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<ul class="summary-list"><li>Actress <keyword id="13691969" type="UNKNOWN" weightage="60" keywordseo="betty-gilpin" source="Orion">Betty Gilpin</keyword> told <keyword id="11984870" type="UNKNOWN" weightage="60" keywordseo="jimmy-fallon" source="Orion">Jimmy Fallon</keyword> she was once left in a body bag on the set of "<keyword id="12320032" type="UNKNOWN" weightage="60" keywordseo="law-order" source="Orion">Law &amp; Order</keyword>."</li><li>The "GLOW" star said the incident happened on her first acting job.</li></ul>Actress Betty Gilpin said she was accidentally left in a body bag on the set of "Law &amp; Order" in an appearance on "<a href="https://www.businessinsider.com/reviews/out?u=https%3A%2F%2Fwww.hulu.com%2Fseries%2Fthe-tonight-show-starring-jimmy-fallon-35ecd2e5-7123-4680-a838-1ff047e5b13b" rel="nofollow noopener sponsored nofollow sponsored">The Tonight Show Starring Jimmy Fallon</a>" on Friday.While working on "Law &amp; Order: Criminal Intent" in 2006, Gilpin was playing a woman who was found dead in an oil drum. The "GLOW" star told Fallon that after she was filmed inside a body bag and zipped up, the production crew wrapped for lunch, leaving her inside."And I hear, like, footsteps on gravel getting farther and farther away, van doors closing," she said. "And then, like, 10 seconds goes by. I hear one far-away [production assistant] being like, 'Oh my God,' and footsteps coming towards me. Unzips, sunlight on my face, yeah."She joked that she didn't call out for help because it was her first job and she didn't want to appear "high-maintenance." Gilpin also noted that she played the daughter of actress Fran Drescher's character for the episode.<a href="https://www.imdb.com/name/nm2365811/">According to IMDb</a>, Gilpin appeared on "Law &amp; Order" shows three more times in her career. Fallon said working on "Law &amp; Order" was considered a rite of passage for New York actors like Gilpin, who was born and raised in the city.Representatives for Gilpin and NBC did not immediately respond to Insider's request for comment.

'GLOW' star Betty Gilpin was accidentally forgotten in a body bag while playing a corpse on 'Law & Order'

<ul class="summary-list"><li>In "<a href="https://www.insider.com/category/the-hunt">The Hunt</a>," a group of conservative Americans is kidnapped by a group of wealthy liberal Americans and attacked for sport. The <a href="https://www.insider.com/category/movies">film</a> culminates in a face-off between the characters Athena (<keyword id="67908" type="PERSON" weightage="60" keywordseo="Hilary-Swank">Hilary Swank</keyword>) and Crystal (<keyword id="4654614" type="PERSON" weightage="60" keywordseo="betty-gilpin">Betty Gilpin</keyword>).</li><li>The fight sequence takes place in a manor and utilizes a kitchen island, a fireplace, and windows as an action set pieces.</li><li>Director <keyword id="2886257" type="PERSON" weightage="60" keywordseo="Craig-Zobel">Craig Zobel</keyword> worked closely with the production designer, <a href="https://www.insider.com/category/stunts">stunt</a> coordinators, and special effects team to make sure each part of the sequence got pulled off safely while convincingly turning the house into what is basically a giant weapon.</li><li><a href="https://www.insider.com/?hprecirc-bullet">Visit Insider's homepage for more stories</a>.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: Oof. Ouch!In the climatic fight scene in "<keyword id="1063202" type="ENTERTAINMENT" weightage="60" keywordseo="The-Hunt">The Hunt</keyword>," you see a lot of falling on the floor, which should hurt, but what you don't see is that under a layer of vinyl made to look like real flooring, the floor is actually all foam, according to the director.To make this elaborate fight scene work, the filmmakers built an entire set with each stunt in mind. A set that was meant to be destroyed. This left the film's production designer with the tough job of building sets that were tailor-made to fit the needs of a scene without the audience ever noticing.<h2> Warning: spoilers ahead. </h2>In "The Hunt," a group of conservative Americans is kidnapped by a group of wealthy liberal Americans and attacked for sport. No surprise, the satirical film was met with much controversy.The film culminates as Crystal, played by Betty Gilpin, faces off against Athena, played by Hilary Swank, who helped organize the hunt near her sprawling manor where the fight takes place. When director Craig Zobel was given the script for "The Hunt," all it indicated was that the climax would be an epic head to head, so he worked with the stunt coordinators, special effects team, and production designer to choreograph a fight scene that was a standout moment of the movie.Craig Zobel: We wanted this whole fight to just feel more messy and real, and that drove a lot of the decisions that we were making. The production designer and I, you know, had all these kind of ideas that were built around building this jungle gym of a set.Narrator: To map out the fight, the stunt coordinators constructed their own version of the home out of cardboard boxes, which stood in for the 60-foot-by-50-foot set. While working with the cardboard model, the stunt team came up with the idea of turning the kitchen island into a stunt piece by having the characters vault across it. While production designer Matthew Munn had already planned to have a kitchen island, he now had to retrofit and redesign it to ensure it was strong and sturdy enough to support this one stunt. To pull off the move successfully, the island was built out of strong wood and painted to look like concrete. Then the top was removed and replaced with a foam pad, similar to how they used foam underneath the vinyl floor covering.Zobel: Kind of like a kid's playhouse foam floor for certain parts of it. Narrator: The two characters also fight on top of the kitchen table. Like with the island, they needed something sturdy, but they also wanted something aesthetically pleasing, so the production designer and decorator picked out a rustic-looking table that fit in with the rest of the set. But because they knew it would