Couldn't youjustmakethemsayYes, yes, I could, butit's notmyway.
BeforeJamesMcAvoyandMichaelFassbendertookoverplayingtheyoungerversionsofthecharacters, PatrickStewartandIanMcKellenweredigitallydeagedfor a flashbackscenein X men.
Thelaststand.
You'reherebecause I needyou.
We'renotgonnahavetomeeteveryoneoftheminperson.
No, Like a lotoflaterentries, theeffectis a littledisconcertingwithbothactorslookingmostlylikethey'vehadsomewrinklesairbrushedoff.
SirPatrickwasalsodeagedfor a cameoin X MenOriginsWolverineandtheeffectwassimilarlyuncomfortable.
MynameisCharlesXavier.
I'm a mutantlikeyou.
I canhearyourthoughts.
Yes, I canhearyours.
NumbernineTimAware a MorrisonAquaman.
Thisbigbudget D C spectaclehasnoshortageoffantasticalCG I creations, butthere's oneeffectthat's evenhardertobelievethanthegiantseamonsters.
ArnoldSchwarzeneggerTerminatorGenesisTheTerminatorfranchiseisallaboutgoingbackandrewritingthepast, somethingthisentrydidinspadesbyreturningtoaniconicmomentfromthefirstfilm, NiceNightfor a walkWashdaytomorrow.
Nothingclean, right?
Nothingclean, right?
I thinkthisguy's a couplecansshortof a six.
Packyourclothes.
Givethemtomeinthescene, weonceagainseeourkneesiconic T 800 arrivein 19 eighties L.
A andconfrontsomenearbypunksratherthanrecyclingfootagefromtheoriginalfilm.
A youngerArnieisrecreatedusing C G.
I.
Nicenightfor a walkWashdaytomorrow.
Nothingclean, right?
Nothingclean, right?
In a way, thisisactuallytheclosesttheTerminatorhasevertrulylookedto a creepyrobotdrapedinhumanskinwithdead, lifelesseyesandsuddenlyofffacialmovements.
Coulson's transformationjustdoesn't hold a candletoFury's, with a strangelookinghairlineandrubberyfacialmovementsmadeallthemorenoticeableincomparisontohisboss.
Sir, wehavenoideawhatotherintergalacticthreatsareoutthere, andonewomansecurityforcehad a priorcommitmentontheothersideoftheuniverse.
OurfantheoryisthatthisyoungerColsonis a scrollwhoisn't asgoodatshapeshiftingassomeofhisfriendskeeppracticing.
BuddynumberthreeSylvesterStalloneGrudgematchdigitallydeaging a moviestaris a hardthingtopulloff.
Thebestoftimesandscenesthatrequire a lotofmovementmaketheeffectwayhardertoaccomplishconvincingly.
1982 PittsburghRazorandKid, bothundefeatedtoprankedcontendersdividethecityin a spectacularwar.
Youknowwhattypicallyinvolves a wholelotofmovement.
A boxingmatchforflashbacksceneinthis 2013 film, a CG I recreationof a youngslyStallonefacesoffagainst a similarlydeagedRobertDeNiroTheorematchdrewthebiggesttelevisionaudiencesincetheThrillainManilanineyearsearlier, Butthistimethestorywasdifferent.
Razorsoundlydefeatedkidin a lopsidedvictorythatwasoverinfourrounds.
Theeffectlookslike, well, exactlythatineffectanunconvincingCGeyemaskofStallone's face, haphazardlyslappedon a youngerman's body.
ProbablyallagreethatthePiratesmoviesgotkindofrockyastimewenton, andJohnnyDepp's creepyCG I faceinthefifthinstallmentwasprobablythefinalnailinthecoffin.
Rightnow I shallNumberoneJeffBridgesTronLegacyWayBackin 2010 DigitaldeAginghadbeenusedminimallyforcameosandflashbacks, andthenonedaysomethinghappened, somethingButforthesequeltocultfavoritesidefiflickTron, thetechnologywasusedfarmortocreate a major, recurringcharacter, a deagedversionofthedudehimself.
Thefilmtakesplaceentirelywithin a digitallandscape, andalmosteverycharacteroutsideofHeroSamistechnically a digitalbeing.