Who would've guessed that the world's most famous ogre, the green swamp creature who, like Axl Rose, just wanted to be left alone, would help ignite the careers of a passel of pretty princesses? Making their debut in "Shrek the Third," these budding queen bees are not very own. They are an elite fighting team of solid dames who burn a few bras And, as played by late-night TV comedians Maya Rudolph (Rapunzel), Amy Beauty), they may just be perfect spinoff material, said Aron Warner, longtime "The actresses were so funny to work with, you could definitely see them expanding those roles," Warner said.
A feature starring Puss in Boots (voiced by Antonio Banderas) is also under consideration, but Warner noted that both Meanwhile, in Silicon Valley - among the 350 engineers and computer artists who have mated math and story to help Shrek deal with self-acceptance and, then, in the sequel, guide him through a minefield of enchantment - a 30-minute sneak peek at the latest installment, which hit theaters last Friday, is emceed by co-director Chris Miller. (The fourth iteration, still under wraps, is in early story development before heading to the storyboarding stage.) A few new developments stand out.
The third film is jam-packed with supporting roles - 23 fairy-tale characters and 1,373 extras in one crowd shot; of consciousness - think flashbacks and nightmares; lastly, while still rich with pop cultural references, the new film delves into situational comedy more than the throwaway jokes that are the hallmarks of "Shrek." Instead, the focus is on character-based comedy, meaning many new technical burdens fell on the shoulders of Lucia Modesto, the film's character technical director supervisor. She and her team built a 4,378-strong fleet of generic types, hair and costumes.
Far, Far Away's main man also got an extreme computer graphic makeover. ("We originally built Shrek in 1998," Modesto said. "That's an old piece of software.
") Eagle eyes will notice Shrek version 2.0's skin now slides over his bones, his skin squashes and stretches when pressure is applied, there's a slight wrinkle in his nose, his chest moves as he breathes (which in one scene disturbingly suggests floppy green man breasts), and, natch, he wears a more The new settings were conceived by production designer Guillaume Aretos, and the gross-out factor of a medieval high school, complete with student In these new stamping grounds, the layout department, overseen by Nick Walker, created a CG camera that, in the opening reel, orbits a bedroom four times (further detailing Aretos' sets). In a shipboard scene, the crew devised Steadicam lensing.
In another first for the franchise, one mournful scene is set on an overcast day, allowing the lighting crew to explore subtle shapes and Even with all the advances, the technology is not even close to being "CG is still at the beginning," Aretos said. "It's only 10 years old. My daughter is 12!
Trust me, there is so much more to go.
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