have to handle a lot, they made sure the solid wood table also had a steel base. Even average household items were chosen and strategically placed so they could be picked up and used as weapons. Like this light fixture, which both looks cool and turned out to be practical.Athena: That was good.Narrator: And this food-processor blade, which was Zobel's idea, because it's something he has been afraid of his whole life. Almost all the props you see, from cabinets to jars, are breakaway props, which means they're built to be safely broken.Zobel: What I learned is, once you're working with this many breakaway items, you do a lot of practice runs before you break them.Narrator: The next stunt was perhaps the most difficult one to shoot: moving the fighters from the kitchen to the living room. To make this transition more dynamic, the filmmakers decided they wanted to use this unusual double-sided fireplace, which the production design team would need to build. Zobel saw a double-sided fireplace while location scouting at a real house and thought it would be perfect for a stunt.The fireplace was built with your standard drywall and concrete, but they laid special propane lines underground that the special effects team could use to increase the height of the flames as the stunt double went through the fireplace. The opening of the fireplace was originally smaller, but after some experimentation, they expanded it so that it was 5 feet wide by 3 feet tall. It's a dangerous move, so as an extra precaution, they soaked the stunt double's clothes with a fire retardant. Then, under that, she wore protective CarbonX and fire gel to prevent her skin from burning.Following this, Athena fires at Crystal with her gun and hits the chimney. For that shot, Munn said the chimney was altered to fit the move. They took a piece out of it, replaced it with hard foam, and then rigged it with squibs for the perfect shotgun effect.Athena then chases Crystal up the stairs, where they duke it out some more. But Crystal would eventually need to get back downstairs somehow. That's where these big ropes came in handy. In the manor, they're meant to be large art pieces, but the team knew they could double as a stunt piece.For the first part of the stunt, Gilpin's stunt double was connected to two lines in a Y shape that were attached to her harness. The lines went through pulleys above the set, which were then redirected to a pole station across the room. A stunt rigger made sure the stuntwoman got just the right amount of tension on her lines. Too much tension, and the stunt would look fake. Not enough tension, and she would peel off the rope right away.For the second part of the stunt, she dangled about eight feet off the ground. At the count of...Director: Three, two, one. Narrator: She would be pulled forward. Then, once the rigger heard this sound, [crack] he had to make sure to drop her at just the right speed so she fell directly onto this table. Knowing that she would land on it, this had to be built as a breakaway table, and the legs on the table had to be constructed in such a way that they would break immediately on impact for this stunt.Meanwhile, because the rope had to collapse, it was held up with specially made breakaway brackets, which you can see here. According to Zobel, they had enough materials to do this fall four times. In the end, he says he got it done in just one or two takes.While the interior was shot on a soundstage, it still had to match the actual exterior of the house shown on screen, a real house in Louisiana. So one element the production design team had to match with the real house: a hallway with big glass windows. It served as the key part of the set to move the fight from inside the house to this small courtyard. The window turns into an active part of the action at the moment when Crystal tries to throw Athena through it.On the first try, the window doesn't break, and then it does on the second try. In reality, the windows were made out of a tempered glass, which they chose specifically for this move. This type of glass is strong enough to not break immediately, but when it does, it breaks into tiny pieces as opposed to sharp shards. The stunt actresses were attached to a rope, which was attached to something stationary known as a dead man, allowing them to bang up against the glass without being pulled through it. Then, for the second attempt, Munn said the special effects team rigged the glass with explosives that were timed to go off at the exact moment the two characters needed to go through the glass. The glass was also retrofitted to allow for this pulley system put together by the stunt team, which would then launch the characters out into the courtyard.Staging the scene this way gave them an excuse to move the fight outside and then come back around the kitchen for the fight's conclusion. Their transition from one side of the house to the other via the courtyard was captured in one move by this camera on a track. Zobel, the cast, and crew managed to film the entire sequence over five long 12-hour days at the very end of the shoot. Building the set to support the fight allowed them to shoot everything safely and efficiently, while still looking spontaneous instead of overly choreographed.While big parts of the set, like windows and the fireplace, were most crucial, even the most unexpected objects and set decoration helped advance the fight, like this expensive bottle of Champagne. Zobel knew he wanted it there for Crystal to grab at the end of the fight as a reward, but what he didn't know was how perfect the moment where Athena catches it would turn out to be.Zobel: When we go to shoot that portion of the scene, on the very first take, Hilary kind of dove and did this amazing football catch that I certainly did not anticipate, and I don't think anybody on set anticipated her really going for it that much. A cheer erupted on set as she caught the Champagne.Hilary Swank: [laughing] Oh! Oh, my God. The reaction after is funny. It's like I'm a masochist. [laughing] Come for more.Read the original article on <a href="https://www.insider.com/how-fight-scene-in-the-hunt-movie-was-filmed-2020-4">Insider</a>

