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Sunday, July 29, 2012
Thursday, February 16, 2012
Merchandise:
Panini Sticker Album Advertisement
Quick post today- A slick advertisement (featured in the UK MOTU Magazine) for the AWESOME Panini Masters of the Universe Movie Sticker Album!
We'll take a more in-depth look at the Panini stickers & album in the coming months!
We'll take a more in-depth look at the Panini stickers & album in the coming months!
Friday, January 27, 2012
Promotional Material:
African Film Poster Painting
Check out this amazing rendition of the Drew Struzan poster used to promote showings of the film in Africa-
This painting was used to advertise a mobile film screening in Ghana. What you are seeing here is an actual oil painting used for promotion- not a print or a copy.
Here's a little more info on how these were used (taken from a book based on this procedure):
"During the 1980s a group of entrepreneurs in Ghana created small-scale, mobile film-distribution empires, hitting the road with videocassettes, television monitors, portable gas-powered generators and rolled-up, hand-painted, artist-signed canvas posters. This new medium created the first opportunity for some of the best young painters in Ghana to express themselves on a public scale. In the frequent absence of an original image upon which to base the work they had been commissioned to produce, the artists inevitably created cinematic paintings that were largely interpretive and imagination-driven."
The painting is actually for sale right now here: MOTU Painting On Etsy. If I had the extra cash, I would be all over it. Even though we've seen this art many times before... hearing how this came to be is quite cool. :)
This painting was used to advertise a mobile film screening in Ghana. What you are seeing here is an actual oil painting used for promotion- not a print or a copy.
Here's a little more info on how these were used (taken from a book based on this procedure):
"During the 1980s a group of entrepreneurs in Ghana created small-scale, mobile film-distribution empires, hitting the road with videocassettes, television monitors, portable gas-powered generators and rolled-up, hand-painted, artist-signed canvas posters. This new medium created the first opportunity for some of the best young painters in Ghana to express themselves on a public scale. In the frequent absence of an original image upon which to base the work they had been commissioned to produce, the artists inevitably created cinematic paintings that were largely interpretive and imagination-driven."
The painting is actually for sale right now here: MOTU Painting On Etsy. If I had the extra cash, I would be all over it. Even though we've seen this art many times before... hearing how this came to be is quite cool. :)
Thursday, January 5, 2012
Pre-Production Art:
Gwildor Case Study
Pictures of this amazing Gwildor case study were posted by Theresa Cardinali, who is listed in the film credits as being part of the crew. The maquette was produced to give a three-dimensional rendering of Gwildor's look before filming began. Theresa's explanation follows the pics...
1987 Masters of the Universe Costume design study for Character: Gwildor. I was literally asked to sculpt this figure over night by Gary Goddard, Director and my boss at at the time at Landmark Entertainment Group. Artwork designs were provided. I was especially intrigued by making all the accouterments Gwildor was wearing and holding. Joe De Reis, My art director at the time, completed the figure finishing in even less time then i had to sculpt. Joe are in the film credits and listed as Other Crew. The Maquette went missing after the film was finished but, I am sure it has a good home... -Theresa Cardinali
This is a truly amazing piece that shows the detail that went into every aspect of this film. I would love to know where this ended up!
To see more of Theresa's work, check out her Flickr account HERE.
... and a huge thanks to Tallstar for finding these pictures!
1987 Masters of the Universe Costume design study for Character: Gwildor. I was literally asked to sculpt this figure over night by Gary Goddard, Director and my boss at at the time at Landmark Entertainment Group. Artwork designs were provided. I was especially intrigued by making all the accouterments Gwildor was wearing and holding. Joe De Reis, My art director at the time, completed the figure finishing in even less time then i had to sculpt. Joe are in the film credits and listed as Other Crew. The Maquette went missing after the film was finished but, I am sure it has a good home... -Theresa Cardinali
This is a truly amazing piece that shows the detail that went into every aspect of this film. I would love to know where this ended up!
To see more of Theresa's work, check out her Flickr account HERE.
... and a huge thanks to Tallstar for finding these pictures!
Thursday, December 8, 2011
Masters Of The Universe
Official Poster Magazine Article-
"Bounty Hunters" Poster
Here's a pretty cool shot of the curious quartet from the "Official Poster Magazine". This is actually one of the large, fold-out posters from the book, but it appears to perhaps be a behind-the-scenes photo (as evidenced by the rather large grin on Blade's face). Kinda reminds of a yearbook photo- "Snake Mountain High Fencing Team, Class of 1987"
Oh... And please pardon my poor photoshop skills in reassembling the image... but you get the idea. :)
Sunday, September 18, 2011
Movie Memorabilia:
Japanese Movie Ticket
Really quick post today- A used ticket presumably from the premiere of the film in Japan. I wish movie tickets looked this cool here in the states...
Monday, September 12, 2011
Storyboard Comparison-
"Skeletor's Arrival On Earth"
After a long delay... Here is MOTUMovie.com's second storyboard comparison! This time around, we're looking at the storyboards for one of the more iconic scenes in the film- Skeletor's arrival on Earth!
The storyboard set opens with the good guys moving cautiously through the streets...
Sounds rise from the dimensional door, causing the group to turn.
The door brightens in intensity as it opens, building into an almost blinding white-violet.
Since the storyboards were drawn during an early stage of production, many differences in the story appear throughout. This storyboard shows our first divergence in the scene. In the film, Evil-Lyn and the mercenaries were not present at Skeletor's arrival. Her group was located in a different part of the city, forcing Skeletor to communicate with her through their ships. In this earlier version, Evil-Lyn and her group are at the location of Skeletor's arrival. Though this scene doesn't appear in the film, the staging is close to an earlier scene of Evil-Lyn opening the portal-
It isn't hard to imagine these scenes taking place in the same area.
