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SKY CAPTAIN AND THE WORLD OF TOMORROW [2004 / 2017] [Special Collector’s Edition] [Blu-ray] [US Release] The World Will Tremble! Like Nothing You’ve Ever Seen In A Movie!
If the world is in trouble and there’s no one else to turn to, it’s Sky Captain to the rescue! When mysterious giant robots begin attacking the streets of New York, intrepid reporter Polly Perkins [Gwyneth Paltrow] is on the story and enlists the aid of ace aviator and old flame Joseph “Sky Captain” Sullivan [Jude Law]. Their mission is to find out who’s behind these killing machines and stop a plot to destroy the world before it is too late.
Co-starring Academy Award® winner Angelina Jolie as the ravishing Captain Franky Cook and Giovanni Ribisi as the technical genius Dex. ‘SKY CAPTAIN AND THE WORLD OF TOMORROW’ features innovative state-of-the-art special effects that will thrill and amaze you right through to the action-packed finale.
FILM FACT: Kerry Conran spent four years making a black-and-white teaser with a bluescreen set up in his living room and using a Macintosh IIci personal computer and sold by Apple Computer. He was able to show it to Avnet, who was so impressed that he spent two years working with him on his screenplay. No major studio was interested in Sky Captain, but Avnet convinced Aurelio De Laurentiis to finance Sky Captain without a distribution deal. Almost 100 digital artists, modellers, animators and compositors created the multi-layered 2D and 3D backgrounds for the live-action footage while the entire movie was sketched out via hand-drawn storyboards and then re-created as CGI animatic animated storyboard. Ten months before Kerry Conran made it; he shot it entirely with stand-ins in Los Angeles and then created it in animatic animated storyboard so the actors could envision how the film would look.
Cast: Gwyneth Paltrow, Jude Law, Giovanni Ribisi, Michael Gambon, Bai Ling, Omid Djalili, Sir Laurence Olivier (archive footage), Angelina Jolie, Trevor Baxter, Julian Curry, Peter Law, Jon Rumney, Khan Bonfils, Samta Gyatso, Louis Hilyer, Mark Wells, James Cash, Tenzin Bhagen, Thupten Tsondru, Matthew Grant, Steve Morphew, Nancy Crane, Stuart Milligan, Paul Canter, Demetri Goritsas, William Hope, Jonathan Keeble, Stephane Cornicard, Stephen Ballantyne, Victor Sobchak, Mido Hamada, Gerard Monaco, Chris Robson, Matthew Coulter, Merritt Yohnka, Karl Champley (uncredited), David Decio (uncredited), Matthew Feitshans (uncredited), Charlotte Kyle (uncredited), Sky Soleil (uncredited) and Chuen Tsou (uncredited)
Director: Kerry Conran
Producers: Aurelio De Laurentiis, Bill Haber, Brooke Breton, Hester Hargett-Aupetit, Jon Avnet, Jude Law, Marsha Oglesby, Raffaella De Laurentiis, Robert Gordon and Sadie Frost
Screenplay: Kerry Conran
Composer: Edward Shearmur
Cinematography: Eric Adkins (Director of Photography)
Image Resolution: 1080p [Color by DeLuxe]
Aspect Ratio: 1.85:1 [Anamorphic]
Audio: English: 5.1 DTS-HD Master Audio, English: 5.1 Dolby Digital Surround Sound, French: 5.1 Dolby Digital Surround Sound and Spanish: 5.1 Dolby Digital Surround Sound
Subtitles: English SDH, English, French and Spanish
Running Time: 106 minutes
Region: All Regions
Number of discs: 1
Studio: Paramount Pictures / Brooklyn Films / Filmauro
Andrew’s Blu-ray Review: For director Kerry Conran, Sky Captain and the World of Tomorrow is a lifelong dream come true. It’s a sentimental trip into a bygone era of heroic filmmaking, a throwback to a sci-fi world of pistons, motors, and gears. If you’re nostalgic for that stuff, and you care share Kerry Conran’s dream for the 1930s nostalgia themed filmmaking is revisited, then you’re going to go wild and your mind for ‘SKY CAPTAIN AND THE WORLD OF TOMORROW’ especially with the very over the top and well-constructed CGI computer generated effects that suits this film 100%.