How the epic final fight scene in 'The Hunt' was designed and filmed

<ul class="summary-list"><li><keyword id="13670135" type="UNKNOWN" weightage="60" keywordseo="merritt-wever" source="Orion">Merritt Wever</keyword> plays a woman charmed by a duck in the new <a href="https://tv.apple.com/channel/tvs.sbd.4000?itsct=bizinsider_tv&amp;itscg=30200&amp;at=1001loVS" rel="nofollow sponsored">Apple TV+</a> anthology series "<keyword id="13670136" type="UNKNOWN" weightage="60" keywordseo="roar" source="Orion">Roar</keyword>." </li></ul><ul class="summary-list"><li>The relationship takes a dark turn, telling a powerful story about intimate partner abuse.</li></ul><ul class="summary-list"></ul>Merritt Wever plays a woman <keyword id="11911213" type="UNKNOWN" weightage="60" keywordseo="dating" source="Orion">dating</keyword> a duck in the new <a href="https://go.skimresources.com?id=35871X943606&amp;xs=1&amp;url=https%3A%2F%2Ftv.apple.com%2Fus%2Fshow%2Froar%2Fumc.cmc.2os8kmimhw58fqxcu7xcmx8hd" rel="nofollow sponsored">Apple TV+ series "Roar,"</a> and while the concept is funny, the story is not.The eight-episode anthology series is based on a collection of short stories by Cecelia Ahern. It includes fantastical elements and moral arguments that stitch together to form a <a href="https://www.insider.com/lucille-ball-never-thought-she-was-feminist-lucie-arnaz-2022-3">feminist</a> quasi-"Twilight Zone." Each episode is a separate, unconnected story, anchored by a female character. <a href="https://www.insider.com/alison-brie-blonde-hair-instagram-2019-4">Alison Brie</a>, <a href="https://www.insider.com/hbo-outsider-series-trailer-video-2019-12">Cynthia Erivo</a>, <a href="https://www.insider.com/svu-celebrities-who-guest-starred-as-villains-2018-7">Betty Gilpin</a>, <a href="https://www.insider.com/insecure-finale-why-issa-and-lawrences-ending-was-realistic-2021-12">Issa Rae</a>, Fivel Stewart, and <a href="https://www.insider.com/nicole-kidman-viral-meme-oscars-will-smith-chris-rock-2022-3">Nicole Kidman</a>, who also serves as an executive producer, star in each of the other installments.<a target="_merchant" href="https://tv.apple.com/"></a><a target="_merchant" href="https://tv.apple.com/">Apple TV Plus (Monthly Plan)</a><a target="_merchant" href="https://tv.apple.com/">$4.99 FROM APPLE TV+</a> For Wever, the gig was not a hard sell. In a recent interview with Insider, the actress recalled the creators of "Roar" asking if she wanted "to come do an episode about a woman who's in an emotionally abusive relationship with a duck." Her immediate response? "Definitely."In Wever's episode, called "The Woman Who Was Fed By a Duck," the titular duck <a href="https://www.insider.com/dating-a-narcissist">gaslights</a>, <a href="https://www.insider.com/how-to-pick-someone-up-in-public-2018-8#talk-to-them-like-youd-talk-to-someone-you-greatly-respect-4">negs</a>, and terrorizes Wever's character, Elisa, who is studying for her medical school admissions test (the MCAT). He echoes her self-doubts and attacks any perceived weakness.Working with an animal was a new territory for Wever. "Everybody ended up having different ideas of what the duck represents, why it has to be a duck," she told Insider. "I thought it was an interesting, different way to tell a story," she added. "I certainly haven't gone to work working with or speaking to a talking animal before." She was excited by the fact that she "didn't know what that would be like."Creating a familiar dating dynamic through such a bizarre storyline required some faith that the show's audience would "get" what the writers were trying to say to them."I had to kind of <a href="https://www.insider.com/the-walking-dead-season-11-finale-clip-maggie-negan">trust</a> the intent of the people that I knew were making it, my own intention, and decide to just wade into this situation and hope that if I played it honestly, then the people watching would understand it," Wever said. "I think there's something worthwhile in doing something different or something that you haven't done before."Of course, even though the subject matter was surprisingly dark, there were plenty of light-hearted moments working with the animal on set that Wever appreciated during the dark times of the pandemic. "There's a scene where the duck is following me and I turn around and the duck was a lot closer to me than I'd expected," she recalled. "And I definitely shrieked like an old lady or something.""It afforded me one of I think the biggest and best laughs I'd had in about 12 months," she added.<div type="image" title="Merritt Wever in “Roar,” premiering globally April 15, 2022 on Apple TV+." height="3042" width="4055" msid="90982895" hostid="261"></div>The episode's comedic imagery illustrates how <a href="https://www.insider.com/signs-loved-one-is-in-abusive-relationship-gabby-petito-2021-10">intimate partner abuse</a> can progress overtime. Eventually, the mental abuse from the duck becomes physical. It isolates her by criticizing her existing interpersonal relationships, which is a common abuser tactic that, as Wever put it, "tethers you more and more to the person you're in a romantic relationship with as opposed to the rest of the people in your life."The duck also takes advantage of her inability to be heard by her sister, who Elisa FaceTimes regularly but rarely has deep talks with. Elisa's sadness is hidden in their interactions. "It's hard to have difficult conversations with people you're close to," said Wever. "She gets cut off from the other people in her life, from her life purpose. She starts to doubt what she wants to do. She starts to doubt her goals, her ability, you know, her own mind," Wever added.According to the <a href="https://www.cdc.gov/violenceprevention/intimatepartnerviolence/fastfact.html">CDC</a>, about one in 4 women and almost one in 10 men have experienced "contact sexual violence, physical violence, and/or stalking by an intimate partner during their lifetime," and over 43 million women have been subject to "psychological aggression by an intimate partner."The episode's writing integrates telltale abuser <a href="https://www.insider.com/abusive-relationship">signs</a> like tossing insults, name-calling, and damaging property. The episode's powerful message is made clearer by Wever's commitment to taking the material seriously.She played the role straight, allowing the audience to see the creature's intentions clearly. She approaches the on-screen meet-cute with the duck, who is <a href="https://www.insider.com/sonic-the-hedgehog-2-colleen-oshaughnessey-voice-of-tails-interview-2022-4">voiced</a> by Justin Kirk, with the same flirty energy reserved for wingless suitors. The interest on her face makes the dynamic seem more familiar than bizarre. She told Insider she worked on "looking at the animal and talking to this thing that is alive and is listening to me and moving and watching me." "The challenge as an actor always comes back to the same one as any job, which is to make something as honest and believable as you can," she said.All eight episodes of "Roar" are <a href="https://tv.apple.com/channel/tvs.sbd.4000?itsct=bizinsider_tv&amp;itscg=30200&amp;at=1001loVS" rel="nofollow sponsored">now streaming on Apple TV+</a>.

There's nothing funny about Merritt Wever dating an abusive duck on 'Roar' &mdash; and that's the point

<div class="KonaFilter image-container display-table"><div><div class="image on-image">UniversalBetty Gilpin in "The Hunt."</div></div></div><ul class="summary-list"><li>Business Insider read the script for the movie "The Hunt," which Universal decided to not release in the wake of the mass shootings in early August and criticism from President Trump. </li><li>The Blumhouse Productions thriller about a group of people who are hunted by liberal elites is extremely graphic and features a lot of gun violence. </li><li>But the movie is not a liberal-versus-conservative story, as it has sometimes been depicted in the <keyword id="6354777" type="COMPANY" weightage="60" keywordseo="Media">media</keyword>.</li><li>Still, there are references that could have angered Trump or his supporters.</li><li><a href="https://www.businessinsider.com/?hprecirc-bullet">Visit Business Insider's homepage for more stories</a>.</li></ul> In the wake of the mass shootings in El Paso, Texas; Dayton, Ohio; and Gilroy, California in early August, Universal <a href="https://www.businessinsider.com/the-hunt-movie-canceled-trump-2019-8">announced</a> it was pulling its September 27 release of Blumhouse Production's "The Hunt," with no indication when (or if) it would ever be released.Because of the gun violence and red-state-versus-blue-state vibe of the trailer, which shows 12 strangers suddenly waking up in a remote location and being hunted by a group of rich elites, the movie had become a flash point of controversy.A day before Universal announced it had taken the movie off its slate, President Trump called Hollywood "really terrible" and "racist," and tweeted, "the movie coming out is made in order ... to inflame and cause chaos." Many in Hollywood and the media took Trump's tweet to refer to "The Hunt."But most people debating "The Hunt" online and in the media hadn't seen in. In fact, other than those involved with the movie, directed by Craig Zobel ("Compliance," episodes of HBO's "The Leftovers"), and test screening audiences, no one had.So is the movie (budgeted at <a href="https://www.boxofficemojo.com/movies/?id=thehunt2019.htm">$15 million</a>) an ultra-violent modern take on "<a href="https://www.imdb.com/title/tt0023238/?ref_=nv_sr_1?ref_=nv_sr_1">The Most Dangerous Game</a>" with liberal elites picking off "<a href="https://nypost.com/2019/08/15/why-the-hunt-release-was-canceled-death-threats-negative-feedback/">deplorables</a>" for fun, as it has sometimes been portrayed in the media?Business Insider was given a draft of the script written by Nick Curse and Damon Lindelof (creator of HBO series "The Leftovers" and "Watchmen"). Here's what we know.(No major spoilers, we promise.)Note: Details below could change as the movie is currently being edited.

