesome and New Line my third picture in a row for them you know only Peter Jackson has done three in a row so that pretty cool but I just thought for this genre this concept of people being trapped on a plane halfway through Hawaii and LA in a storm with a dead pilot and the only thing they have going for them is Sam Jackson that’s kind of cool, a little bit different, its not a sequel, its fresh so that’s kind of how I responded to it. |
00:34:44 2053.67 |
Sound bite: David R. Ellis
It’s crazy it’s crazy I cant even believe it you never would have thought you know we knew we could make a good movie with the script that we got and that it would be fun and that people would enjoy it but its taken a life of it own thanks to the internet and the media and its great ill take it I never though it would happen. |
00:35:17 2086.67 |
Sound bite: David R. Ellis
Yeah it wasn’t as they call usually you re-shoot an ending that’s not testing well or something like this uhm Sam and I wanted to do an R-Rated film everybody felt a PG a PG13 film would have a broader audience once we showed it to the studio and we were aware of what was happening on the internet we said this has got to be a R its called Snakes on a Plane lets go for it. So we went back and we added more language for Sam that they wanted to hear, we added more nudity in the mile high club with the couple that gets attacked with snakes ,we added more graphic violence with the snakes death I mean it definitely made the movie. I mean the movie rocked before but it’s a whole different movie now. |
00:36:13 2142.67 |
Sound bite: David R. Ellis
I’m cool my son has a snake actually he has a bull python it’s about six feet long. I don’t go hanging out with it you know have a sleep over with it you know I can deal with it. I can put him around me but there’s you know I like my lab is really cool. |
00:36:40 2169.67 |
Sound bite: David R. Ellis
Well you know there were some people liked them and some people were scared to death. For the people that liked them they had to act for the people that were scared to death they didn’t. You know they’d pretty much freak-out every time a snake would come out which is good cause there supposed to be freaked. |
00:37:07 2196.67 |
Sound bite: David R. Ellis
We were aware of it very early on and we followed it, we tracked I when they got pissed off about us changing the title we tracked it when they we stoked about changing back to Snakes on a Plane. I started connecting with Brian Finklestien who does Snakes on a Blog and was feeding him little bits of inside information. We listened to what they wanted to see and hear and stayed aware of it because its very important for a film like this to go after your core audience and that’s why we came to Comic Con cause these are the kind of kids that would go see Snakes on a Plane so we felt we should come down here and make a presence and kind of honor them by bringing Sam and showing them a clip that no one in the worlds ever seen before that they’re going to see tonight |
00:38:03 2252.67 |
Sound bite: David R. Ellis
That was only for a working title because sometimes we would go out to actors and they weren’t taking the script seriously so we changed the name but it also helped start this controversy which was is cool. We always knew Sam and I we were going back to Snakes on a Plane. (talks) It started as Snakes on a Plane then it went to Pacific Air and then went back to Snakes on a Plane. |
00:38:43 2292.67 |
Sound bite: David R. Ellis
That was up to Jules our snake handler trainer guy he had a whole team of people that would bring out where you’d know where the snakes were to go. We had little block off places that we didn’t want them to go. You’d choreograph the extras and the stunts men to know where they could step and where they could not step and it just took time and planning it was easy. |
00:39:37 2346.67 |
Sound bite: Samuel L. Jackson
The title , I mean honestly I was sitting at home looking at a trade paper and I saw Ronnie U to fight snakes oh what is this, Ronnie U doing a film for New line FBI agent transporting a witness full of poisonous snakes. So I emailed him and he said yes my movie is a bunch of poisonous snakes on a plane and I was like ‘wow can I be in that’ and he’s was like you really want to be in it ‘yes I do’ and that’s how I got attached to it cause it’s the kind of film I would have seen when I was a kid and stayed in the movies all day watching it you know Snakes on a Plane with some people cant get off fighting them yeah I’m there. (talks) Yeah its right there you don’t avoid that you Freddy vs. Jason. |
00:40:30 2399.67 |
Sound bite: Samuel L. Jackson
Well they were trying to change the title to Pacific Flight 121 so I fussed about that and I started sneaking little messages on the internet about them doing it and people on the net got involved in it and then I something out loud on Conan and you know the I guess the studio finally heard it that the people that they wanted it and that they believed this was the film is about this is what we wanna know this is what we want everybody to know and then people started doing all the parodies all the trailers and all the one sheets on the net and the studio finally saw that people had a interest in this film that was beyond something that they could have perceived or conceived and they fueled there own publicity campaign by you know who could make the best trailer or who could you know who could give up the most information about it or find most about it or do the most entertaining thing about it and its been a wonderful kind of phenomenon because this is something you cant plan and it is something that nobody knows how to put in a bottle, you know its lightning in a bottle. And I’m sure there are a lot of studio execs or a lot of other people watching this trying to figure out how it all started and how they can kind of carrel it and make it happen for there next film that they want to market for this particular audience. |
00:41:48 2477.67 |
Sound bite: Samuel L. Jackson
Awesome, I’ve seen them all. I’ve been all over the place watching all that stuff I really like the guy who does Jack Nicholson, Chris Walken, and Joe Pesci that’s a really funny guy The Audition. The guy doing the pitch for Anna Frank for Snakes on a Plane is pretty funny. The asian guy and my favorite thing right now is Someone Tell Samuel L. Jackson he’s my bro I love that song. I walk around singing that song. |
00:42:27 2516.67 |
Sound bite: Samuel L. Jackson
No not at all my agent insisted that there be no snakes around me and they kind of adhered to that we did a lot of CGI stuff most of the real snakes were on second unit especially the dangerous ones. When they had things like the Albino Cobra on set it was over there and we watch it on the monitor tearing up seats and go going keep that away from us. So no harry situation with snakes more harry situations with the producers, but that’s always the same. |
00:43:05 2554.67 |
Sound bite: Samuel L. Jackson
Well actually there is going to be a Snakes on a Plane comic (talks) There actually doing a comic book about this… I’ve actually seen people walking around with Snakes on the plane the novel, I don’t know where that came from but people are walking around with it and there’s going to be a game and there’s all this other stuff. And I have a pretty great presence here Star Wars as usual and its Star Wars day and I also have Afro Samurai my animated series is here. (talks) so I have a big presence here. [at COMIC-CON] |
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