CINEMA SCOPE
FILM MAGAZINE
VOL7
LOUD NOISES ON THE WESTERN FRONT “All Quiet on the Western Front”
TOP 5 DIRECTORS THE EVOLUTION OF FILMMAKING
Edward Berger by Denton Davidson
From Script to Screen The Making of Movies
“
This war, like the next war, is a war to end war.
“
TABLE OF CONTENTS Editor’s Letter Page 4 By the Numbers Page 5 Loud Noises on the Western Front Page 6-11 Top 5 Directors Page 12 Interview with Edward Berger Page 16-19 Evolution OF Filmmaking Page 20-25
Restaurant Review: “Taste of Autumn” Page 26 Wine Pairing Guide Page 27 Travel & Adventure Exploring Hidden Gems: A Road Trip Adventure Page 29 Food & Dining Delicious Fall Recipes Page 30 Exploring the Landscape Page 31
Surveying the Terrain Page 32 Case Studies Page 34 Emerging Trends Page 36 Methodology Data Collection Results and Findings Page 38
Practical Applications Real-world Scenarios Page 41 Implementing Solutions Page 43 Best Practices Chapter Five: Challenges and Opportunities Page 45 Obstacles Faced Potential for Innovation Future Outlook
Summary of Key Points Page 46 Implications and Recommendations Page 47 Closing Thoughts Appendix Additional Resources Glossary of Terms References Page 49
Smart Grids and Energy Management Page 50 Role of Smart Grids Page 53 Demand Response Systems IT in Energy Management Page 55
Editor’s Letter
Dear Esteemed Readers, It is with immense pleasure and pride that we welcome you to the latest edition of Cinema Scope. As we leaf through the pages of this magazine, it becomes increasingly evident that this issue is not merely a collection of stories and articles; it’s a reflection of the passion and dedication of our team, the heartbeat of our readership, and a glimpse into the ever-evolving tapestry of our world. This issue, we have embarked on a journey to uncover the myriad facets of film. From thought-provoking interviews with leading experts in the field to immersive features that transport you into the heart of the action, we aim to provide a comprehensive exploration of our chosen subject. We believe that knowledge is a journey, not a destination, and we are thrilled to have you as our fellow travelers. One of the highlights of this edition is our cover story, “All Quiet on the Western Front” an endeavor that pushed the boundaries of storytelling and visuals to capture the essence of film. It’s a testament to the collaborative spirit and creativity of our team, and I hope you find it as inspiring to read as it was to create. At Cinema Scope, we understand the power of connection, of shared ideas, and of vibrant communities. We want to express our gratitude for your unwavering support, your insightful feedback, and your contributions that have breathed life into our magazine. Your voices matter, and they echo throughout the pages of this issue. This magazine is more than just paper and ink; it’s a testament to our collective curiosity, creativity, and commitment to excellence. We hope that, as you flip through these pages, you discover new ideas, gain fresh insights, and are entertained by the wonders of our world. Thank you for being a part of this remarkable journey. We sincerely hope you enjoy reading this issue as much as we have enjoyed crafting it. Warm regards,
Emily J. Emily Johnson Editor-in-Chief, Cinema Scope
CINEMA SCOPE Editor-in-Chief Emily Johnson
Managing Editor Ethan Smith
Art Director Sophia Brown
Contributors Olivia Davis Mia Miller Ava Anderson
Photographers
BY THE NUMBERS 65,000,000 123 ZEPPELIN AIRSHIPS
21
Million Total Wounded
CARRIER PIGEONS
Design Team Chloe Morgan Zoe Carter
Production Team
Advertising Team Lucas Stone William Anderson
Printing and Distribution Ava Collins Lily Harper Mason Rodrigues
16
Million Total Killed
500,000
Emily Collins
Daniel Sullivan
$125-186 billion in direct costs
3,000 MISSIONS
Benjamin Reed
Henry Foster
soldiers from 30 different countries fought during WW1.
113,173 DIED OF DISEASE
7,7
Million Missing
16,332
PRISONER
OF WAR DEATHS
FEATURE by Ethan Smith
LOUD NOISES ON THE WESTERN FRONT
All Quiet on the Western Front is a 2022 epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque.
OUR KNOWLEDGE OF LIFE IS LIMITED TO DEATH.