'The Hunt' isn't about liberal elites hunting 'deplorables,' but there are lines in the script that could anger Trump and his supporters

<div class="KonaFilter image-container display-table"><div><div class="image on-image"></div></div></div><ul><li>Season two of Netflix's "GLOW" is even better than the first.</li><li>It's funnier, even as it explores complex themes including race and sexual harassment.&#xa0;</li><li>Star Betty Gilpin steals the show in brilliant comedic and dramatic scenes.</li><li>Season two debuts June 29 on Netflix.&#xa0;</li></ul>Season two of "GLOW," which makes its debut with ten new episodes on Netflix June 29, is much funnier and deeper than its excellent first season, keeping it high up in the ranks as one of the best Netflix original shows, and one of the best shows on television.The half-hour drama/comedy set in 1980s Los Angeles is inspired by "Glamorous Ladies of Wresting" (aka "G.L.O.W."), a women's wrestling program that premiered in 1986. The first season received glowing (forgive me) reviews from critics and audiences alike when it came out last summer. The show stars Alison Brie, Betty Gilpin, and Marc Maron, and features a large and diverse cast of women of many ages and backgrounds.<div class="KonaFilter image-container display-table"><div><div class="image on-image"></div></div></div>Season one was great, but it was just a charming and sweet introduction to what this show could become. And with the training out of the way&#xa0;-&#xa0;and the plot surrounding Ruth's (Brie) affair with Debbie's (Gilpin) husband&#xa0;-&#xa0;the show has more room for its spectacular set of characters and focuses on issues including race, sexual harassment, motherhood, teen angst, and letting go of the past.There's a lot more layers and a lot more comedy now that the women are wrestling, filming, and writing their ridiculous show full time, rather than preparing for it. Late in the season, there is an episode that is a show-within-a-show, and it's some of the most brilliant sketch comedy in years.<div class="KonaFilter image-container display-table"><div><div class="image on-image"></div></div></div>Brie and Maron are as fantastic as they were last season. Gilpin's ability to combine slapstick physical comedy with heartbreak as Debbie's altar-ego Liberty Bell&#xa0;- providing insight into both Liberty Bell and Debbie at the same time&#xa0;-&#xa0;is mind-blowing. And Maron, who proved he has some acting chops as director Sam Sylvia, gets a lot more to do between his new role as a father to a teenage girl and his complicated relationship with Ruth.With a better understanding of this world and the main characters, producer Bash (Chris Lowell) gets a major storyline that goes from surprising to tragic, while Tammé/Welfare Queen (Kia Stevens) and Arthie/Beirut (Sunita Mani) confront their racial stereotypes in very different ways. Unfortunately, the more characters who get the spotlight means that others like Cherry Bomb and Carmen take the backseat.<div class="KonaFilter image-container display-table"><div><div class="image on-image"></div></div></div>Instead of pitting the women of G.L.O.W. against each other, the story this season brings them together. There is conflict between them, especially Ruth and Debbie, who have a complicated past. Amidst a disagreement on how actresses should handle sexual harassment and a major injury that might have been inflicted on purpose, we get the chance to see how Ruth and Debbie's friendship was before the first episode of the series. Their respect for each other, despite what they disagree on and what they've been through, is a great example of a female friendship on television.By exploring complex, relevant themes and taking full advantage of its comedic elements, "GLOW" season two is even better than the first.Watch the trailer for season two below. You can see the entire season when it comes out on June 29:<div></div> <div class="margin-top"> <h3>NOW WATCH: <a href="http://www.businessinsider.com/kim-kardashian-personal-trainer-body-fitness-workout-2018-5">How to get as fit as Kim Kardashian, according to her personal trainer</a></h3> <div> </div> </div></hr>

Netflix's 'GLOW' season 2 is funnier and deeper than season 1, and one of the best current TV shows

