The Creator of Wallace and Gromit Breathes Life Into a Cast of Clay
The animation series' latest iteration — 'Wallace & Gromit: Vengeance Most Fowl' — is now back in the awards race with nominations at Sunday's EE British Academy Film Awards, known as the BAFTAs, and the Oscars in March.
'Vengeance Most Fowl' was directed by Wallace and Gromit's creator, Nick Park, and by Merlin Crossingham, who said the film was shot over 15 months in a studio that was larger than a soccer field, with 260 people on set — including 35 animators and 50 puppet makers. The handcrafted clay cast has been expanded to include a robotic garden gnome called Norbot.
'As a crew, if we got a minute and a half in the week, we'd have a megaweek,' Crossingham said. He described animation as a 'magic trick,' because 'you're breathing life into something that doesn't have any.'
Park was born and raised in Preston, a city in northwestern England. His father was a photographer and his mother was a tailor and seamstress who made garments for all five of her children.
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Los Angeles Times
16 hours ago
- Los Angeles Times
Is Hollywood inspired by the CIA, or the other way around?
LANGLEY, Va. — At CIA headquarters, beyond the handsome granite seal on its lobby floor and a wall of stars carved in honor of the agency's fallen, experts are at work in the complex tasks of spycraft: weapons-trained officers, computer engineers, virologists, nuclear scientists. But there are also storytellers, makeup artists, theater majors and ballerinas — Americans who probably never thought their skills would match the needs of a spy agency. Yet the CIA thought otherwise. Though it rarely gets the spotlight, there's a revolving door of talent between the country's premiere intelligence agency and its entertainment industry, with inspiration and influence often working both ways. The agency is targeting professionals at the intersection of arts and technology for recruitment, CIA officers told The Times, and continues to cooperate with entertainment giants to inspire the next generation of creative spies. This month, the agency is assisting a New York Times bestselling author on a young adult book examining the foundations of the CIA laid during World War II. Scenes from a major upcoming film production were just shot at its headquarters, a logistical feat at an intelligence campus tucked away in the Virginia suburbs behind rings of security perimeters, where officers roam cracking down on Bluetooth signals. Another popular streaming TV series will be back at Langley to film this fall. But their collaboration goes far deeper than that, officers said. Creative minds in Hollywood and the entertainment industry have long had a role at the Central Intelligence Agency, devising clever solutions to its most vexing problems, such as perfecting the art of disguise and harnessing a magician's ability to cast spellbinding illusions. Indeed, in the 1950s, a magician from New York named John Mulholland was secretly contracted with the agency to write a manual for Cold War spies on trickery and deception. These days, the officers said, creative skills are more valuable than ever in such a technologically complex world. 'You're only limited by your own imagination — don't self-censor your ideas,' said Janelle, a CIA public affairs officer, granted the ability to speak under her first name at the request of the agency. 'We're always looking for partners.' David McCloskey, a former CIA analyst and author of 'Damascus Station' and other spy thrillers, offered several theories on why the agency might be interested in fostering a robust relationship with Hollywood, calling it 'a two-way street.' 'There definitely have been operational applications for espionage,' McCloskey said. 'It's probably the exception to the rule, but when it happens, it's compelling.' It's easy to see why CIA leaders would be interested in Hollywood, he said, in part to shape impressions of the agency. 'But their bread and butter business is receiving people to give secrets,' he continued, 'and part of that is getting close to people in power.' 'The closer you are to Hollywood,' McCloskey added, 'that's a really interesting 'in' to having a lot of interesting conversations.' Some of the CIA's most iconic missions — at least the declassified ones — document the agency's rich history with Hollywood, including Canadian Caper, when CIA operatives disguised themselves as a film crew to rescue six American diplomats in Tehran during the Iran hostage crisis, an operation moviegoers will recognize as the plot of 'Argo.' ''Argo' was almost too far-fetched to even believe,' said Brent, an in-house historian at CIA headquarters. 