“
“
We have lost all feeling for one another. We can hardly control ourselves when our glance lights on the form of some other man. We are insensible, dead men, who through some trick, some dreadful magic, are still able to run and to kill.
During the First World War, the German Army followed a practice of localized recruiting, whereby conscripts from a particular town or region were kept together when they were sent to the front. The assumption was that geographical bonds strengthened solidarity and childhood. Other combatant nations did this to one degree or another, but Germany had a particular devotion to the strategy, whose psychological underside soon became clear. When the incinerated body lying beside you is that of a childhood neighbor or schoolmate, the trauma of loss is intensified. The agony of destroyed friendship is at the heart of “All Quiet on the Western Front,” Erich Maria Remarque’s enduring novel about life and death in the trenches. Remarque, who came from a lowermiddle-class background in the German city of Osnabrück, was attending an academy for Catholic schoolteachers when, in 1916, at the age of 18, he was drafted into the army. Many friends from school served alongside.
Many friends from school served alongside him. When one of them, Theodor Troske, was wounded by a grenade, Remarque carried the young man a considerable distance on his back, only to find that shrapnel had lodged in Troske’s head, resulting in fatal wounds. An equivalent scene appears in the novel. Paul Bäumer, the book’s narrator, lugs his friend Kat to a field hospital. A medical orderly takes one look and says, “You could have spared yourself.” The same chilling words are uttered in Edward Berger’s new film adaptation of “All Quiet” — a German-language production that has been nominated for nine Academy Awards. ”All Quiet” is not purely autobiographical, as many readers assume. Remarque served not in the trenches but as a sapper behind the front lines, and he was in action for only about six weeks before a wound took him out of commission. Still, he knew his subject, and the tempo of his narrative, with bursts of savagery intruding on spells of boredom, a template for countless later war stories. Cinema Scope 9
So did his flair for fashioning a band-ofbrothers ensemble from quickly drawn characters: the sensitive artist Paul, the opinionated Albert Kropp, the gruff and rebellious Tjaden, the earthy and practical Kat. Differences in class background—the first two are bourgeois, the others working-class—vanish in the elemental scramble to stay alive. Although Remarque always shied away from being described as a political novelist, his underlying message is clear: the lads march off to battle in a mood of nationalist bravado, only to find themselves mired in an increasingly static, gruesome, and inexplicable conflict. Toward the end of the book, Paul and his comrades ponder how wars start. Kropp suggests that they begin when one country offends another. Tjaden replies, “A country? I don’t understand. A mountain in Germany can’t offend a mountain in France.” Kat joins in, saying, “There must be people for whom war is useful.” Kropp then proposes that war is a kind of fever that breaks out everywhere.
the German-born head of Universal Studios; it, too, was a global event. With the success came furious attacks from the Nazis, who recognized the book as a brief against nationalism and a plea for global harmony. When Universal’s film arrived in Berlin, Joseph Goebbels organized thuggish demonstrations that included white mice being let loose at an early showing. (Remarque was not Jewish, but Nazi propaganda claimed otherwise.) It was a telling sign of the collapse of the Weimar Republic that the movie was subsequently banned. Remarque left Berlin on January 29, 1933, on the night before Hitler was named chancellor. An aficionado of fast cars, he drove without stopping until he reached the Swiss border. Remarque wrote eleven more novels after “All Quiet,” repeatedly depicting soldiers, ex-soldiers, and political refugees. The books sold well but were uneven in quality, tending at times toward hackwork. Some of the actors, extras, and technicians had seen battle themselves political.
“
We loved our country as much as they; we went courageously into every action; but also we distinguished the false from true, we had suddenly
“
Directed by Edward Berger, the film has been nominated for nine Oscars, including best picture and best international feature film. But the 95th Academy Awards won’t be the first time an adaptation of Erich Maria Remarque’s literary classic competes for the gold. Ahead, find out more about this film’s storied past, and how it builds on the novel that started it all. Osnabrück, was attending an academy for Catholic schoolteachers when, in 1916, at the age of 18, he was drafted into the army.Many friends from school served alongside him. When one of them, Theodor Troske, was wounded by a grenade Remarque left Berlin on January 29, 1933, Osnabrück.
Erich Maria Remarque, circa 1930. Photograph by Getty images.
learned to see.
Cinema Scope 11
REVIEW
TOP 5 DIRECTORS OF 21st CENTURY
1.