<div class="KonaFilter image-container display-table"><div><div class="image on-image">Universal Pictures/YouTube"The Hunt."</div></div></div><ul class="summary-list"><li>Universal announced on Saturday that it was pulling the release of its thriller, "The Hunt," and did not say if it would ever be shown.</li><li>The movie, produced by Blumhouse, follows 12 strangers who are hunted by a group of rich elites.</li><li>The studio stopped the marketing campaign for the movie following the recent mass shootings in El Paso, Texas; Dayton, Ohio; and Gilroy, California.</li><li>But many in the movie business believe that President Trump recently calling Hollywood "really terrible" and "racist," as well as tweeting, "the movie coming out is made in order ... to inflame and cause chaos," was directed toward "The Hunt."</li><li>Business Insider spoke to Hollywood producers and others in the industry, some of whom said if the movie was pulled because of Trump's remarks that sets a bad precedent.</li><li><a href="https://www.businessinsider.com/?hprecirc-bullet">Visit Business Insider's homepage for more stories</a>.</li></ul>On Saturday, <a href="https://www.businessinsider.com/the-hunt-movie-canceled-trump-2019-8">Universal announced that it was pulling</a> the September 27 release of its thriller, "The Hunt." The latest movie from Blumhouse Productions follows 12 strangers who suddenly wake up in a remote location and learn they have been chosen to be hunted in a game by a group of rich elites. It stars "Glow" star Betty Gilpin, Emma Roberts, and Hilary Swank. The movie is directed by Craig Zobel ("Compliance," episodes of HBO's "The Leftovers"). Universal halted the marketing for the movie following the mass shootings in El Paso, Texas; Dayton, Ohio; and Gilroy, California in early August. Now the studio has taken the movie off its slate entirely, with no indication of when it will be released."While Universal Pictures had already paused the marketing campaign for 'The Hunt,' after thoughtful consideration, the studio has decided to cancel our plans to release the film," Universal said in a statement that went out on Saturday. "We stand by our filmmakers and will continue to distribute films in partnership with bold and visionary creators, like those associated with this satirical social thriller, but we understand that now is not the right time to release this film."Read more: <a href="https://www.businessinsider.com/upcoming-fox-movies-released-by-disney-schedule-2019-8">The 14 Fox movies Disney plans to release in theaters from 2020 onward, and their chances of getting pulled</a>But the motivation to not release the movie is one that has some producers and executives in Hollywood concerned, they told Business Insider.<div class="KonaFilter image-container display-table"><div><div class="image on-image">AP Photo/John LocherPeople attend a candlelight vigil for victims of a mass shooting at a shopping complex.</div></div></div>Many industry insiders believe President Trump was referring to "The Hunt" when he called Hollywood "really terrible" and "racist" <a href="https://www.businessinsider.com/trump-calls-hollywood-racist-the-hunt-controversy-2019-8">on Friday</a>, and later that day tweeted, "the movie coming out is made in order ... to inflame and cause chaos.""If this is about Dayton and El Paso, I get it," one producer told Business Insider of Universal's decision. "It's hard to market a movie about Americans hunting Americans after such tragedies. And it would simply be as insensitive as it would be ill-advised. However, if Trump's specific Tweets had anything to do with it, f--- that."This is not the first time Trump has pointed the finger at Hollywood following a mass shooting. In the <a href="https://www.businessinsider.com/trump-partly-blames-school-shootings-on-the-violence-in-video-games-and-movies-2018-2">wake of the Parkland school shooting in 2018</a>, which lead to 17 deaths, the president blamed the amount of violence in video games and movies."You see these movies, they're so violent, and yet a kid is able to see the movie," Trump said at the time. "If sex isn't involved, but killing is involved. And maybe they have to put a rating system for that, and you get into a whole very complicated, very big deal."<h2>'Respectful' or 'cowardly'?</h2>Hollywood often delays the release of a movie if it mirrors a national tragedy.The biggest example was after the terrorist attacks on September 11, 2001. Following those events, the release for the Arnold Schwarzenegger movie "Collateral Damage," which featured a terrorist bombing in front of a building in LA, was postponed four months. The release of the Tim Allen comedy "Big Trouble," which involved a nuclear bomb being smuggled onto an airplane, was postponed seven months during the same time period.<div class="KonaFilter image-container display-table"><div><div class="image on-image">Universal Betty Gilpin in "The Hunt." </div></div></div>"I think it was respectful to curb the marketing in the wake of the shootings but to pull 'The Hunt' completely, assumedly as a result of Trump's tweets, sets a bad precedent and looks cowardly," said one Hollywood executive, who characterized what happened to "The Hunt" as the latest example of a studio having a knee-jerk reaction to social <keyword id="6354777" type="COMPANY" weightage="60" keywordseo="Media">media</keyword> - like when <a href="https://www.businessinsider.com/james-gunn-fired-from-guardians-of-the-galaxy-3-for-offensive-tweets-2018-7">Disney fired James Gunn</a> from directing 'Guardians of the Galaxy 3' after offensive tweets he wrote in 2010 and 2011 resurfaced in July 2018 (he was <a href="https://www.businessinsider.com/disney-rehires-james-gunn-to-direct-guardians-of-the-galaxy-3-2019-3">rehired in March 2019</a>). "Thinking from the studio side, the fear might be more financial, losing that audience as a result of Trump's tweets, than concerns of being socially responsible," this person continued." With that said, they should have braved that week's tweetstorm, which would be quickly replaced and forgotten by the next week's madness, and released as planned. It gives in to Trump in a way that makes it look like he won and sends an overall message that he, or any president for that matter, has the power to dictate how and with what we are entertained.""What makes this different from any of 'The Purge' movies?" the exec went on to say. "Yes, they make statements but the intended purpose is to deliver high concept entertainment for a wide audience, it's what makes a movie right for a studio versus being independent. And many of these films do big numbers in red states for an audience that enjoys the entertainment value. 'The Hunt' situation could just be bad timing combined with a political flare, and things will revert to normal. But who will be the maverick studio that supports filmmakers and free speech in the current era? Or will anything with something real to say be relegated to the indie space?"But some said they thought the movie would eventually get released."This film will get released, either by Universal or if the studio sells it," one industry insider predicted about "The Hunt." "Based on the trailer, this certainly looks reminiscent of the highly successful 'Purge' movies. And Blumhouse is a force." <div class="margin-top"> <h3>NOW WATCH: <a href="https://www.businessinsider.com/quentin-tarantino-movies-steals-cinema-homage-reference-2019-7">How Quentin Tarantino steals from other movies</a></h3> <div> </div> </div>

'Cowardly': Some Hollywood insiders say Universal's decision to scrap the release of 'The Hunt' after Trump's comments sets a bad precedent

<div class="KonaFilter image-container display-table"><div><div class="image"></div></div></div><ul class="summary-list"><li>Universal Pictures executives reportedly pulled ads for a horror movie about liberal elites hunting "deplorables" from the rural US in the wake of mass shootings.</li><li>The studio pulled both TV and online promos for movie, which is called "The Hunt," <a href="https://www.hollywoodreporter.com/news/ads-pulled-hunt-wake-mass-shootings-1229829">The Hollywood Reporter said</a>, citing a senior studio source.</li><li>The decision followers mass shootings in Dayton, Ohio, and El Paso, Texas, which roiled the US.</li><li>In "The Hunt," the super-rich kidnap people considered "deplorables" - code for Trump voters - and track them down to be killed.</li><li><a href="https://www.businessinsider.com/?hprecirc-bullet">Visit Business Insider's homepage for more stories</a>.&#xa0;</li></ul>Movie executives reportedly pulled ads for a new horror film about liberal elites hunting "deplorables" for sport, an apparent response to the two mass shootings which roiled the US over the weekend.Universal Pictures pulled TV and online advertisements for "The Hunt," <a href="https://www.hollywoodreporter.com/news/ads-pulled-hunt-wake-mass-shootings-1229829">according to The Hollywood Reporter</a>. The outlet cited a senior studio source."The Hunt," due for release on September 27, focuses on a remote woodland mansion where US elites come in secret to hunt humans for sport.<div class="KonaFilter image-container display-table"><div><div class="image"></div></div></div>In the movie, the victims of the hunting and kidnapping are described as "deplorables" - <a href="https://www.merriam-webster.com/news-trend-watch/clinton-says-half-of-trump-supporters-are-in-a-basket-of-deplorables-20160910">a label strongly associated with Trump supporters</a> since the 2016 presidential campaign.The plot revolves around a "deplorable" who turns the tables on the elites, "picking them off, one by one, as she seeks to find out who's at the centre of the web."<div class="KonaFilter image-container"><div class="image"></div></div>The Hollywood Reporter's source does not describe the reasoning for pulling the ads in detail.But images of gratuitous violence against unarmed targets - which is evident from the movie's trailer - took on a new dimension as two mass shootings over the weekend in Dayton, Ohio, and El Paso, Texas, dominated the news agenda.<div class="KonaFilter image-container display-table"><div><div class="image"></div></div></div>A Universal source told The Hollywood Reporter that discussions over "The Hunt" are "a fluid situation."A high-level executive reportedly said the project is considered a satire "addressing an issue of great social importance."Other networks have reportedly moved against the commercial on their own initiative.ESPN pulled at least one TV commercial for "The Hunt" on August 3, The Hollywood Reporter wrote, adding the network will not air any more commercials for the movie, citing a source.According to The Hollywood Reporter, one scene in "The Hunt" shows elite liberal characters choosing their victims because they used a racial slur against black people on Twitter."The Hunt" is directed by Craig Zobel, and produced by Jason Blum, who produced the dystopian drama "Get Out."The movie's protagonist is played by "GLOW" star Betty Gilpin, while the evil linchpin is played by Hilary Swank. Emma Roberts also stars.&#xa0;An unnamed filmmaker who has worked with Universal told The Hollywood Reporter: "Employees in different departments were questioning the wisdom of making such a movie in these times.""In light of the horrific [recent shootings], is this not the most craven, irresponsible, dangerous exploitation?"Business Insider has contacted Universal Pictures and ESPN for comment, but is yet to receive a response.<div></div>