The story is something akin to an old action-adventure serial like Flash Gordon with shades of Indiana Jones mixed in ‘SKY CAPTAIN AND THE WORLD OF TOMORROW’ opens with giant out of control robots attacking circa 1939 New York, that march through its concrete canyons wreaking havoc. With intrepid, Lois Lane cloned reporter Polly Perkins [Gwyneth Paltrow] right in the thick of things. New York calls in their hero for hire, Joseph “Sky Captain” Sullivan [Jude Law], a flying ace with a team of hot shots and planes stocked with interesting gadgets. Think of them as an early version of the Bat plane. Soon Polly Perkins and Joseph “Sky Captain” Sullivan are embroiled in a plot to kidnap missing scientists and destroy the world, the sort of thing that could come out of just about any old pulp comic or might be comfortable on a shelf next to “Attack of the Fifty Foot Man.”
Could these metal monsters be connected to the disappearance of the world's most celebrated scientists? Reporter Polly Perkins [Gwyneth Paltrow] thinks so and is determined to get to the bottom of the mystery. Joining forces with ace pilot Joseph “Sky Captain” Sullivan [Jude Law], aka “Sky Captain,” the plucky newshound follows a trail that takes them from the frozen Himalayas to a giant hovering airstrip, to a jungle island populated by prehistoric creatures. However, their antagonistic relationship means they spend more time at each other's throats than they do saving the world.
From the stunning opening scene of, a giant airship, the Hindenburg III, docking at the summit of the Empire State Building and director Kerry Conran presents us with an eye-popping visual CGI computer generated extravaganza. This is a world of tentacle-limbed androids, bird-like bombers, miniature animals and gleaming space rockets that recall fond memories of Flash Gordon and Buck Rogers. Kerry Conran also pays homage to films like ‘King Kong,’ ‘Metropolis’ and a dozen other screen favourites.
The film ‘SKY CAPTAIN AND THE WORLD OF TOMORROW’ is a technical tour de force for director Kerry Conran, who spent years working on its elaborate images with his production designer brother Kevin Conran. Shooting his actors against a blue screen, Kerry Conran then placed them within fantastical settings where every detail was CGI digitally created. Tinged in the sepia tones of a classic black-and-white action packed film, the $70 million (£39 million) result is a fascinating experiment that mixes state-of-the-art software with the vintage aesthetic of Hollywood's golden age. One of the most emotionally affecting moments of ‘SKY CAPTAIN AND THE WORLD OF TOMORROW’ comes, during the closing credits, when jazz vocalist Jane Monheit sings "Over the Rainbow." It's a wistful, haunting rendition that plays beautifully off Judy Garland's ‘The Wizard of Oz’ version, becoming at once old and new, and a total homage to the original. Plus, there's a fine comeback for one of the greatest actors of the last century, which of course is Sir Lawrence Olivier as a holographic image. The whole package is a labour of love for the director Kerry Conran, the film offers a lot to every viewer who is keen to view this action packed film and a lot of tongue in cheek humour and critics who took this film so serious with their nasty negative comments should get a life, whereas I thoroughly enjoyed this brilliant film and people should give it a chance, even though it was not a box office smash hit.
SKY CAPTAIN AND THE WORLD OF TOMORROW MUSIC TRACK LIST
OVER THE RAINBOW [By E.Y. Harburg and Harold Arlen]
CRYSTAL APPEARS [By Herbert Stothart]
FAIRYLAND [By Herbert Stothart]
OVER THE RAINBOW [Performed by Jane Monheit]
Blu-ray Image Quality – Paramount Pictures brings you this Blu-ray disc with an outstanding 1080p image presentation and an equally impressive 1.85:1 [Anamorphic] aspect ratio. The makers initially wanted to make it in Black-and-White and when overruled on commercial viability grounds, developed a hybrid look of varying amounts of colour saturation and detail. The scenes were "lit" after they'd been composited, making for a look that ranges from nourish deep shadows to a pastel Technicolor effect. Skin tones look hand-tinted and everything else looks like burnished glowing metal. Shadow detail and black levels are solid. Fine detail in the fabrics and distant objects are nice and clear and the print is free of any anomalies. So all in all a really great effort on the part of Paramount Pictures.