Christopher Edward Nolan CBE
is a British and American filmmaker. Known for his Hollywood blockbusters with complex storytelling, Nolan is considered a leading filmmaker of the 21st century. His films have grossed $5 billion worldwide.
2. Quentin Jerome Tarantino
is an American film director, screenwriter, producer, actor, and author. His films are c logue including a pervasive use of profanity, and references to popular culture.
3. James Francis Cameron CC
is a Canadian filmmaker. A major figure in the post-New Hollywood era, Cameron is considered one of the industry’s most innovative filmmakers, regularly making use of novel technologies.
4. Martin Charles Scorsese
is an American Italian film director, producer, screenwriter and actor. Scorsese emerged as one of the major figures of the New Hollywood era. Scorsese’s work spans a wide range of genres, and he is known for his distinctive style.
5. Steven Allan Spielberg
is an American film director, producer and screenwriter. A major figure of the New Hollywood era and pioneer of the modern blockbuster, he is the most commercially successful director in history.
Cinema Scope 13
INTERSTELLER From Script to Screen The Making of Movies
WATCH THE WHOLE DOCUMENTARY ON
SCRIPTTOSCREEN.COM
HATTORI MIYAGI & ЭНДШПИЛЬ
SALOON НОЧЬ ВРЕМЕННО НЕ ТЕРЯЯ NEED ME SILHOUETTE
NOW ON YOUTUBE
EMERGENCY AID FOR ARTSAKH REFUGEES.
DONATE AT ACAAINC.ORG
Interview with Edwarg Berner
ALL QUIET ON THE WESTERN FRONT
Q&A by Denton Davidson
Berger recently spoke with Gold Derby editor Denton Davidson during an exclusive interview about what it means to represent German cinema, as “All Quiet” is that country’s Best International Film official nominee. The filmmaker also takes us behind the scenes of the gritty war movie while giving full credit to his team members and collaborators.
Denton Davidson: I’m Denton Davidson for Gold Derby, here with Edward Berger, Director of All Quiet on the Western Front, Germany’s official submission for best international feature of the 95th Academy Awards. Edward, I just, first of all, can you talk about what it means for you to represent Germany this year? And what you hope to say about German cinema through this film? Edward Berger: God, that’s a daunting task, and a question. (laughs). DD: (laughs). EB: So, um, I, I don’t know that, I, I don’t aspire to, to, to speak for Germany, so, um, it just happens to be chosen by, by the country, and that’s of course it’s always a wonderful thing because more people get to see it, uh, it travels more around the world, there’s bigger interest, and so forth. So that’s wonderful. But, um, so the main thing for me to make this movie was, was really to, to tell this German story. It’s essentially a very German novel. It’s the, the most successful German book I think, uh, uh, written and published. It’s had the most, the most, uh, copies sold. And I’ve read it, like when I was really young, and then again in my 20s, and it always stayed with me. And when the idea came to me by, pose-, put to me by producer, by my producer and good friend Malte Grunert, I thought, “Wow, what a great i-, why didn’t I think of this? You know? It’s been sitting there for 90 y-, 90 years and it’s a real opportunity to tell that side of the story. DD: Yeah, I mean the classic American version was told in, in 1930. Um, and that’s held in such high regard. Did that concern you to have comparisons to that at all? Or were you just like, “No, this is a German story, it’s time to be told from a German perspective?” And you have so much more technology, and a different way that you can tell this story today than, than they could at that time. EB: Mm-hmm. Well, that film is really good. And I’ve, I ignored it, to be honest. DD:(laughs). EB:(laughs), and, eh, ascribe that to idiocy maybe, and, and ignorance (laughs), yeah? And we just went for it. And then while I was making it, or while I was rewriting it and story-boarding it, I sometimes thought like, “Why, why the hell did I do this?” You know? Like, uh, what a, eh, what a, what big shoes to fill. But then you essentially just have to go for it. And for me, the biggest motivation was that usually those type of stories are being told, in America, or England, and I, for a long time-