Movie execs reportedly pulled ads for a horror film where US elites hunt 'deplorables' for sport after the shootings in El Paso and Dayton

NetflixBetty Gilpin and Alison Brie in Netflix's "Glow"2017 is already halfway gone. Have you had enough time to watch the literal hundreds of television shows that exist now? Probably not. But some of them are well-worth your time.If the first half of the year is any indication, we have a lot of great stuff to look forward to, including the seventh season of "Game of Thrones."With excellent writing, direction, style, and performances that stand out among the overwhelming amount of TV shows around today, this is the best of 2017 so far - from mid-seasons to new seasons to entirely new series.Here are the best TV shows of 2017 (so far), ranked:

RANKED: The best TV of 2017 so far

NetflixNetflix's "Glow," available on the streaming service Friday, is a half-hour dramedy set in the 1980s. It's inspired by <a href="https://en.wikipedia.org/wiki/Gorgeous_Ladies_of_Wrestling">Glamorous Ladies of Wresting </a>(G.L.O.W.), a women's wrestling program that premiered in 1986, and ended in 1990. As in the Netflix original series it inspired, most of the real Glamorous Ladies of Wrestling were actresses hoping to make it in show business. Creators <a href="http://www.imdb.com/name/nm3477311/">Liz Flahive</a> and <a href="http://www.imdb.com/name/nm4063230/">Carly Mensch</a> and executive producer <a href="http://www.imdb.com/name/nm0463176/">Jenji Kohan </a>("Orange Is the New Black") deliver a hilarious, dramatic, and delightful addition to female-led stories that's also one of the best Netflix originals."Glow" follows Ruth <a href="http://www.imdb.com/name/nm1555340/?ref_=tt_cl_t3">(Alison Brie)</a>, a struggling actress who loves acting (maybe too much) in 1980s Los Angeles. She only has $83 in her bank account, doesn't know if she can pay her gas bill, and wants meatier roles. She purposefully reads a man's part at an audition to prove a point in the opening scene of the first episode. This scene rings true for the 1980s, and still does for women working in show business today: Just ask <a href="http://www.businessinsider.com/jessica-chastain-says-portrayal-of-women-disturbing-cannes-2017-5">Jessica Chastain.</a>But "Glow" is fully prepared to change that, by giving a diverse group of female actresses exciting and memorable roles that matter. Brie is definitely the main character, second mostly to Debbie <a href="http://www.imdb.com/name/nm2365811/?ref_=nv_sr_1">(Betty Gilpin)</a> but they take the backseat more often than you'd expect, like Piper Chapman<a href="http://www.imdb.com/name/nm2279940/?ref_=tt_cl_t1"> (Taylor Schilling)</a> on "Orange Is the New Black."And like 2016's <a href="http://www.businessinsider.com/netflix-stranger-things-review-2016-7">"Stranger Things,"</a> "Glow" is a love letter to the 1980s, albeit a very different part of the 1980s, from the costumes to the music to the haircuts to the personalities to the training montages. While "Glow" clearly loves the decade, it also uses the period to seriously address issues around sex and race, making a past that isn't so long ago feel much further away.While "Glow" is dramatic and tackles important subject matter, its humor is sharp, particularly in its witty dialogue and quirky cast of characters. While some of the drama works, it's not as new or exciting as the comedic elements, so some things like Ruth and Debbie's feud don't play out as dramatically as intended. In the realm of comedies that sometimes feel like dramas, it's way more on the comedy end, especially compared to "Orange Is the New Black" and "Transparent."Every episode has way more than a handful of laughs, particularly from <a href="http://www.imdb.com/name/nm0549505/?ref_=nv_sr_1">Marc Maron</a> as Sam Sylvia, the smug director with an endless list of clever insults on the tip of his tongue. This is a role the comedian was probably more destined to play than he was destined to make a <a href="http://www.wtfpod.com/">podcast</a>. Maron is so good that it's hard to tell that he's acting. Sylvia could just be Maron's personality, but either way he's excellent here. Besides the comedy, what "Glow" does best is make every character thoughtfully written. No matter how loathsome, each character has some kind of charm that will make you wish there were an episode exclusively about them. We don't get character-centric episodes as on "Orange Is the New Black," but there are quick reveals that show us a great deal about the characters, even if they're only touched on briefly.All of the characters in "Glow" are not who you think they are when you first meet them. Just as you start to really sympathize with Ruth, a big surprise about her personal life might turn you sour. The show-within-a-show's producer, Sebastian "Bash" Howard <a href="http://www.imdb.com/name/nm1645313/">(Chris Lowell)</a>, comes across as a yuppie douche. And he is a yuppie douche who owns a robot full of drugs, but he also has some of the show's most touching moments that show us he's also a human being who cares about the women in the show he's funding.Among the wrestlers, standout performances include <a href="http://www.imdb.com/name/nm4364448/?ref_=nv_sr_1">Britney Young</a> as Carmen Wade, who's from a wrestling family, and <a href="http://www.imdb.com/name/nm1999504/?ref_=tt_cl_t9">Sydelle Noel</a> as Cherry Bang, who takes on the seemingly impossible task of training this group of misfits to become professional wrestlers in a matter of weeks. With an fantastic cast of diverse women, snappy dialogue, and important things to say, Netflix's "Glow" proves that hilarious comedy can make a serious statement.Watch the trailer for "Glow" below: <h3>NOW WATCH: <a href="http://www.businessinsider.com/this-new-york-grocery-store-is-completely-made-of-felt-art-lucy-sparrow-bodega-art-installation-8-till-late-2017-6">An artist spent 6 months creating a fake grocery store completely made of felt</a></h3> Please enable Javascript to watch this video