Blu-ray Audio Quality – Paramount Pictures brings you a 5.1 DTS-HD Master Audio presentation experience and I can tell you that audio soundtrack rocks the house with its brilliant Surround Audio Mix and your surround rear speakers get a real workout and this is definitely another great demo show-off Blu-ray disc. The whole soundstage is clear and detailed with impressive action sequences as the robots stomp through the city and airplanes and bullets whiz by your head. Dialogue and music is properly mixed and free of distortion, so make sure the neighbours are not around when the surround sound really lets rip and kicks in.
Blu-ray Special Features and Extras:
Audio Commentary by Producer Jon Avnet: Here we are personally introduced by Jon Avnet, who informs us that he was the producer for the film of ‘SKY CAPTAIN AND THE WORLD OF TOMORROW,’ and also informs us that he is the CEO of Brooklyn Films. At the time of this recording, it was six years onwards since the film was released in 2004. Jon Avnet talks about the famous 1998 Six Minute Demo Film by Kerry Conran that Jon viewed and was really keen to make the film, and of course the images we get to view at the start of the film is very similar to the demo film, which of course was originally in black-and-white, and of course Jon was really very impressed by what he viewed with the demo film, and of course was keen to get the finance up and running, but before the film got made, Kerry Conran and Jon Avnet spent two years putting the screenplay together, and by the time the was ready to be shot, the screenplay went through six drafts, but of course that was just the tip of the iceberg, because the next four years was a total hard slog in making the film. Also there had to be well known actors to appear in the film, so they contacted Jude Law and Gwyneth Paltrow as first choice and were shown the six minute demo film and were totally hooked and keen to appear in the film. Because Jon initially put his own finance into the film, but as things progressed he was seeing the money disappear and of course now needed to get other people involved in the financing of the film, so Jon contacted Aurelio De Laurentiis and Filmauro, who also saw the six minute demo film and were more than keen to finance the whole film. Jon felt because Jude law had worked on the stage, he would be so ideal for this film, especially as all the actors had to work in the studio where everything was painted blue and just a few objects to help them get some perspective, whereas some actors who were not experienced, would acted like wooden and stiff, in not knowing what to do in certain scenes. Jon also feels all the other main actors in the film were totally true actors and very professional, who gave their best performance for this film. Because they found out as they went along, they found out it was going to be more difficult than they envisaged in making a smooth transition while making the film and also very fast they found out they did not have enough computer power, so luckily PIXAR came to their rescue and saved the day in making the film so much better, and were more than happy to help out. The biggest challenge of all was all the new technology that started to appear before them and was a real trial and error process, and especially all the beautiful images that were created by Kerry Conran, but also wanted to make the film as good as possible and especially the story element was also just as important. When they had nearly finished the film, they asked Paramount Pictures if they could delay the release of the film, because at the time the film ‘Spiderman’ was also just about to be released, so Paramount Pictures agreed and that gave the team another five weeks to tweak the film to make it look even more spectacular. When we see the beautiful background matt shots of Shangri-La, this was only finished a week before they delivered the film. Kerry Conran originally wanted the film to be 100% black-and-white, but Jon Avnet said this is not going to happen, as it is not an art film, and so Kerry Coran decided to turn the film into a two colour strip type presentation and Jon thought Kerry Conran did an absolutely brilliant job in getting the film to look totally unique. Jon also talks about the idiot critics who complained most strongly about Angelina Jolie’s British accent, well Jon thinks it was totally perfect and felt these critics should get a life. When they finally get to where the mad scientist headquarters were and the plane that Jude Law went into the water and comes up in a tropical haven, where the weird prehistoric animals resided, this was all done by the genius Stan Winston. When Gwyneth Paltrow keeps wanted to take certain shots with her camera and keeps noticing that there are only two shots left, well this we are informed is a sort of running gag, especially near the end of the film. As we get to the last shot that goes blank for a few seconds, Jon feels this is a classic vintage ending. As the credits appear on the screen, Jon comments on each of the main actor’s names and comments on their professional contribution to the film. Jon also comments about the main credits rolling up the screen, and says that it runs for a total of 11 minutes and he points out that there are at least 600 to 700 people listed who were involved mainly with the technical side of the film and especially the special effects. Jon also comments that he hopes with all our effort in making the film, you really enjoyed the experience of the film and says, “Thank you.” Well I personally did enjoy the film and this particular audio commentary was really interesting and full interesting facts. Definitely a five star rating.