I thought it was only, you know, financing was the main reason. Because you have American stars and English stars, and the language, and there’s a bigger reach, and you need quite a bit of money to make a movie like this, you know? So, um, I, eh, an-, and then I realized eventually, it’s not only the financing, it’s also the stories you are able to tell. Uh, the American, uh, let’s, let’s stick to the Americans, you know, they’re, they’re since you’re … Since I’m speaking to one. Yeah? So, so the, the, uh, you know, you were roped into the war, you know, twice, and against the will. And, uh, eh, um, and liberated Europe from fascism, and, and so forth. England the same. Uh, you know, and, and there, just, there’s a totally different legacy that stays with you and the, the kids, the generations to follow, and the filmmakers to follow. There’s a story that you can tell of, I guess heroism, and there’s a sense of pride in your country, and honor about what happened. And there’s nothing like that in Germany. There’s only shame, guilt, and horror, and sense of responsibility towards history, and i-, in the generations to follow also. And, and I thought that just gives a very different perspective and a very different feeling to it. Because all the decision that we ta-, decisions that we take as filmmakers, they’re informed by how we grow up, and what we feel, and how we see it. So essentially, hopefully in the end, a very different film comes out of it, and I thought that might be interesting to share with other countries. DD: Yeah, and it’s a horror story in some ways. Or at least a cautionary tale of what happens when you’re a young kid and you’re just pushed into the trenches and sort of expected to become, you know, a killer. Um, but the tools were different, the weapons were different, the uniforms, everything. So what sort of intense research had to go into this before you could get it on the screen the way that you wanted to? EB: Well, mostly reading for me. And then I had a wonderful team of, you know, the costume designer, the production designer, uh, every department pulled together their, their, um, uh, their research. And for exam-, I mean, really simple, um, the uniforms. We made the uniforms, uh, from old fabric. Uh, hundreds of uniforms. And they are, uh, felt. It’s kind of a felt material. And, uh, you have these, I don’t know, 300 soldiers, extras, running across mud, and through the rain, and through the snow. And, and their clothes very quickly, you know, get drenched in, in water. And they don’t weight, I don’t know, 30 pounds, like without water, they suddenly weigh 60 or 70 pounds.
Cinema Scope 17
And so we really realized very quickly that that material is really not suited for, for, uh, people who have to fight in the mud and in the cold. Because also the water doesn’t go out of it anymore, and it freezes, you know? In the, in the snow, and in the cold it just freezes, and suddenly you have this, uh, clammy, uh, very heavy piece of clothing and you have to lug it around. So I was, really wasn’t envying the actors who, who ran around with 70 pounds, or 80 pounds worth of, you know, w-, weighing clothes, clothes through the mud, in the cold. Eh, and so that’s one piece of equipment for example that you suddenly realize, uh, that, that, that, what people were wearing at the time. DD: And this is Felix Kammerer’s screen debut, and he gives just a knockout performance. His eyes are so expressive. Can you talk about what it was like, about, for Felix to lead this film? EB: Um, eh, well I found him in … So he, he, he’s a first time actor in front of, in front of the camera. He’s, he’s in a, in a very big theater in Vienna, he’s part of the ensemble, and we found him there because the producer’s wife works in that theater. And she showed me his picture, and I thought, “Oh, this kid looks great. He has an old fashioned, very transparent face, very unusual face.” And we wanted someone who’s never been seen on camera before because the role is so iconic, and the book is so iconic. So we don’t want the … As much as Felix or Paul Baumer, the character, goes into the war with innocence, we wanted the actor sort of to go into this movie with innocence, and the audience to embrace him with innocence. Not to associate him with any other roles, and, “Oh, I’ve seen this kid in that movie before.” H-, he sort of needed to be really fresh. And so we were really lucky to find him. It took about four castings, and the first casting I thought, “This, he’s great, but, you know, like can he, how does he feel s-, in a uniform and boots, and how does it change his gait, the way he walks. And so we called him back and put another uniform on him, and, and, and, and the boots, and suddenly he felt much more earthy, and grounded, and he really grow, grew into this role, eh, throughout the four or five castings that we called him back for. And by the time we made up our mind we knew this, there’s just no way we can be wrong, you know? This is the kid. And for him, I assume it quite a weight to carry. I think first … I mean, he told me the other day he was at a picnic when he, when we called him, and he was like, “Yeah, I got …” was like, “Oh, shit, now I’m going to have to do it.”
