Among the favorite scenes is the one during which Hiccup and Toothless meet for the first time. Depth is used to increase feelings of vulnerability, fear, and conflicted emotions. PHOTOS: Where No One Can Hear You Scream: 18 Big-Screen Space Disasters Hugo(2011) Martin ScorsesesHugo helped to convince many that 3D can be used to tell a dramatic story and it was not just for action films. Among the signature 3D shots in one in which Sacha Baron Cohen’s station inspectorleans over Hugo in a threatening wayand he comes out of the screen and into the audience, invading our personal space and added to the discomfort. The Great Gatsby(2013) Baz Luhrmann’s bravura adaptation of this classic American novel contained layer upon layer of weather, landscape, people and party atmosphere to create a captivating world for his doomed romantic hero. But Luhrmann also explored new territory as he choreographed his actors and used meticulously planned close-ups to bring added emotion and drama to the performances. The Hobbit(2012) While reviews were mixed, Peter Jackson’s experimental use of high frame rates (at 48 frames per second) to make this film trilogy demonstrated how motion blur issues associated with stereoscopic camera movement could be eliminated. The entertainment technology community is continuing to explore how varying frame rates can impact storytellingand James Cameron has this in his plans for his Avatar sequels. PHOTOS: 25 of Fall’s Most Anticipated Movies: ‘Ender’s Game,’ ‘Catching Fire,’ ‘The Wolf of Wall Street’ and More Life of Pi(2012) Ang Lee took a deliberately conservative approach, telling this story with little coming in front of the screen. It connected with audiences, and went on to becomes one of the years most admired films, winning Oscars for direction, cinematography, music and visual effects. Pina(2011) Wim Wenderswas looking for a way to bring the work of dancer and choreographer Pina Bausch to the screen.
Counterpoint: Why Justin Timberlake Should Keep on Keeping On–and Making Movies
Should she have “stop[ped] acting” when “She-Devil” or nearly all her films of the late 1990s fizzled? Of course not. Long before “Mamma Mia!” elevated her to the box-office elite, she won Oscars and starred in movies we love to watch. Not unlike Timberlake. He, too, is a performer we love to watch (partly because, as Vulture’s Margaret Lyons noted last week , he so loves to perform). And though currently Oscar-free, he generated legitimate Oscar buzz for his supporting turn in “The Social Network.” And, guess what: he’s starred in movies people love to watch–no, really. “In Time,” his 2011 sci-fi thriller, grossed more than four times its reported production budget. “Friends With Benefits,” his 2011 romantic comedy, did likewise. Maybe the movies didn’t play like big hits here, but they played like big hits overseas. And as long as you’re big somewhere, you’re big. In the end, Timberlake doesn’t need a blessing anymore than he needs an unsolicited career assessment. The only thing he needs is perspective: It is a rare thing to be movie star.