Audio Commentary By Writer/Director Kerry Conran & The VFX Crew: Production Designer Kevin Conran, Animation Supervisor Steve Yamamoto and Visual Effects Supervisor Darin Hollings: First to introduce themselves is Kerry Conran, and informs us that he wrote and directed the film, but also informs us that Steve Yamamoto, Darin Hollings and Kevin Conran are sitting in the room with Kerry and here to do a running audio commentary relating to all aspects of the film. Kerry comments that the opening title sequences were done by the Kaleidoscope Company, who also did the film posters. The opening sequence of the film was the first and last part to work on the finished film and the surviving sequence to be kept from the original six minute demo film, but of course this was greatly enhanced to give a much better and dramatic presentation of the film. What all of them liked about the film as it settles in, is the 1930s feel to it and really sets the scene for the whole of the film. When Polly Perkins enters Radio City, they talk about how the scene was put together with loads of photographs that were all merged into one amazing view, which I have mentioned in one of the special features how the process was done. One interesting fact we get to hear at last, is about when Jude Law dives into the sea with his pane and is being chased by the flying bat vehicle, and we are informed that originally the film was going to be split up into 12 chapters, like you would see with those old serial films you would see at the Saturday Morning Pictures, especially like the old Flash Gordon serial films. When we first meet the British actor Omid Djalili in the Nepal scene, and they say in between shooting they said he was the funniest man they have ever encountered and also told very naughty risqué jokes that had everyone falling about laughing so much. When one of the scientists walks up to the big doors and gets zapped by the electronic barrier, we are informed that this was Jude Law’s father. When Gwyneth Paltrow takes the last shot of Jude Law with a her camera and he tells her that she had left the lens cap on with her last shot and of course all the commentators talk about this situation and they also comment about this situation at the end of the film and they say of course, I suspect people with the inferior DVD will freeze frame this scene to see if it did happen and of course I checked this out and there was no lens cap on the camera, whereas viewing the film at the cinema you cannot check this out, and they also inform us they did two different endings with the film, and obviously for this Blu-ray disc the camera has no lens cap, so pray tell why they did not keep the end shot with the lens cap on, seems to me totally illogical. As the credits roll up the screen, that they mention the film was a labour of love for a ten year collaboration effort from everyone, and I agree with that, because I really enjoyed the film and what a shame they could not of done a follow up film, but sadly I know they would not get the finance, because of the film was a disastrous box office failure and even if they were able to get the finance, I suppose they didn’t want to spend another ten years of their lives on another film. This is basically a slightly boring audio commentary, and basically they just keep on droning about the CGI special effects, the actors are acting with just a blue background, the animatic set up and also go on about that there is nothing there in reality, just a vast empty film set, which to my mind is just stating the obvious and again starts to get very boring. To me I can only give a one star rating for this audio commentary.
Special Feature: Brave New World: With these two special features, we get a very good and well executed look at the making of ‘SKY CAPTAIN AND THE WORLD OF TOMORROW,’ and featuring unusually frank and honest discussions from all involved in the making of the film. The special features are shown as two chapters, which are as follows.
