Two years after winning an Academy Award for “The Blind Side,” Sandra Bullock takes the role of grief-stricken mother whose apparent absence in her son’s life is not quite what it seems, in Warner Bros.’ heartwrenching drama, “Extremely Loud & Incredibly Close.”

Nominated for Best Picture at this year’s Academy Awards, the film is a story that unfolds from inside the young mind of Oskar Schell (Thomas Horn), an inventive eleven year-old New Yorker whose discovery of a key in his deceased father’s belongings sets him off on an urgent search across the city for the lock it will open. A year after his father (Tom Hanks) die on 9/11 in the World Trade Center on what Oskar calls “The Worst Day,” he is determined to keep his vital connection to the man who playfully cajoled him into confronting his wildest fears.

“What I find so moving about Oskar is that he feels there has to be an answer, but there is not always a clear ‘why’ or a ‘because’ to a situation,” Bullock says. “And sometimes the answer you get is not the one you expect, which is something Oskar has to discover for himself.”

Unlike Oskar’s father, his mother, Linda (Bullock), has always found it tough to reach her son, and that only seems to increase by a factor of 10 when her husband is no longer there to bridge the gap. Yet, much as she seems lost in her own private realm of grief, Linda is connecting to Oskar in ways of which he is not even aware.

Director Stephen Daldry felt there was an organic empathy in Bullock that would allow the role to work. “Sandra is a first-rate actress who really took her role to heart,” he says. “She looked after Thomas very well and formed a strong relationship with him that translated to the screen. She was able to bring a gravitas that was entirely appropriate but also a real charm.”

For Bullock, the intriguing part was playing a mother who has to work at bonding with her son and forging her own route back into his world after his father’s death. “I think when her husband was alive, Linda was always okay with just stepping back and letting Oskar and his father be a great team together,” she observes. “But now that Oskar has lost his playmate and the one person who grounded him and who he felt was his intellectual equal, she isn’t sure she can be any of those things to her son. And she’s in the process of grieving too, so she doesn’t have much energy to fight for that connection she so desperately wants with him. She has to struggle to find the solution.”

Given the subjective, first-person viewpoint of the film, Bullock also had to play her character the way Oskar perceives her – which was especially difficult because Oskar does not see the full picture of his mother. “I had to come to grips with the idea that the audience is seeing Linda on the screen entirely through Oskar’s point of view – and his view of her is not always very favorable,” she explains. “In some scenes, she can seem to be the opposite of nurturing, yet later, it becomes clear what is really going on with her. Still, I had to be okay with her looking at times like she wasn’t being a good mother to a child who is really in need. Part of it is that what Oskar sees is her grief, which is ugly and imperfect, but also very real. But what Oskar doesn’t know is that she is also very worried about him and that causes her to really try to think like he does.”

To explore Linda Schell’s experience more deeply, Bullock listened to recordings of phone calls and voice-mail messages left by those trapped in the World Trade Center for their families. “That was very hard for me,” she says. “But what floored me was to hear people giving comfort to those they were leaving behind. You really understand that the pain of hearing that is something that could never go away.”

Opening soon across the Philippines, “Extremely Loud & Incredibly Close” is distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

Warner Bros.’ highly-awaited sequel “Ghost Rider: Spirit of Vengeance” brings to the screen the hell-raising hero Johnny Blaze/Ghost Rider in eye-popping 3D!

“The movie for us was always going to be in 3D, from the very beginning – we love making the movie a more immersive experience. It seemed like a really cool idea, especially with our style of shooting,” says co-director Brian Taylor. “We tried to push the envelope with the technology. The first thing they told us was all the things we couldn’t do – no handheld camera, no quick cuts, no lens flares, no soft foreground, no super-long lenses, no super-wide lenses… and we asked, well, why?”

“There are rules, and directors Mark [Neveldine] and Brian wanted to break those rules, so it was my job to break them,” says stereographer Craig Mumma. “We wanted to take their style and adapt it to the screen and make 3D an enjoyable experience. The way Mark and Brian shoot, the camera work is an integral part of the movie, almost like another character. There’s no changing the way they shoot, so we had to come up with tools to adapt.”

