ITV's new series brings in Rosamund Pike as voice of Lady Penelope, with David Graham returning as chauffeur Parker
Rosamund Pike will provide the voice of Lady Penelope in the new ITV version of Thunderbirds in a cast that also includes Fonejacker's Kayvan Novak.
However, some things remain the same: David Graham, who provided the distinctive nasal tones of Lady Penelope's chauffeur, Parker, in the original 1960s children's series, is to reprise the role.
Pike, the actor best known for her role as a double agent opposite Pierce Brosnan in James Bond film Die Another Die, said she was "very excited to bring Lady Penelope's wry wit and taste for adventure to a new generation".
The new series, which will be called Thunderbirds are Go!, also sees the return of Graham as the voice of Parker. Graham voiced Parker, along with three other puppet characters, in the original series...
Rosamund Pike will provide the voice of Lady Penelope in the new ITV version of Thunderbirds in a cast that also includes Fonejacker's Kayvan Novak.
However, some things remain the same: David Graham, who provided the distinctive nasal tones of Lady Penelope's chauffeur, Parker, in the original 1960s children's series, is to reprise the role.
Pike, the actor best known for her role as a double agent opposite Pierce Brosnan in James Bond film Die Another Die, said she was "very excited to bring Lady Penelope's wry wit and taste for adventure to a new generation".
The new series, which will be called Thunderbirds are Go!, also sees the return of Graham as the voice of Parker. Graham voiced Parker, along with three other puppet characters, in the original series...
- 9/30/2013
- by John Plunkett
- The Guardian - Film News
This article also appears in the current issue of If (#146, April-May 2012). The print article incorrectly reported that Framestore was responsible for the for the animation and shading of the polar bears, when the work was actually completed by Animal Logic. The error has been corrected.
An audience of more than 111 million American football fanatics is enough to inspire great VFX work. For director David Scott and his team at Australian VFX house Animal Logic that work involved creating realistic CGI polar bears in three Coca-Cola spots (Catch, Superstition and Arghh) that aired at this year.s Superbowl.
.I think the difference between these spots to how the polar bears had been seen before was that in a lot of the older commercials, it was sort of centred around family, so you.d have a polar bear family doing what they do . whereas this was quite specifically targeting people at home watching the Superbowl,...
An audience of more than 111 million American football fanatics is enough to inspire great VFX work. For director David Scott and his team at Australian VFX house Animal Logic that work involved creating realistic CGI polar bears in three Coca-Cola spots (Catch, Superstition and Arghh) that aired at this year.s Superbowl.
.I think the difference between these spots to how the polar bears had been seen before was that in a lot of the older commercials, it was sort of centred around family, so you.d have a polar bear family doing what they do . whereas this was quite specifically targeting people at home watching the Superbowl,...
- 4/26/2012
- by Sam Dallas
- IF.com.au
Previs and lensing director David Scott explains how director Zack Snyder wanted all camera work in Legend of the Guardians: The Owls of Ga’Hoole to look like it had been shot by a real owl-sized camera crew.
I was told that director Zack Snyder is not a big fan of having the backgrounds in his films in focus. Was this a challenge, working in 3D?
Shooting shallow focus in 3D was difficult, but it was essential to have in the film because it’s about owls and most of the film is set at night. Zack wanted to make sure all of the camera work in the film looked as though it was operated and photographed by a real owl-sized camera crew, and if you were to shoot owls at night the aperture needs to be wide open.
Backgrounds out-of-focus weren’t so much a problem as foregrounds. Rack...
I was told that director Zack Snyder is not a big fan of having the backgrounds in his films in focus. Was this a challenge, working in 3D?
Shooting shallow focus in 3D was difficult, but it was essential to have in the film because it’s about owls and most of the film is set at night. Zack wanted to make sure all of the camera work in the film looked as though it was operated and photographed by a real owl-sized camera crew, and if you were to shoot owls at night the aperture needs to be wide open.
Backgrounds out-of-focus weren’t so much a problem as foregrounds. Rack...
- 9/28/2010
- by Miguel Gonzalez
- Encore Magazine
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