The hilarious and empowering 'Glow' is one of Netflix's best original shows

<ul class="summary-list"><li>Even with the COVID-19 pandemic slowing down production, <keyword id="2370" type="COMPANY" weightage="60" keywordseo="hollywood">Hollywood</keyword> managed to put out a slew of exciting new projects full of ambitious stunts and special effects.</li><li>From the massive battle scenes in <a href="https://www.insider.com/disney-live-action-mulan-movie-review">"Mulan"</a> to the gripping <a href="https://www.businessinsider.com/inside-wild-stunts-and-fights-of-birds-of-prey-2020-2">fight sequences</a> in <a href="https://www.insider.com/birds-of-prey-movie-review-2020-2">"Birds of Prey,"</a><a href="https://www.insider.com/netflix-extraction-chris-hemsworth-one-take-fight-scene-2020-5">"Extraction,"</a> and <a href="https://www.insider.com/the-old-guard-fight-coordinator-charlize-theron-injuries-2020-7">"The Old Guard,"</a> this year's action films pushed actors and stunt performers to undergo extensive weapons and <a href="https://www.insider.com/how-the-airplane-fight-in-the-old-guard-was-done-2020-7">combat training</a>.</li><li>With Pixar's <a href="https://www.insider.com/how-pixar-revolutionized-way-clothes-are-animated-digital-cloth-technology-2020-3">"Onward"</a> and Netflix's "<a href="https://www.insider.com/netflix-over-the-moon-review">Over the Moon,"</a> 3D-animated films found innovative ways to animate and <a href="https://www.insider.com/netflix-over-the-moon-animators-light-scenes-in-animated-movies-2020-11">light</a> their characters and worlds, the likes of which we've never seen before.</li><li>Boundary-pushing digital effects made <keyword id="406" type="ENTERTAINMENT" weightage="60" keywordseo="Movies">movies</keyword> like <a href="https://www.insider.com/dolittle-movie-review-robert-downey-jr-2020-1">"Dolittle,"</a> <a href="https://www.insider.com/every-version-sonic-the-hedgehog-1991-today-evolution-2020-2">"Sonic the Hedgehog,"</a> and <a href="https://www.insider.com/call-of-the-wild-real-life-dog-2020-4">"The Call of the Wild"</a> possible by combining CG animals with live-action humans and environments. </li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: 2020 was in many ways a rough year for Hollywood, with the COVID-19 pandemic pushing back some of the year's most anticipated movies. But the industry rallied by releasing no shortage of ambitious and exciting new projects, which brought their own set of breakthroughs in the world of special effects.From massive battle and fight sequences to some of the most realistic practical effects we've ever seen, here's a behind-the-scenes glimpse at the biggest films of the year. Three, two, one!To play the legendary warrior <keyword id="3026859" type="PERSON" weightage="60" keywordseo="Mulan">Mulan</keyword> in Disney's live-action film, Liu Yifei spent three months training for up to seven hours a day. This demanding regimen paid off. The film's cinematographer, Mandy Walker, told insider that Yifei was able to execute about 90% of her own stunt work.In preparation for the film's acrobatic fight sequences, Yifei and her castmates were schooled in everything from weapons handling and archery to military marching and horseback riding. The performers did their most dramatic midair stunts while attached to wires or beams so that it looked like their characters were flying or spinning through the air.All in all, the film's action sequences required 90 horses, 80 trick riders, 4,000 prop weapons, 281 sets of armor for the Chinese army, and 730 pieces of armor for the Rouran army.How do you create a terrifying monster out of nothing? It turns out, with a lot of clever camera and stunt work. This scene from "<keyword id="920693" type="ENTERTAINMENT" weightage="60" keywordseo="the-Invisible-Man">The Invisible Man</keyword>," where the titular villain throws Elisabeth Moss' character across the table, is actually a bunch of shots stitched together.First, the crew filmed Elisabeth as she was about to be thrown. Next, they swapped in the actor's stunt double and filmed her being thrown by another stunt performer in a green suit. Then they swapped in Elisabeth again. In postproduction, VFX artists combined the plates, then digitally erased the green-suit performer and the ropes used for the stunt.For it all to match up perfectly, the crew had to shoot the whole thing with a motion-controlled camera, which could be programmed to perform precise, repeatable camera movements.That wasn't the only bit of camera trickery in the film. On the last day of shooting, when filming this scene, the camera team had to get what they called "an impossible shot" -- one that involved passing a camera out of a moving car into another moving car, all in one smooth handoff."Extraction" marked the directorial debut of Sam Hargrave, the veteran stunt coordinator behind "Atomic Blonde" and a number of Marvel movies. Naturally, then, the Netflix thriller was full of daredevil stunt work -- just as much from the camera crew as from the actors and stunt performers.The centerpiece of the film was what the crew referred to as "the oner" -- an extended fight scene made to look like one continuous shot. Sam is familiar with big, long action sequences from working on the famous one-shot fight in "Atomic Blonde." But this one for "Extraction" required Sam to take us right into the middle of the action, even strapping himself to the hood of a chase vehicle. Just to get this one smooth shot taking us from outside to inside a car, he had to unstrap himself from that one car, run over to the other vehicle, and then repeat the same shot twice. This is what you call a stitch point, one of the invisible cuts that joined about 36 different segments into what looks like one long, seamless 12-minute take.For the third installment in the "Bill &amp; Ted" franchise, special effects legend Kevin Yagher created special bodysuits for scenes where Bill and Ted meet future versions of themselves.The process began with lifecasts of Alex Winter and Keanu Reeves' bodies, which were then used to sculpt the shape of the actors' suits, both the muscle suits they wear in the prison scene and Keanu's fat suit worn in a different scene. Kevin and his team sculpted and spray-painted tiny details like pores and veins onto the muscle suits and added bags of beads into Keanu's fat suit to get just the right jiggle in his belly.[beads shaking]The rollout of the "<keyword id="163980" type="COMPANY" weightage="60" keywordseo="Sonic">Sonic</keyword>" movie got off to a rough start when the first trailer was met with backlash from fans who objected to this Sonic's disturbingly realistic appearance. In response, the VFX artists gave the character an overhaul, making his eyes bigger, his mouth more animated, and his nose and limbs more cartoonish, more like the original design in the video games.Just about everyone liked the redesign better, including the man behind the hedgehog, actor and comedian Ben Schwartz. Ben not only lent his voice to Sonic, but also provided facial motion capture to inform the character's animation. On set, they used different stand-ins for Sonic to give costars like James Marsden something tangible to interact with, whether it was a blue stuffy or just a ball on a tripod.We saw CGI turn man into hedgehog. What about turning man into dog?In this year's remake of "The Call of the Wild," veteran motion-capture performer Terry Notary provided an incredible mo-cap performance for the movie's canine protagonist, Buck. Having Terry on set provided a