'It's almost more Hollywood than Hollywood.' Canadian Caper was both inspired by Hollywood and relied on Hollywood talent. Agent Tony Mendez had been a graphic artist before joining the agency and helping craft the mission. Another key player was John Chambers, the makeup artist who gave the world Spock's ears on 'Star Trek' and won an honorary Oscar for his trailblazing simian work on 'Planet of the Apes.' He was awarded the CIA's Intelligence Medal of Merit for his work on the covert rescue effort. Just a few years before, Howard Hughes, then one of the world's richest men and a tycoon in media, film and aerospace, agreed to work with the CIA to provide cover for an effort by the agency to lift a sunken Soviet nuclear submarine off the floor of the Pacific Ocean. Deploying Hughes' Glomar Explorer under the guise of mineral extraction, the CIA was able to salvage most of the sub before The Times broke a story blowing its cover — 'the story that sunk our efforts,' in CIA parlance. And another mission was made possible thanks to a device invented by a professional photographer — a gadget that later became the inspiration of an over-the-top scene in the blockbuster Batman film 'The Dark Knight.' In Project Coldfeet, CIA agents gathering intelligence on a Soviet station erected on a precariously drifting sheet of ice in the Arctic needed a reliable extraction plan. But how does one pick up an agent without landing a plane on the ice? The answer was the 'skyhook': Balloons lifted a tether attached to a harness worn by an agent high into the sky. A CIA plane snagged the tether and carried the agent off to safety. In 'The Dark Knight,' Batman makes a dramatic escape deploying the same kind of balloon-harness contraption. CIA leadership often says that acceptance into the agency is harder than getting into Harvard and Yale combined. Yet the agency still has challenges recruiting the type of talent it is looking for — either in reaching those with unconventional skills, or in convincing them that they should leave secure, comparatively well-paid, comfortable jobs for a secretive life of public service. It is no easy task managing work at the agency, especially with family, CIA officials acknowledged. Deciding if and when to share one's true identity with their children is a regular struggle. But Janelle said the CIA tells potential recruits there is a middle ground that doesn't require them to entirely abandon their existing lives. 'People don't have to leave their companies to help their country and to work with CIA,' Janelle said. 'People come here because they love their country and know they can make a difference.' Janelle is part of a team that regularly engages with creatives who want to portray the agency or spies as accurately as possible. 'Some producers and directors reach out and they do care about accuracy,' Janelle said, 'but they ultimately pick and choose what's going to work for the film or show.' CIA analysts have also been known to leave the agency for opportunities in the entertainment industry, writing books and scripts drawing from their experiences — so long as they don't track too closely with those experiences. Joe Weisberg, the writer and producer behind the television series 'The Americans,' and McCloskey, who is working on a fifth novel focused on U.S. and British intelligence, were both part of the agency before launching their writing careers. And as CIA alumni, they had to submit their works for review. 'There's a whole publication and classification-review process,' Brent said. That process can be a bit of a slog, McCloskey said: 'They quite literally redact in black ink.' But it is far more difficult for nonfiction writers than novelists. 'There could be bits of tradecraft, or alluding to assets, or people at the agency, which are clear no's,' McCloskey said. 'But with novels, it's not that hard to write them in a way to get them through the review board.' Try as they may, studios often repeat the same falsehoods about the CIA, no matter how often they are corrected. Officers and agents aren't the same thing, for one. And as disappointing as it may be for lovers of spy thrillers, the majority of officers are not licensed or trained to carry weapons. 'One thing Hollywood often gets wrong is the idea that it's one officer doing everything, when it's really a team sport here,' Janelle said. 'Zero Dark Thirty,' an Oscar-winning film released in 2012 about the hunt for Al Qaeda leader Osama bin Laden, was widely acclaimed but criticized by some within the intelligence community over the credit it lends a single, fictional CIA analyst for tracking him down. McCloskey sympathizes with the writer's dilemma. 'I can't have 35 people on a team. From a storytelling standpoint, it just doesn't work,' he said, acknowledging that little in the field of espionage is accurately captured on screen, even though there are plenty of former spies available to work as consultants. 'There's no lack of sources to get it right,' he said. 'It's that the superhero spy — the Jack Ryans and Jason Bournes — are pretty much the Hollywood representation of espionage.' However inaccurately glorified and dramatized, the agency hopes that Hollywood's work can keep the revolving door moving, inspiring atypical talent to join its ranks. 'We have architects, carpenters, people who worked in logistics,' Brent said. 'People might not realize the range of skill sets here at CIA.' And as Canadian Caper showed, sometimes spycraft requires stagecraft. It's possible that what's needed most to complete the next mission won't be oceanography or data mining, but costume design. Or maybe another ballerina.