Like we hung up, and he went, was at a picnic with his friends, was like, “Yeah, I got the role.” And suddenly he And I think, for example there’s a scene where he’s 10 minutes in the movie, so, you know, three, four days of shooting, locked into a crater with a dying Frenchman. And I think scenes like that kind of, you know, he carried it with him for quite a while after the movieI think it took us all a couple months to just get rid of all the mud, and the blood, and all the, all the stuff t hat comes with it. DD: What was the biggest technical challenge of the film? ‘Cause it’s, it’s a technical achievement, the cinematography is beautiful, there’s obviously a lot of special effects and sound that goes into a war movie. So, what, what’s your perspective of all the all-stars that you had working with you (laughs) behind the camera? EB:I was in the car, we had done a test, it was getting dark, and he didn’t show up. And I got out of the car, and t-, it was an airfield outside of, uh, Prague. Like an hour outside of Prague. It was freezing and it was dark. And so I was calling, and suddenly he was like, “Help. Help.” I hear this (laughs) voice, you know? And then we go into the battlef-, and he was sunk into the mud up to his hips. Uh, and he couldn’t get out because it was so muddy. And to, to, and so we got a crane, and, to pull him out, uh, of, of, of this mud bath. And, uh, so to film in that, we basically, eh, uh, you know, had to figure out what piece of equipment to, you know, not be shaky all the time, but be fairly steady and to really be able to look the characters in the eyes. And to, uh, you know, we basically built roads. Roads inside this battlefield where we knew we could travel on, and where the actors could travel on. And so that, that just took a lot of research and time to figure out. And then the equip-, the ca-, piece of camera equipment that was best to handle that kind of rugged environment. DD: Well, Edward, it’s a great achievement, um, such an in-, incredible film. It’s b-, been a pleasure speaking with you about All Quiet on the Western Front. And best of luck to you throughout everything else for the rest of this award season and everything else. EB: Thank you very much. It was a pleasure doing this interview.
In total, “All Quiet” received a whopping nine Oscar nominations including the coveted Best Picture prize. Berger recently spoke with Gold Derby editor Denton Davidson during an exclusive interview about what it means to represent German cinema, as “All Quiet” is that country’s Best International Film official nominee. Cinema Scope 19
EDITORIAL by Emily Johnson
The Evolution of Filmmaking: Exploring New Technologies in the Film Industry
The film industry has a rich history of technological innovation, from the advent of sound in the late 1920s to the digital revolution in the late 20th century. In recent years, the film industry has witnessed a fresh wave of technological advancements that are reshaping the way films are made, viewed, and experienced. From virtual production techniques to AI-generated content, these new technologies are pushing the boundaries of storytelling and creating more immersive and visually stunning cinematic experiences.
Virtual Production: A Game–Changer
The adoption of high-resolution cameras, such as 4K, 8K, and even 12K, has become increasingly common in the industry. These cameras capture visuals with incredible detail and clarity, enhancing the overall quality of the final product. Filmmakers can now choose from a wide range of cameras that suit their specific needs, offering more flexibility in post-production and visual effects. Density: High-resolution cameras have sensors with a higher pixel density. This means that more individual pixels are packed into the sensor, allowing for greater detail in the captured image. Higher pixel counts, such as 4K, 8K, and even 12K, have become common in these cameras. Image Clarity: The increased pixel count contributes to image clarity, ensuring that fine details are captured with precision. Video Production: In the film industry, high-resolution cameras are used to record movies, documentaries, and television shows in formats like 4K and 8K, providing viewers with a cinematic experience that is rich in detail. Editing Flexibility: High-resolution footage offers greater flexibility in the post-production process. Video editors can reframe shots, stabilize footage, and apply digital effects without compromising quality. Storage and Processing: It’s important to note that high-resolution images and videos require more storage space and processing power. Filmmakers and photographers need to consider these factors when working with high-resolution content. They play an increasingly important role in various visual disciplines. It’s important to note that high-resolution images and videos require more storage space and processing power. The transition from traditional film stock to digital cameras has been a journey.
One of the most significant technological advancements in the film industry is virtual production. Popularized by Disney’s “The Mandalorian,” virtual production utilizes advanced LED screens and real-time rendering to create realistic backgrounds and environments. Filmmakers can shoot in a controlled environment while providing the appearance of being on location. This technology has not only revolutionized the way films are made but also offers cost-saving benefits by reducing the need for extensive location shoots.
