Legendary Director Guillermo del Toro welcomed delighted WonderCon fans on Saturday with the debut of an exclusive look at his new summer blockbuster Pacific Rim.
The jam-packed trailer featured a more in-depth look at the Kaiju — the monstrous aliens who emerge from the depths of the seas to destroy earth — as well as more screen time to feature how the Jaeger robots are conrolled via memories. The new teaser also showcased one epic and never-before-seen battle in which a Jaeger opted to use a freighter ship as a bat to smash one Kaiju’s face as hard as possible. In a word, it was incredible.
Del Toro also unveiled an extensive amount of detail surrounding the mythology of this futuristic apocalypse as well as numerous behind-the-scenes secrets. Hollywood.com was in the crowd and eagerly taking note to bring you 15 new things you didn’t know about Pacific Rim. Read on for all the action-packed fun-facts below:
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1. Del Toro’s goals for Pacific Rim were to convey a sense of “awe and scale” for audiences considering “25-story high mother f**kers were kicking the s**t out of each other” for two and a half hours.
2. Although a large part of the film will be created with CGI, Warner Bros secured the largest set in North America for Del Toro to physically create a a four-story tall Jaeger head that would respond physically to a Kaiju battle, one foot of a Jaeger that Del Toro compared to the size of the convention center as well as multiple city streets. “We built several blocks of Hong Kong to destroy — and then we destroyed them,” the director smiled.
3. Del Toro also created a hydraulic-powered set that would react as realistically as possible. “Every time the monster would hit, the whole set would rock from one side to the other, front and back which made the actors very very happy,” he said.
4. The director chose to use the actors as much as possible, especially when controlling the movements of the Jaegers. Del Toro revealed, “We insisted on doing it with the real actors and not the stunt actors and with them in the physical machine that control the robot. They basically had an incredible apparatus attached to them behind.”
5. At the end of the day the actors were “exhausted” and “destroyed physically” from working the controls of the Jaegers — but the only one who never complained was Rinko Kikuchi. Del Toro laughed, “That’s why guys will never give birth, we are crybabies and we would be extinct as a species.” Kikuchi told Del Toro that she would think of “gummy bears and flowers” when she would start to get tired.
RELATED: 'Pacific Rim': Giant Monsters Leave Their Mark On Earth
6. Del Toro was very inspired by the visuals of World War II and he chose to use a lot of decay, oxidation, and rust in as many elements as possible throughout the sets.
7. Ron Pearlman’s character Hannibal Chau — named after Del Toro’s favorite historical figure and his second-favorite Chinese restaurant in Brooklyn — is a black market dealing in Kaihu organs. Del Toro explains, “He’s basically a rascal, he’s a really really important little guy and he’s a black market dealer of the lowest kind.”
8. Del Toro was a guest star on It’s Always Sunny In Philidelphia and that’s where he witnessed Charlie Day give a particularly long-winded yet hilarious monologue about rats. The director realized that Day was an incredibly gifted actor and cast him as Dr. Newton Geizer. “I wanted to have a scientist who was like a punk rock guy who has sleeve tattoos and Buddy Holly eye glasses and he thinks he’s super hip — but he’s really a geek, a super hip geek,” he said.
9. The director jokes that throughout the film Day resembles a number of different actors. “From the beginning of the movie he looked like Rick Moranis, to J.J. Abrams and the shorter little brother of Bradley Cooper.” Not a bad bunch to be compared to!
10. Every Jaeger robot is driven by two pilots — or jockeys — one to control the left hemisphere and the other to control the right. If one pilot were to try to operate the machine alone the neuron overwhelm would fry their nervous system and kill them instantly.
11. Every country’s jaeger is controlled by two jockeys, with the exception of the Chinese jaeger, Crimson Typhoon, which is controlled by a set of triplets.
RELATED: 'Pacific Rim': Is It More Than Just Robots Fighting Aliens?
12. The two jockeys operating the same jaeger are linked through memories. Del Toro explains, “If they’re good at fighting both in the same style then they are linked by a neuron bridge that fuses them with the robots.”
13. Del Toro and the creative team originally designed 12 Kaijus and nine Jaegers and then used an “American Idol” type of elimination process to narrow their choices. As the designs improved they “polished” the jaegers to make them reflect the styles and cultures of the various countries.
14. The Kaiju were sent to terrorize the citizens of earth through a multi-dimensional portal in the depth of the Pacific Ocean. The director noted that the creatures were sent by an alien race who has a habit of “consuming planets.”
15. Del Toro ended the panel revealing that he has seen Pacific Rim many times and it never ceases to make him smile. “[This was] the most amazing experience I’ve ever had making a movie. Pacific Rim has been the most harmonious and free experience I’ve ever had making a movie,” he said.
Fans can catch Pacific Rim when it opens in theaters Friday, July 11.
Follow Leanne on Twitter @LeanneAguilera
[Photo Credit: Warner Bros]
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Birds do it, bees do it, even Meryl Streep and Tommy Lee Jones do it. In fact, it seemed like just about every A-list star was doing it on the big screen this year, thanks to sex scenes featuring the likes of Jennifer Aniston, Michelle Williams, Daniel Craig, Marion Cotillard, Zac Efron, and Robert Pattinson. (Not all at once, mind you, although that would make for one heck of a must-see movie.)