As the portals size and power increases, the heroes can do little more than look on in astonishment.
Another shot not in the film. Evil-Lyn and her group were originally intended to stand in silhouette against the portal's brightness.
A closeup of He-Man's reaction to the portal. Not used in the film, but similar in structure to an earlier brief solitary shot of He-Man.
The scenes of Skeletor's troops (and ship) emerging through the portal are recreated almost exactly in the film. This was most likely due to the heavy effects work in theses scenes. Note again the presence of Evil-Lyn and one of the mercenaries in the latter 2 boards.
Skeletor's ship arrives, dominating the scene...
...followed by a closeup shot of Skeletor.
Due to the overwhelming amount of Skeletor's forces, the heroes are forced to flee from the scene. Note that in the storyboards, Gwildor runs on his own. He is carried by He-Man in the film, most likely due to Billy Barty's bad leg.
Another scene not used in the final film- Detective Lubic tries to use the radio in his car and a pay phone to call for backup, but has no luck with either. Lubic then witnesses Skeletor's forces moving down the street and immediately jumps in his vehicle and beats a hasty retreat.
The storyboards shift back to Skeletor with a view of the ship's control area. Note that in the stroyboard, Evil-Lyn is present in this scene. A pretty major divergence occurs again here. In the original storyboards, Evil-Lyn explains in person that they have captured the key, but that "the Thenurian has escaped us".
Skeletor's reaction to this news is much different in the original storyboards than it is in the film. Instead of showing disappointment in the heroes' escape, Skeletor says "I will see to He-man... You have done well".
Evil-Lyn then moves off, commanding troops as she walks.
A revised set of storyboards show a version much closer to the actual film-
A comtech advises Evil-Lyn that Skeletor demands a report. Evil-Lyn replies that they have the key, but that He-Man has eluded them. The storyboard only shows one perspective on this scene, which is split into two different shots in the movie: a group shot on Evil-Lyn's barge, and a closeup of Evil-Lyn.
Skeletor's displeasure is present on the revised boards. Here, he reacts with a quick "That will be all", just like in the film.
The final shot of these revised boards shows the pilot of Skeletor's ship relaying his message, which is not present in the final film.
The film gets back on track with the original storyboards, as Skeletor motions his air centurions to begin their pursuit.
Evil-Lyn moves off with her forces in this closing shot from this set of boards- a scene not shown in the film.
Next time around: "The Air Centurion Sequence"!
The storyboard set opens with the good guys moving cautiously through the streets...
Sounds rise from the dimensional door, causing the group to turn.
The door brightens in intensity as it opens, building into an almost blinding white-violet.
Since the storyboards were drawn during an early stage of production, many differences in the story appear throughout. This storyboard shows our first divergence in the scene. In the film, Evil-Lyn and the mercenaries were not present at Skeletor's arrival. Her group was located in a different part of the city, forcing Skeletor to communicate with her through their ships. In this earlier version, Evil-Lyn and her group are at the location of Skeletor's arrival. Though this scene doesn't appear in the film, the staging is close to an earlier scene of Evil-Lyn opening the portal-
It isn't hard to imagine these scenes taking place in the same area.
As the portals size and power increases, the heroes can do little more than look on in astonishment.
Another shot not in the film. Evil-Lyn and her group were originally intended to stand in silhouette against the portal's brightness.
A closeup of He-Man's reaction to the portal. Not used in the film, but similar in structure to an earlier brief solitary shot of He-Man.
The scenes of Skeletor's troops (and ship) emerging through the portal are recreated almost exactly in the film. This was most likely due to the heavy effects work in theses scenes. Note again the presence of Evil-Lyn and one of the mercenaries in the latter 2 boards.
Skeletor's ship arrives, dominating the scene...
...followed by a closeup shot of Skeletor.
Due to the overwhelming amount of Skeletor's forces, the heroes are forced to flee from the scene. Note that in the storyboards, Gwildor runs on his own. He is carried by He-Man in the film, most likely due to Billy Barty's bad leg.
Another scene not used in the final film- Detective Lubic tries to use the radio in his car and a pay phone to call for backup, but has no luck with either. Lubic then witnesses Skeletor's forces moving down the street and immediately jumps in his vehicle and beats a hasty retreat.
The storyboards shift back to Skeletor with a view of the ship's control area. Note that in the stroyboard, Evil-Lyn is present in this scene. A pretty major divergence occurs again here. In the original storyboards, Evil-Lyn explains in person that they have captured the key, but that "the Thenurian has escaped us".
Skeletor's reaction to this news is much different in the original storyboards than it is in the film. Instead of showing disappointment in the heroes' escape, Skeletor says "I will see to He-man... You have done well".
Evil-Lyn then moves off, commanding troops as she walks.
A revised set of storyboards show a version much closer to the actual film-
A comtech advises Evil-Lyn that Skeletor demands a report. Evil-Lyn replies that they have the key, but that He-Man has eluded them. The storyboard only shows one perspective on this scene, which is split into two different shots in the movie: a group shot on Evil-Lyn's barge, and a closeup of Evil-Lyn.
Skeletor's displeasure is present on the revised boards. Here, he reacts with a quick "That will be all", just like in the film.
The final shot of these revised boards shows the pilot of Skeletor's ship relaying his message, which is not present in the final film.
The film gets back on track with the original storyboards, as Skeletor motions his air centurions to begin their pursuit.
Evil-Lyn moves off with her forces in this closing shot from this set of boards- a scene not shown in the film.
Next time around: "The Air Centurion Sequence"!
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