raw-size reference for the other actors and gave costars someone to interact with emotionally.For Buck's design, the filmmakers used the reference of a real-life shelter dog, whose own name happens to be Buckley. To help guide the animation of the many dog and wolf characters in the film, the team brought in five other dogs for a mo-cap playtime session. But don't worry; no pups were involved in the filming of this scene, where Buck and John Thornton navigate a treacherous river.The filmmakers enlisted a stuntperson to shoot the real deal on a river in British Columbia. They then combined the on-location shots with blue-screen footage of Harrison Ford paddling on a canoe gimbal, filmed on a motion-controlled camera that allowed for some particularly cinematic, sweeping shots. Finally, VFX artists digitally added Harrison's canine friend into the mix in postproduction.The character in "Onward" that presented Pixar with the most challenges was this guy, known simply as Dad. He's introduced when Ian, voiced by Tom Holland, carries out a spell to conjure up his late father, but only half of his body appears.Pixar's animators spent a lot of time on Dad's first scene to make sure it would capture the force and unpredictability of magic. They even took turns blasting each other with a leaf blower to get a feel for what the conjuring effect should look like.From there, the challenge was giving life to a pair of pants, a task that forced Pixar to bring its cloth technology to a new level. The studio used a process called simulation to program how a character's clothing should respond to his or her movements and the different forces acting on them. But because Dad's upper half is all clothes and no body, simulation played an even bigger role than usual.To figure out how a person would move if he were missing his top half, Pixar's animators took turns putting on green suits with khakis and moving around in front of a green screen. Later, they digitally removed their top halves and used the footage as reference for what Dad's body language might look like."The Call of the Wild" wasn't the only film where CG animals figured prominently. The majority of scenes in "Dolittle" feature live-action humans and CG animals interacting in some way.The tricky part of that: making sure the humans were looking in the right places during filming. Nailing the eyelines was especially challenging with a character like Betsy the giraffe. To help guide the actors on set, the crew used stuffy props as stand-ins for the CG animals and got creative from there.Like with Betsy, for instance. They ended up sticking a giraffe head on a long pole, which got driven around on a motor cart. In another scene, Robert Downey Jr. needed to ride the ostrich Plimpton into Buckingham Palace. So they devised a gimballed riding rig that they could later replace with a CG creature, voiced by Kumail Nanjiani.The action-heavy "<keyword id="3367480" type="PERSON" weightage="60" keywordseo="Birds-Of-Prey">Birds of Prey</keyword>" involved a lot of physical preparation, with each actor's training program tailored to her particular character. Since Harley Quinn is a whimsical and unpredictable fighter, Margot Robbie's stunt work involved a lot of gymnastics.Black Canary's fighting style was supposed to be more grounded with a lot of legwork, so Jurnee Smollett-Bell's preparation combined tae kwon do and kickboxing. And Mary Elizabeth Winstead adopted judo, jujitsu, and karate to play Huntress, the deadly-accurate assassin who's all about precision.Early on in Netflix's "Project Power," there's an unforgettable scene where Machine Gun Kelly's character spontaneously bursts into flames. To figure out how to turn MGK into a human fireball, the effects team first set stuntpeople on fire in a series of camera tests.Then they came up with a breakthrough: an LED suit that would be embedded within layers of burn prosthetics. The LEDs were programmed to illuminate the actor as his character is seen exploding in flames. The gruesome prosthetics helped hide the LED strips, along with all the wires and battery packs.For MGK, this meant spending five hours in the makeup chair every day of shooting to get hundreds of prosthetic pieces glued on over 95% of his body. The process was so intensive that the rapper started just sleeping in his body prosthetics, and did so for five days straight, even wearing them for a night out on the town with costar Jamie Foxx.For Netflix's "Jingle Jangle," the biggest challenge was creating a fantastical world where magic and spontaneous musical numbers would feel right at home.To make Jeronicus fly in this scene, the crew attached Forest Whitaker to wire rigs, later removed in postproduction.Another particularly fun sequence, the kids' factory escape, was shot in front of a blue screen, with the two young actors rigged to the wooden chest. VFX artists later added in the tunnel and the giant fan and fireball.In this comic-book adaptation, Charlize Theron's character is supposed to have 6,000 years of martial arts experience, ranging from Greco-Roman wrestling to Filipino stick work. Charlize had to do intense combat training so she could look effortless handling both modern and ancient weapons.Of course, the star is no stranger to this kind of hardcore training, having done a lot of her own stunts for "Atomic Blonde" and "Mad Max." The "Old Guard" fight coordinator, Danny Hernandez, told Insider that Charlize and Kiki Layne spent four months training for the film's major fight sequence, where their characters engage in epic hand-to-hand combat inside a plane mid-flight.The payoff? The actors were able to pull off 90% of the fight themselves, without stunt doubles.How does this shot become this? Through the process of CG lighting, which was especially important to building the magical worlds of Netflix's animated film "Over the Moon."Creative lighting helped emphasize the dreamy light coming from the moon, which plays a central role in the story. In this shot, the lighting team is perfecting the big, bright moon reflections in Fei Fei's eyes. And in this shot, they're balancing the different light sources coming from the moon, the kitchen, and the colorful lanterns.These decisions about the intensity and placement of lights are laid out early on in color scripts, which are like artistic blueprints, expressing the mood of any given scene.For the scenes set on Lunaria, the artists wanted the light to be overpowering and the colors vibrant and bold to give an otherworldly aura to the moon kingdom and invoke a sense of awe in the audience.The horror movie slash political satire "The Hunt" follows a group of liberals hunting conservatives for sport, so there were lots of opportunities for practical gore <keyword id="37533" type="ENTERTAINMENT" weightage="60" keywordseo="Behind-the-scenes">behind the scenes</keyword>.But the most talked-about sequence was the climactic kitchen fight between Betty Gilpin and Hilary Swank. To make the head-to-head between these two characters feel as messy as possible, the crew designed a special set that was made to be destroyed.The set included foam floors, a chimney rigged with squibs, and a bunch of household-item breakaway props that were built to be broken, just like this glass window, which shatters in this scene. It was like a twisted jungle gym, meant to serve as the ideal backdrop for all the chaotic violence.So, did we miss anything? And what do you think were the most impressive effects of 2020?Let us know in the comments.

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