But while many of Hollywood's biggest names shed their inhibitions — and, yes, oftentimes their clothes — this year for the sake of their art on film, it was rarely gratuitous or horrifying. (Okay, the sex scene in Cosmopolis was a little bit horrifying.) In honor of their bold and beautiful moves, we've ranked the very best sex scenes in movies in 2012. Hey, it's a tough job, but somebody's gotta — you know — do it. As to be expected, some of these photos are NSFW.
Wanderlust: Jennifer Aniston living at a free-love commune with Paul Rudd? The premise of this comedy sells itself. Unfortunately, it didn't sell too many tickets at the box office as it earned a disappointing $21 million. Still, that doesn't mean Aniston's sex scenes didn't get tongues wagging, particularly when she wound up in bed with Malin Akerman, Lauren Ambrose, and Kerri Kenney. Not to mention the hot on-screen chemistry of Aniston with her future fiance Justin Thoreaux.
Take This Waltz: Sure the coffee shop scene — in which Daniel (Luke Kirby) tells the married Margot (Michelle Williams) exactly what he'd do to her in bed in graphic, agonizing detail — is inarguably the most erotic part of Sarah Polley's indie drama, but the sex montage in which Daniel and Margot finally do get it on (sometimes, as we see, with a variety of different partners and positions) is still one of the best love scenes (plural) we saw all year.
Skyfall: The streamy (quite literally) scene between Daniel Craig and Bérénice Marlohe marks off a veritable checklist of sexy location scenarios: In the shower? Check. On a boat? Check. With Daniel Craig and/or Bérénice Marlohe ? CHECK, PLEASE.
The Sessions: The premise of the movie may sound clinical — a man with an iron lung (an Oscar-worthy John Hawkes) hires a professional sex surrogate (played by Helen Hunt) to help him lose his virginity — but the result is an emotional and yes, erotic, journey. After their many sessions of touching and talking, when they two finally consumate their relationship, it's worth the wait, in every sense of the word.
Rust and Bone: Like the violence in Jacques Audiard's haunting drama, the sex is just as unflinching and rooted in realism. After suffering a devastating injury that leaves her a double amputee, Stéphanie (Marion Cotillard) is faced with learning to adapt to an entirely new life, including her sex life. Her first time, post-accident is with the handsome, troubled drifter Ali (Matthias Schoenaerts). Like The Sessions, Rust and Bone doesn't shy away from or sugarcoat the sex lives of the disabled, making for two of the most honest, refreshing, and sexy sex scenes all year.
Hope Springs: One could argue for the tender love scene between the once-struggling, romance-challenged older married couple Kay and Arnold (Meryl Streep and Tommy Lee Jones) is one of the best sex scenes from 2012. But let's be honest: it's when the esteemed three-time Oscar winner/greatest actress of all-time pulls an Alanis Morissette and goes down on TLJ in a theater. That's one way to get out of a sex rut.
Cosmopolis: Sorry, Twihards, but this one takes the cake for sex scenes with R-Pattz in 2012. The dreamboat hunk receives a prostate exam in a scene that doesn't actually involve sex (though there are some in this infinitely bizarre David Cronenberg flick, including an alluded-to one with the timelessly sexy Juliette Binoche) but it sure was memorable, wasn't it?
The Lucky One: Speaking of heartthrobs all grown up into bona fide grown-up sex symbols, Zac Efron in the soapy Nicholas Sparks drama ups the shower sex ante and takes the action outside with Taylor Schilling. Sure, it's too glossy and too well-orchestrated to be taken seriously and it doesn't have the same effect as the famous The Notebook scene, but as far as PG-13 love scenes went this year, this one actually got hearts racing. Plus, it was a way to enjoy Efron without having to endure any Paperboy ickiness.
For A Good Time Call: Hey, phone sex counts.
Titanic 3D: Yes, yes, we know the sex scene in Titanic technically constitutes as one of the best movie sex scenes in 1997, but you don't truly experience the sweaty, window-slamming sex between Kate Winslet and Leonardo DiCaprio's Rose and Jack until you've experienced it in 3D.
[Photo credits: Universal; Magnolia Pictures; Fox Searchlight; Columbia Pictures; Sony Pictures Classics; Entertainment One; Fox Searchlight; Warner Bros.]
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Two of the most prestigious independent film communities have recently each given their stamp of approval on independent cinema both past and future. Nominees for the 2006 Independent Spirit Awards were announced as was the lineup for the independent feature film and world cinema competitions for next year’s Sundance Film Festival.
Although each organization acknowledge and reward independent filmmaking, the two fetes are quite different. The Spirit Awards are more of a conventional awards show, which will be handed out March 4 in Santa Monica, California [for full coverage on the Spirit Award nominations, click here].
The Sundance Awards are the culmination of the 10-day festival (Jan. 19-29 in Park City, Utah) that showcases the films in contention for awards. Next year’s Sundance Film Festival lineup marks a return of sorts to the fest’s roots, by giving way to more fresh faces. The total number of submissions increased, resulting in a different and exciting format--the expansion of the world competition to include more international films.