Yahoo
a day ago
- Yahoo
2026 Oscars Best Picture Predictions
Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday. More from Variety 'Sinners' Producer Says Costumes Were Purchased From Marvel's 'Blade' Reboot That 'Ended Up Not Shooting': They Had a 'Warehouse Full of Period-Appropriate Clothes' Brad Pitt Says His 'Ford v Ferrari' Movie With Tom Cruise Got Axed After Cruise Found Out He 'Would Not Be Driving Much in the Movie' Brad Pitt Says Young Actors 'Get Caught Up' in the Pressure to 'Have a Superhero' or 'Have a Franchise' and Tells Them: 'Don't! Don't! They'll Die' Oscars Best Picture Commentary (Updated June 30, 2025): It's always debatable when the official starting gun of Oscar season truly goes off. Is it Cannes when the first half of the year wraps up? Or does it begin with the fall trifecta of Venice, Telluride and Toronto, where world-class cinematic endeavors often make their debut? Regardless, it's time to take the first look at what promises to be a year filled with promising projects from Oscar-winning auteurs, rising visionaries, and, undoubtedly, a few surprise contenders along the way. While we're still more than six months away from nominations, and most of the year's buzziest films haven't released so much as a teaser trailer, Variety's first best picture predictions offer a snapshot of what could define the season — and what may prove to be red herrings. Ask anyone in the know what they've heard is 'the one,' and you'll likely get the same response from every studio: 'It's one of the best movies I've ever seen,' or 'I'd be shocked if it doesn't win. It's that good.' Studios are not known for hyperbole, right? Nonetheless, leading these very early predictions is 'Hamnet' from Focus Features and Oscar-winning 'Nomadland' director Chloé Zhao. A prestige drama produced by Pippa Harris, Liza Marshall, Sam Mendes and Steven Spielberg, it headlines Focus' robust slate. The studio also features another top-tier contender with 'Bugonia,' the highly anticipated project from Yorgos Lanthimos. For those keeping score: If Emma Stone is producing, and/or Lanthimos didn't write it, that's usually a sign it's a major awards contender (see: 'Poor Things' and 'The Favourite'). Then there's 'Sentimental Value,' Neon's high-profile acquisition that won the Grand Prix at this year's Cannes Film Festival. Directed by Joachim Trier and produced by Maria Ekerhovd and Andrew Berentsen Ottmar, the film puts Neon back in the conversation following last year's dominant run with 'Anora.' Neon CEO Tom Quinn appeared to be on a buying spree in the south of France, picking up multiple contenders, including Palme d'Or winner 'It Was Just an Accident' from Jafar Panahi, Jury Prize winner 'Sirāt' from Oliver Laxe and 'The Secret Agent' from Best Director winner Kleber Mendonça Filho. It's safe to say that Neon is gearing up for a multi-title campaign, joined by Netflix and Focus Features, which boast the most formidable slates of any studio this season. Ironically, neither Netflix nor Focus has ever won best picture — despite numerous nominations — and both will be pushing hard to change that narrative. Netflix's lineup includes 'Jay Kelly' from Noah Baumbach and Guillermo del Toro's 'Frankenstein,' both of which rank in the early top 10. If either film lands with critics and voters — or better yet, both — the streamer could find a pathway to clinch the elusive top prize. Additional titles include Kathryn Bigelow's long-awaited 'A House of Dynamite' and Richard Linklater's 'Nouvelle Vague,' which Netflix acquired out of Cannes and hopes will be France's submission for best international feature. Universal Pictures is putting its chips on 'Wicked: For Good,' the second installment of Jon M. Chu's musical adaptation, produced by Marc Platt. It hopes to achieve what few recent musicals have managed — not just awards attention, but a real shot at best picture, something that hasn't happened since 'Chicago' (2002). 20th Century Studios has 'Deliver Me From Nowhere,' featuring buzzy performances from Jeremy Allen White and Jeremy Strong, as well as a compelling narrative that industry voters may gravitate toward. Meanwhile, A24 returns with Dwayne Johnson and Benny Safdie's 'The Smashing Machine,' a gritty, character-driven sports drama. Also on deck: Josh Safdie's 'Marty Supreme,' starring Timothée Chalamet; David Lowery's long-awaited 'Mother Mary,' with Anne Hathaway and Michaela Coel; and David Freyne's 'Eternity,' featuring Miles Teller and Elizabeth Olsen, a possible under-the-radar breakout. While most frontrunners remain unseen, two early-year releases have already staked a claim: Ryan Coogler's genre-bending 'Sinners' and Joseph Kosinski's sleek racing drama 'F1.' Both films delivered strong box office results and critical acclaim. It's important to remember that this is just the beginning. With more than 100 titles still to be unveiled — including many marked 'U.S. Acquisition TBD' — and the fall festival gauntlet still to come, anything can happen. For now, the field is taking shape, contenders are stirring, and the summer heat is reaching record highs. Let the season begin. NOTE: All titles, release dates, studios and listed and credited producers are subject to change. Variety Awards Circuit: Oscars !function(){'use strict'; 0!== e= t in r,i=0;r=e[i];i++)if( d= strict'; 0!== e= t in r,i=0;r=e[i];i++)if( d= strict'; 0!== e= t in r,i=0;r=e[i];i++)if( d= strict'; 0!== e= t in r,i=0;r=e[i];i++)if( d= strict'; 0!== e= t in r,i=0;r=e[i];i++)if( d= strict'; 0!== e= t in r,i=0;r=e[i];i++)if( d= Best of Variety Oscars 2026: George Clooney, Jennifer Lopez, Julia Roberts, Wagner Moura and More Among Early Contenders to Watch Emmy Predictions: Supporting Actress (Comedy) — Liza Colón-Zayas, Janelle James, Catherine O'Hara and Kathryn Hahn Front 141 Fierce Contenders Emmy Predictions: Supporting Actor (Limited/TV Movie) — Javier Bardem and 'Adolescence' Duo Lead 126 Candidates for Noms