Special Feature: Brave New World: Chapter 1 [2004] [1080i] [1.33:1] [28:12] With this special feature, it focuses on the origin and evolution of the idea that became Sky Captain, following the film from its early stages on a desktop computer in Kerry Conran’s apartment, through the production of a six minute short film, and the backdoor pitch to Producer Jon Avnet. Taken on as a low-budget feature film and eventually gathered momentum with an A-List cast, and after nearly a year of pre-production, the principle photography wrapped up in just 29 days. Principle Photography started on 18/03/2003 in London in England. We get to view lots of behind-the-scene of the CGI computer image operators, as well as the film set that was completely painted in blue. We get to see rare 1998 video footage of Kerry Conran in his very messy apartment that looks like a typical geek’s place full of junk and a complete shambles. We get some very rare behind-the-scene filming at Elstree Studios in England and how they had to learn how to film in this new type of filming. Contributors include: Kevin Conran [Production/Costume Designer], Gwyneth Paltrow [Polly Perkins], Kerry Conran [Writer/Director], Marsha Oglesby [Producer], Jon Avnet [Producer], Jude Law [Sky Captain], Darin Hollings [Visual Effects Supervisor], Daniel Rucinski [Visual Effects Supervisor], Stephen Lawes [Special Photographic Process], Steven Yamamoto [Animation Director/Digital Effects Supervisor], Robert Dressel [Animation Supervisor], Michael Sean Foley [CG Lighting Director], Angelina Jolie [Franky] and Matthew Feitshans [Production Supervisor].
Special Feature: Brave New World: Chapter 2 [2004] [2004] [1080i] [1.33:1] [23:35] With Chapter 2 special feature, and this time it focuses on the principle photography, and follows the extended two year post production which grew from a dozen or so artists to over a hundred. Late participation by Paramount Pictures allowed the low budget film to blossom into a much bigger than life feature film, but that didn’t happen until very late in the game. This chapter shows many examples of the digital processes and the brilliant colouring of the film, especially as it was all filmed in black-and-white. We get to see some rare May 2003 video footage of all the people involved in the special computer editing suite 14 months until the final delivery of the finished film. We get to view a short clip from the famous black-and-white Brooklyn Films and Filmaro ‘Sky Captain and the Flying Legion in The World of Tomorrow’ test film, that came out on 16th June, 2003. We get a glimpse of the first screening at the Paramount for everyone who worked on the film on 13th September, 2004, and four days before the opening day of the actual film was released to the public and everyone really enjoyed the event. Contributors include: Marsha Oglesby [Producer], Kerry Conran [Writer/Director], Kevin Conran [Production/Costume Designer], Darin Hollings [Visual Effects Supervisor], Zack Petroc [Modelling Supervisor], Steven Yamamoto [Animation Director/Digital Effects Supervisor], Robert Dressel [Animation Supervisor], Matthew Feitshans [Production Supervisor], Brian Chacon [Director of Systems Engineering], Stephen Lawes [Special Photographic Process] and Sabrina Plisico, A.C.E. [Editor].
Special Feature: The Art of World of Tomorrow [2004] [1080i] [1.33:1] [8:20] Here Kevin Conran [Production Designer/Costume Designer] talks about the process and approach of the art direction of the film, and wanted to create a photo-realistic environment that he felt would be so ideal for the film his brother director Kerry Conran felt would be the ideal style and look of the film’s final outcome, that Kevin Conran calls it a “comic book brought to life.” The stylised look of New York was based on the brilliant and stunning charcoal renderings by Hugh Ferris, who was an architect and illustrations artist from the 1930s. Kevin Conran also talks about the Art Deco look, and the influence it had on the finished film. Kevin Conran goes on to discuss costume design, which he never really intended to be a part of, but went onto visualise the characters which we view with is early drawings and worked with those early drawings to design the final costumes that we see in the film, which we get to view some of his stunning black-and-white illustrated artwork.