Below are the films to be shown in the four competition sections:
American Dramatic Competition A Guide to Recognizing Your Saints (Director, screenwriter: Dito Montiel) Come Early Morning (Director, screenwriter: Joey Lauren Adams) Flannel Pajamas (Director, screenwriter: Jeff Lipsky) Forgiven (Director, screenwriter: Paul Fitzgerald) Half Nelson (Director: Ryan Fleck; screenwriters: Anna Boden, Ryan Fleck) Hawk Is Dying (Director: Julian Goldberger; screenwriters: Harry Crews (novel), Julian Goldberger) In Between Days (Director: So Yong Kim; screenwriters: So Yong Kim, Bradley Rust Gray) Puccini for Beginners (Director, screenwriter: Maria Maggenti) Quinceanera (Director/screenwriters: Richard Glatzer and Wash Westmoreland) Right at Your Door (Director, screenwriter: Chris Gorak) Sherrybaby (Director, screenwriter: Laurie Collyer) Somebodies (Director, screenwriter: Hadjii) Stay (Director, screenwriter: Bob Goldthwait) Steel City (Director, screenwriter: Brian Jun) Stephanie Daley (Director, screenwriter: Hilary Brougher) Wristcutters: A Love Story (Director: Goran Dukic; screenwriters: Goran Dukic, Etgar Kerett)
American Documentary Competition:
A Lion in the House (Directors: Steven Bogner, Julia Reichert) American Blackout (Director: Ian Inaba) An Unreasonable Man (Directors: Henriette Mantel, Stephen Skrovan) Crossing Arizona (Director: Joseph Mathew) God Grew Tired of Us (Director: Christopher Quinn) Ground Truth: After the Killing Ends (Director: Patricia Foulkrod) Iraq in Fragments (Director: James Longley) Small Town Gay Bar (Director: Malcom Ingram) So Much So Fast (Directors: Steven Ascher, Jeanne Jordan) Thin (Director: Lauren Greenfield) 'Tis Autumn: The Search for Jackie Paris (Director: Raymond De Felitta) The Trials of Darryl Hunt (Directors: Ricki Stern, Annie Sundberg) TV Junkie (Director: Michael Cain) Wide Awake (Director: Alan Berliner) Wordplay (Director: Patrick Creadon) The World According to Sesame Street (Directors: Linda Goldstein Knowlton, Linda Hawkins Costigan)
World Cinema Dramatic Competition 13 Tzameti (Director, screenwriter: Gela Babluani), France Allegro (Director: Christoffer Boe; screenwriters: Christoffer Boe, Mikael Wulff), Denmark The Aura (Director, screenwriter: Fabian Bielinsky), Argentina The Blossoming of Maximo Oliveros (Director: Auraeus Solito; screenwriter: Michiko Yamamoto), Philippines Eve & The Fire Horse (Director, screenwriter: Julia Kwan), Canada Grbavica (Director, screenwriter: Jasmila Zbanic), Bosnia-Herzegovina The House of Sand (Director: Andrucha Waddington; screenwriter: Elena Soarez), Brazil Kiss Me Not on the Eyes (Director, screenwriter: Jocelyne Saab), Lebanon Little Red Flowers (Director: Zhang Yuan; Screenwriters: Ning Dai, Zhang Yuan), China Madeinusa (Director, screenwriter: Claudia Llosa), Peru No. 2 (Director, screenwriter: Toa Fraser), New Zealand One Last Dance (Director, screenwriter: Max Makowski), Singapore The Peter Pan Formula (Director, screenwriter: Cho Chan-Ho), South Korea Princesas (Director, screenwriter: Fernando Leon de Aranoa), Spain Solo Dios Sabe (Director: Carlos Bolado; screenwriters: Carlos Bolado, Diane Weipert), Brazil/Mexico Son of Man (Director: Mark Dornford-May; screenwriters: Mark Dornford-May, Andiswa Kedama, Pauline Malefane), South Africa
World Cinema Documentary Competition 5 Days (Director: Yoav Shamir), Israel Angry Monk--Reflections on Tibet (Director: Luc Schaedler), Switzerland Black Gold (Director: Marc Francis, Nick Francis), U.K. By the Ways, a Journey with William Eggleston (Directors: Cedric Laty, Vincent Gerard), France Dear Pyongyang (Director: Yang Yonghi), Japan The Giant Buddhas (Director: Christian Frei), Switzerland Glastonbury (Director: Julien Temple), U.K. I is for India (Director: Sandhya Suri), England/Germany/Italy In the Pit (Director: Juan Carlos Rulfo), Mexico Into Great Silence (Director: Philip Groening), Germany Kz (Director: Rex Bloomstein), U.K. No One (Director: Tin Dirdamal), Mexico The Short Life of Jose Antonio Gutierrez (Director: Heidi Specogna), Germany Songbirds (Director: Brian Hill), U.K. Unfolding Florence: The Many Lives of Florence Broadhurst (Director: Gillian Armstrong), Australia Viva Zapatero (Director: Sabina Guzzanti), Italy