In the film, Johnny (Nicolas Cage) – still struggling with his curse as the devil’s bounty hunter – is hiding out in a remote part of Eastern Europe when he is recruited by a secret sect of the church to save a young boy from the devil. At first, Johnny is reluctant to embrace the power of the Ghost Rider, but it is the only way to protect the boy – and possibly rid himself of his curse forever.

Neveldine/Taylor’s extreme filmmaking required a story that broke new ground as well. It wouldn’t do to simply pick up where the last film left off. “This story takes place years later, when Blaze – and the Ghost Rider – are in an entirely different place,” says producer Ari Arad. “Johnny Blaze is now miles away from his place of birth, trying to run away from the demon inside him. In comes a priest, Moreau, played by Idris Elba, who promises to help Johnny – if Johnny can help find a certain boy. If Johnny can find the boy and save the child’s soul, he might be able to save his own soul as well.”

Opening across the Philippines on Friday, Feb. 17 in digital 3D and regular theaters, “Ghost Rider: Spirit of Vengeance” is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

This year’s Oscar frontrunner for Best Picture (Drama), Best Director (Alexander Payne),  Best Actor (George Clooney) , Best Editing and Best Adapted Screenplay – “The Descendants,” is set to have its sneak previews on February 6 (Monday) and February 7 (Tuesday) in  Metro Manila cinemas.

“The Descendants” is based on Kaui Hart Hemmings’ acclaimed debut novel of the same title depicting a portrait of a man grappling with some of the worst news, most difficult people, and most impossible decisions of his life.

Matt King (portrayed by George Clooney) is not the man he would like to be.  His mischievous daughters don’t trust him, his imperiled wife has been cheating on him and his broke cousins see him and the land trust he controls as a piggy bank. To add insult to injury, he’s surrounded by a lush, fertile, awe-inspiring landscape that defies his inner turmoil.  Yet all of this leads Matt to a tumultuous awakening that might be awkward, comical and sometimes absurd, but nevertheless changes his concept of love, fatherhood and what it truly takes to be a man.

“The Descendants” has recently scored major awards including Best Actor (George Clooney) in Critics’ Choice Movie Awards, Golden Globes, National Board of Reviews; Best Supporting Actress (Shailene Woodley) in Denver Film Critics Society, National Board of Reviews and Florida Film Critics; Best Film in Florida Film Critics, Los Angeles Critics Association and Satellite Awards;  and Best Adapted Screenplay in Denver Film Critics Society, Florida Film Critics, National Board of Reviews, New York Film Critics Online and Satellite Awards.

“The Descendants” will have its regular run in Philippine cinemas on February 15 from 20^th Century Fox to be distributed by Warner Bros.

A long time ago, in a galaxy far, far away…Twenty-two years ago, these words first flashed across movie theater screens around the world, and a modern legend was born.  Hundreds of millions of people would be introduced to a saga that would touch their lives in ways then unimaginable.  Star Wars, The Empire Strikes Back and Return of the Jedi, and the Special Editions of all three films, became defining events for two generations.  The fast-paced action adventures, set in a new and exciting universe, featured grand design and boundless fun. The films inspired countless of viewers with themes that are universal and timeless: the conflict between good and evil and between technology and humanity, the celebration of heroism, and the limitless potential of the individual.

The Star Wars saga is a modern-day fairy tale reflecting the vision of George Lucas.  Lucas imbued this new myth with pieces of American pop culture, including movie westerns, swashbucklers and – for seasoning – Japanese samurai epics.  Star Wars was also a reaction against Watergate, Vietnam and other periods of domestic turmoil that seemed to undermine the concept of the hero for disillusioned Americans.

With the Star Wars saga, Lucas decided to bring together these recognizable, modern-day threads under the umbrella of the basic mythic structure – the journey of the hero – that has been in place for thousands of years, in hundreds of civilizations. With its mix of the traditional and the modern, Star Wars’ new mythology thrilled young and old alike.

Now, with “Star Wars: Episode I The Phantom Menace” converted into 3D, Lucas takes us back to the beginning, in which Darth Vader is a hopeful nine-year-old boy named Anakin Skywalker and Obi-Wan Kenobi is a determined young Jedi knight.  This first chapter, which is rich in art, design, costumes, architecture and technology, follows Anakin’s journey as he pursues his dreams and confronts his fears in the midst of a galaxy in turmoil.