New York Post
a day ago
- New York Post
I tested Google's new AI dressing room — here's my verdict
I wasn't planning to try on Kate Hudson's yellow 'How to Lose a Guy in 10 Days' dress from my office desk this week. But that's what happened when I downloaded Doppl, Google's new AI fashion experiment that lets users virtually try on any outfit. Think Alicia Silverstone's digital closet in 'Clueless' — but AI, and on your phone. All you have to do is snap a full-body photo of yourself, upload the outfit you want to try and, within 30 to 60 seconds, your digital twin shows up wearing it. 8 The app was launched through Google Labs. Tamara Beckwith It's meant to replace your dressing room. So naturally, I gave it a shot. My 'Doppl' — unsettlingly similar to me, but with slightly-off proportions and longer hair — stood in the iconic yellow gown I've been obsessed with since middle school. Then it waved. Each animation is different. The app can create short videos of your AI clone moving in the outfit, usually with a slow turn or stiff pose. In this case, mine lifted an arm and posed like she was headed to the Oscars. 8 The yellow dress was nearly identical to the one Kate Hudson wears in 'How to Lose a Guy in 10 days.' Samantha Olander via Doppl 8 The animation gives people a chance to see themselves in different outfits. Samantha Olander via Doppl It was jarring. But I couldn't stop watching. The fit wasn't exact, but it was more accurate than I expected and enough to make me genuinely want the dress. Maybe need it. Doppl, launched last week through Google Labs, is part try-on tool, part tech experiment. Users can upload photos of outfits — whether it's a Pinterest fit, something from your favorite store's website or a sweater you spotted at a thrift shop — and the app creates a virtual version of you in the outfit. You can also skip using your own photo and choose from 20 preset AI models of different ages, races and body types. 8 Doppl currently supports images of tops, bottoms and dresses — but no shoes, bags or accessories. Google For now, Google says Doppl 'might not always get things right.' The app only supports tops, bottoms and dresses — no shoes, bags or accessories — and doesn't offer sizing advice or help with fit. Still, I wanted to see what it could do. One outfit I tested came from my Pinterest board — titled 'The Life of a Shopping Addict' — basically a running digital wish list of clothes I wish I owned. I picked a Saturday-night look: a black tank top and long, flowy skirt. Doppl gave me a short black mini dress and black boots that looked nothing like it. In some photos, it even added a few inches to my hair. 8 Users can upload screenshots of clothing from their favorite brands to see how the pieces might look on them. Samantha Olander via Doppl 8 When it works, it gives a surprisingly realistic preview of how the outfit might look on your body. Samantha Olander via Doppl Other outfits fared better. I uploaded a pair of jeans from Zara that had been sitting in my cart, and Doppl surprised me by generating an image that included the belt from the product photo, even though Google said accessories aren't yet supported. The rendering wasn't perfect, but as someone who's 5'10' and struggles to find jeans that are long enough online, it looked good enough. I bought them. From what I've seen, simpler outfits work best. The AI struggles with complex silhouettes — layered looks, blurry images, tricky fabrics — and occasionally invents new clothes from scratch if it can't figure things out. When it works, it's persuasive. 8 The app doesn't suggest sizes or guarantee fit, and layered or complex outfits may not render accurately. Samantha Olander via Doppl 8 Doppl uses generative AI to create digital try-ons, but results may include visual glitches or imagined clothing. Samantha Olander via Doppl When it doesn't, you're watching a glitchy clone wear something you didn't ask for. 'This is generative AI in an augmented reality format,' said Sucharita Kodali, a retail analyst at Forrester. 'I can't imagine that it wouldn't be useful. Is it going to be transformational and double anybody's business? No. But it'll be useful.' The app isn't perfect. Doppl skips over personalized questions like your height or measurements, which could make try-ons more accurate. You also have to be over 18, live in the U.S. and be logged into your Google account to use it. While it may not be replacing store dressing rooms anytime soon, for a free app on your phone, it gets surprisingly close. And it might just talk you into buying something you already wanted anyway.