Advancements in sensor technology, color grading, and dynamic range have made digital cinematography the new standard. Digital cameras not only reduce the costs associated with film stock but also provide filmmakers with greater creative control over their projects. AI and Machine Learning: From Script to Screen Artificial intelligence and machine learning are finding applications in various aspects of filmmaking. These technologies can analyze scripts, predict audience preferences, and even generate visual effects. For example, AI-driven software can recommend casting choices based on an actor's past performance and audience reception. Machine learning algorithms are also used in post-production to streamline the editing process. Realistic Visual Effects: Blurring the Line Between Reality and Fantasy The film industry continues to push the boundaries of what's visually possible through advancements in computer-generated imagery (CGI). Filmmakers now have the tools to create highly realistic and seamless visual effects, bringing to life creatures, environments, and characters that were once unimaginable. These beautiful advancements have been instrumental in the success of major franchises and blockbusters.
Cinema Scope 23
Immersive Sound: A 3D Audio Experience
Sound technology is evolving to provide audiences with a more immersive experience. Spatial audio and object-based audio systems, such as Dolby Atmos, offer multidimensional soundscapes that make viewers feel like they are part of the on-screen action. These technologies enhance the emotional impact of a film and draw viewers deeper into the story. 3D and VR: Expanding Storytelling. Possibilities 3D technology and virtual reality (VR) are making strides in the film industry, offering new ways to engage audiences. VR experiences and 360-degree films provide viewers with interactive and immersive cinematic adventures, blurring the line between the real world and the one created by filmmakers. These technologies have the potential to revolutionize storytelling and audience engagement. The film industry’s ongoing embrace of new technologies is not only transforming the way films are made but also the way they are experienced. From virtual production techniques to AI-generated content, the possibilities are expanding, pushing. Filmmakers to explore new creative horizons. The adaptation of 3D printing for movies is proof that new technology in the film industry rarely starts in the film industry. Once a dream of science fiction, 3D printing began its journey to reality back in the 80’s as a potential manufacturing and prototyping solution. Today, we use this technology to print everything from action figures to organ tissues. As a new technology in the film industry, 3D printing is being leveraged to push the limits of prop building, costume design, and more. This new tech’s unique strengths enable artists to design three-dimensional objects with an intense level of detail that would require countless hours of human labor to be replicated by hand. What’s more, 3D printing allows these objects to be altered and iterated with relatively little effort.
Virtual Virtual reality reality (VR) (VR) and and augmented augmented reality reality (AR) (AR) technologies technologies are are also also set set to to transform transform the the film film industry industry even even further. further.
If 3D printing is a means of transforming digital ideas into tangible realities, the new film technology of 3D previsualization is the exact opposite. 3D previs (or pre-viz) revolutionizes the pre-production process by conjuring fully immersive, digital replicas of the physial sets or locations to be used on a live-action production long before actual cameras begin to roll. The digital playgrounds of 3D pre-viz gift filmmakers the time and space to explore and experiment on their own clock and without incurring unnecessary expenses. Through the film technology of 3D previsualization, directors can better refine visual designs, production designers can increase construction precision, directors of photography can take the guesswork out of technical solutions, and producers can optimize the logistical flow of entire productions. In the past, 3D previsualization methods have been notably costly and cumbersome, leading to a severe imitation of their use as film technology in entertainment industry circles of only the highest budgetary tiers. Now, however, 3D pre-viz is becoming more accessible than ever. Watch industry experts explore the film innovations of 3D previsualization. Real-time rendering is a critical example of the new film technology associated with virtual production, an emerging set of practices through which filmmakers combine virtual and physical elements into one seamless whole. Real-time rendering is a powerhouse technical solution that allows changes to a digital environment to be made near-instantaneously, without the tediously long render times that once cramped the cinema CGI workflow. Real-time rendering opens the door on a n endless parade of film innovations that could exponentially increase a crew’s capacities for collaboration and experimentation. By being able to both see and alter the interactions between physical and digital components in literal real time, filmmakers can work faster with more precision and more options than ever before. Watch the folks at Film Riot dissect the place of real-time rendering in the future of filmmaking technology. While real-time rendering is intertwined with the most exciting examples of the latest cinema technology, this new film technology was birthed by the technical necessities of the video gaming industry. Both the Unreal Engine and Unity have harnessed the 3D freedom of video games to shape the future of filmmaking technology.
Cinema Scope 25
FORCE OF NATURE
FIVE WOMEN GO ON A HIKE ONLY FOUR RETURN...
COMING SOON
OCTOBER 25-27 Guillermo del Toro Martin Scorsese David Fincher
VENICE FILM FESTIVAL Venicefilm.com