![]() ![]() 1951) is the Japanese filmmaker behind such acclaimed animé movies as Angel's Egg The screening of GHOST IN THE SHELL 2: INNOCENCE at 13.00 in Vega 1 is introduced by cyberpunk expert Jasper Sharp Director With Studio Ghibli on the producing team, this remains the only anime film to have ever been nominated for the Palme d’Or at Cannes.Īlexander Svanåsbakken 20. The animation blends 2D and 3D in a magical way, and is exceptionally beautiful in all its detailed glory. This movie can be experienced and enjoyed on its own. This means that it doesn’t matter if you have never seen the original or only have seen the live action adaptation with Scarlett Johansson. But since the West is somewhat obsessed with sequels, it got the dreaded number 2 attached to it. Ghost in the Shell 2: Innocence was never intended to be a direct sequel to Ghost in the Shell, but meant to stand tall on its own two feet. Melancholy and full of action visually unique and hypnotic. Topped with amazing animation and an engaging storyline, this is a true masterpiece that is rarely bettered. Wellington image: iStock by Getty Images.Neo-noir cyberpunk with a healthy dose of philosophy and existentialism in the mix. Ghost in the Shell images: Paramount Pictures. ![]() The country has also recently hosted location filming for Disney’s remake of Pete’s Dragon and filmmaker James Cameron is scheduled to shoot multiple Avatar sequels from a Wellington base.įilm production in New Zealand is generally based in the capital, but a new facility – Kumeu Film Studios – has now opened in the northern city of Auckland and offers the country’s first water tanks.įor more on filming in New Zealand see our production guide. Paramount Pictures spent $120m on production in New Zealand, including $60m on location filming in Wellington. New Zealand offers a base 20% filming incentive for international productions that can rise to 25% for productions that have particular economic benefits, which included Ghost in the Shell. “Our 1st AD said it almost felt like a backlot as we’d set up such tight controls at every point,” Connon says. The team faced a major challenge keeping local residents and business owners happy, but everything was organised without any problems. “It was a mammoth task, and especially having to dress the streets overnight on a Friday in preparation for filming the next day, then pack it all down ready for business as usual on a Monday morning – then repeat the whole process again the following weekend.” “We closed pubs, had gunfights in front of the central police station, kept all the surrounding office towers under full lockdown where possible and when not possible had people sign NDAs (Non-Disclosure Agreements) to not take photos of the filming in action. A perimeter barrier was set up to prevent bystanders taking photos of the costumed cast. The producers selected a specific two-block section of the city and Connon and his team spent weeks planning a complete closed-set shutdown over two weekends. The lighting and its programming was certainly a highlight for a lot of us working on the project.” The designers really went to town here, with amazing LED lights installed in some great street furniture. “One of the best additions was the street lighting. “It was pretty surreal at times driving through downtown central Wellington and seeing a couple of blocks being transformed firstly into Hong Kong, and then further embellished with strange and wonderful science-fiction street furniture. “Building facades and street surfaces were utilised, but all were heavily enhanced with set dressing, set construction and of course visual effects for all the amazing holographic imagery intrinsic to the story,” Connon says. Stone Street Studios in Wellington was used as the production base for Ghost in the Shell and Peter Jackson’s visual effects company WETA Workshop was involved with the design of the movie before Wellington was even confirmed as the main filming location. In addition, US studio DreamWorks had previous recent experience of filming in New Zealand – on period romance The Light Between Oceans, which Connon also worked on – and so the production team knew the terrain. “Wellington has a surprisingly similar geography to Hong Kong, with it being built on a harbour surrounded by steep forested hills.” “It came down to two key production decisions - where in the world could double for Hong Kong, and studio availability,” says Jared Connon, the film’s supervising location manager, in comments to KFTV. The producers of the new Ghost in the Shell movie scouted Hong Kong and Shanghai for visual inspiration, but decided that another city with a similar look was needed for their new adaptation of the story. ![]()
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