George Lucas, the pioneering and brilliant filmmaker behind STAR WARS, has overseen the process with his renowned attention to detail. John Knoll, the visual effects supervisor for Lucasfilm’s Industrial Light & Magic (ILM) was responsible for the actual conversion. He served as Visual Effects  Supervisor on all three of the Star Wars prequels. The remaining five STAR WARS films will be converted to 3D over the coming years.

“I’m really excited about the new big screen release of the film.  We’ve worked very hard to get the best quality 3D we could. The big screen experience is so much better than watching it on television. It was designed to put you in the environment and surround you with the sound and the picture. There is   nothing like it. I’m so glad that we were able to bring this whole experience to the next generation. This will be the third generation that will be able to see it on the big screen and when you’re young, it’s an overwhelming and powerful event,” Lucas shares on converting Episode 1 into 3D.

Lucas further shares on challenges faced on converting the movie to 3D – “Originally, I was not a big fan of 3D. I really thought 3D was a gimmick. Then later on I was trying to get digital projectors into the theaters. I was doing a presentation in Las Vegas. Bob Zemeckis and Jim Cameron came up to me  and said: ‘We want to get 3D into the theaters. Would you join us in showing the theater owners that you can do 3D?’   And I said: ‘That’d be good because in order to do 3D you have to have digital theaters. So it would promote my idea of digital theaters.’ Then when I saw the test that we did of STAR WARS in 3D, I realized how great it was and how great it looked.  I became  fascinated with the idea of converting STAR WARS into 3D, which was  easier said than done.  It took us a long time to develop a structure in which we could actually do a really good conversion of a 2D film into a 3D film.”

“I don’t like things coming out into the audience.  I like everything to be behind the proscenium. I think 3D is an art. You need artists who have a sensibility about where things fit in the frame.   It’s very  subtle but it’s very, very important.  We had an advantage because we had experts in visual effects like John Knoll. We had the skill set of ILM (Industrial Light & Magic) and people who had  worked in 3D  on films, including “Avatar.” So we could get a group of people together that could actually do this,” concludes Lucas.

“Star Wars Episode 1 The Phantom Menace” in 3D comes to theaters on February 9 from 20^th Century Fox to be distributed by Warner Bros.

Though the directors’ focus for Warner Bros.’ “Ghost Rider Spirit of Vengeance” was to capture as much of the action in camera as possible, it was clear from the beginning that the film would have to employ CG effects as well. After all, the title character has a flaming skull.

In the film, Johnny Blaze (Nicolas Cage) — still struggling with his curse as the devil’s bounty hunter – is hiding out in a remote part of Eastern Europe when he is recruited by a secret sect of the church to save a young boy from the devil. At first, Johnny is reluctant to embrace the power of the Ghost Rider, but it is the only way to protect the boy – and possibly rid himself of his curse forever.

Overseeing the VFX is Visual Effects Supervisor Eric Durst, who says, like all of the departments, the new Ghost Rider film would have a very different look from its predecessor. “[Directors] Mark Neveldine and Brian Taylor really wanted a new look for `Ghost Rider: Spirit of Vengeance.’ It’s a darker film, so we created a look that integrated with that. The look of the character isn’t stylized at all – it is as if Ghost Rider really existed, really had a flaming head. The skull is dark and charred – just as it would be if you really had a skull that was on fire. Another touch like that is the shoulders of the jacket – they would be bubbling up from the heat inside the body.”

The primary challenge in creating the VFX, says Durst, is that the character is “interactive. The light that comes off the flames on his head – it interacts with his shoulders and anything else nearby. But interactive light is very difficult to recreate in the computer. It’s so subtle, and it interacts in different ways with different fabrics and objects. So to achieve that, we took a hood with LED lights on it that flickered on and off. That had two great benefits for us: first, the LED lights served as tracking markers in the computer, so when Nick moved his head from left to right, we could make the skull match those movements. But the LEDs also cast a light on anything that was in proximity, so it would give us the light that would occur if the flame really was on his head.”

Durst also notes that since the release of the first “Ghost Rider” film, there have been tremendous advances in CG animation. “The foundation of getting flames in CG is fluid dynamics, and so much has happened technologically in just the last five or six years,” he says. “For the original film, Sony Pictures Imageworks created their own code and worked within the software systems that existed at the time. It was very labor intensive. For the new film, with six years’ worth of development of the technology in the field, we had a big head start. You can make things look stunningly real now.”