Special Feature: The Original Six Minute Short [1998] [1080i] [1.33:1] [6:04] This is the original film that was made on a desktop computer in Kerry Conran’s apartment, and is what was used to pitch the feature film to Producer Jon Avnet. It was also instrumental in getting key actors to sign up for the film. It is easy to see how the first act of the film grew entirely from this short. It has the same visual style as the feature film, though it is in black-and-white and I think it was meant to be the original intention of this feature. What is of great interest is that this is a demo that launched this whole endeavour and most shots appear in their original form and gives the ability to see what inspired so much confidence in so many ways is very cool, and especially what is also totally brilliant is that right at the start of the short film is the classic British Board Of Film Censors, and that it has been passed for Public Exhibition to Adult Audiences as an “A” rated film, now to me that is really cool.
Special Feature: Deleted Scenes: Here you get to view two separate deleted scenes and they are as follows: Totenkopf’s Torture Room [2004] [1080i] [1.37:1] [1:13] A short scene in Nepal, before Captain Joe Sullivan and Polly receive the staff that leads them to Totenkopf. This scene is completely rendered. The Conveyor Belt [2004] [1080i] [1.33:1] [3:56] This is a mix of blue-screen and pre-visual animatic. It serves as an alternate way for the Sky Captain and Polly Perkins to meet Dex. The final version in the film is shorter and much tighter in length.
Special Feature: Anatomy Of A Virtual Scene [2004] [1080i] [1.37:1] [7:55] Here we to see an in-depth look at how the film was put together from scratch to the finished film. We get lots of how Grand Central Station in New York was photographed and brought to life in the film with the combination of CGI computer generated images, and also via the technical aspect of the animatic storyboard images, and of course by the end of the special feature you get to see the finished images you see in the film and you can why the film took two years to make. Contributors include: Rob Dressel [Animation Supervisor] and Stephan Lawes [Compositing Supervisor].
Special Feature: Gag Reel [2004] [1080i] [1.37:1] [2:32] Here we get to view a short mix of action bloopers and animatic gags. There is nothing special here, but those who like these types of bloopers may appreciate the inclusion and is typical run of the mill outtakes that are not really funny at all.
Theatrical Trailers [2004] [1080p [1.78:1] Here we get to view Three Original Theatrical Trailers for the film ‘SKY CAPTAIN AND THE WORLD OF TOMORROW’ and they are as follows: Trailer #1 [1:59]; Trailer #2 [1:39] and Trailer #3 [1:13].
PREVIEW: Paramount High Definition Promotion [2006 [1080p] [1.78:1] [1:20].
Finally, ‘SKY CAPTAIN AND THE WORLD OF TOMORROW’ story is an unabashed and un-ironic tribute to the days of cliff-hanger serials and it gives the feel of the style you use to get when you visited the Saturday Morning. The antagonistic-lover banter benefits from snappy delivery, but it's not quite up to the best of the 1930s dialogue. It is not always easy to step back from amazement and admiration for the technology of the film to just enjoy the story. The scenes are superbly imaginative and the director Kerry Conran does more than create arresting visuals, he creates a world with consistent and very dramatic light source effects and a sense of three-dimensional believability on a grand scale. Gwyneth Paltrow and Jude Law are fine together, as are Giovanni Ribisi as Jude Law's mechanical whiz buddy who gets kidnapped by the robots and Angelina Jolie with an eye-patch as the endlessly sporty Commander Franky, especially considering that they all spent weeks in an empty blue room being told to move precisely two feet to the right and then look amazed and what they were supposed to be looking at. The film ‘SKY CAPTAIN AND THE WORLD OF TOMORROW’ is a fun, family friendly action film that a few years from now will fit comfortably into a Sunday afternoon double feature with the likes of other similar genre action packed films, and so for me personally I enjoyed every 106 minutes and cannot wait to view the film all over again, and despite all the critics giving it thumbs down, which is so negative, because what makes the film so enjoyable is the over the top CGI special effects that was so spectacular, it makes the film what it is, a totally fun filled action packed rollercoaster film of awesome proportions. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
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