The effects were completed by Iloura, an Australian company. “We canvassed the world to see who had the best fire,” says Durst. “Their first test had everything – the right, dark look for the skull, the flames, the right vibe. Everyone fell in love with it right there, and Iloura did a great job on the movie.”

Opening across the Philippines on Friday, Feb. 17, “Ghost Rider: Spirit of Vengeance” is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

The highly intense edgy teen thriller “Chronicle” tags 10-minutes of “This Means War” footage when it opens in theaters nationwide on February 2 (Thursday).

“This Means War” stars Reese Witherspoon, Chris Pine and Tom Hardy in a love war triangle when CIA agents and childhood best buddies find out they are dating the same woman.  Hilarity and hard-core action ensue as the trio try to work on the situation the best way possible brought by Hollywood’s ensemble of hit filmmakers.  “This Means War” is helmed by director McG whose worldwide hits include “Charlie’s Angels,” “Charlie’s Angels: Full Throttle” and “Terminator Salvation,” written by scribe Simon Kinberg who penned the incredibly thrilling films “Mr. and Mrs. Smith,” “”X-Men: The Last Stand,” “Jumper” and “Sherlock Holmes,” and produced by Will Smith to create  2012’s most enjoyable adult romantic-action-comedy.

Consecutively opening this February  - “Chronicle” (February 2) and “This Means War” (February 22) are from 20^thCentury Fox to be distributed by Warner Bros. in theaters nationwide.­

Believe the impossible, discover the incredible as New Line Cinema’s “Journey 2: The Mysterious Island” embarks on an adventure of a lifetime in IMAX 3D!  The film will be shown in local IMAX 3D cinemas, as well as digital 3D and regular theatres starting Thursday, Feb. 2.

Starring Dwayne Johnson, Vanessa Hudgens, Josh Hutcherson and Michael Caine, “Journey 2” takes moviegoers on a fun and fantastic new adventure to parts unknown, a place so remote it has lain hidden for centuries … and, when found, is almost impossible to escape.

Upon seeing the script for “Journey 2,” director Brad Peyton says, “I never imagined doing it small.  Right away, I knew it had to involve land, sea and air, with creatures, caves, storms, underwater battles and aerial chases, and all of it set against the most incredible, breathtaking terrain.  That meant utilizing the latest and best technology, to deliver something special in the 3D realm that the prequel ‘Journey to the Center of the Earth’ helped to establish.”

In 2008 that film broke ground as the first narrative feature to employ the Fusion System, a sophisticated digital 3D camera rig developed by James Cameron and cinematographer Vince Pace, and subsequently used on “Avatar.”  Not surprisingly, the “Journey 2” filmmakers returned to the Cameron Pace Group for state-of-the-art strategies and equipment to capture the depth and scope Peyton wanted to achieve in a range of real-world environments.

“Journey 2: The Mysterious Island” is a New Line Cinema presentation, will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

Two-time Academy Award winner Tom Hanks stars as Thomas Schell, a devoted husband and father who was at the wrong place, at the wrong time during the fateful day of 9/11, in Warner Bros.’ life-affirming drama, “Extremely Loud & Incredibly Close.”

The film is a story that unfolds from inside the young mind of Oskar Schell (Thomas Horn), an inventive eleven year-old New Yorker whose discovery of a key in his deceased father’s belongings sets him off on an urgent search across the city for the lock it will open. A year after his father died in the World Trade Center on what Oskar calls “The Worst Day,” he is determined to keep his vital connection to the man who playfully cajoled him into confronting his wildest fears.

As a screen character, Thomas Schell was a challenge because he is seen entirely through Oskar’s eyes, to the extent that much about his history and inner life remain mysterious — except for the parts that have made an impression on Oskar and especially Oskar’s memories of their very best times together, which remain indelibly immediate to him.

To embody the essence of a father as captured in time by his young son, director Stephen Daldry thought early on of Tom Hanks. “We thought that in terms of Oskar’s memories of Thomas as the perfect dad…well, who else could that be but Tom Hanks?” recalls Daldry. “Tom took that responsibility to heart and created a real bond with child actor Thomas Horn that was evident to everybody on the set. They were absolutely charming together, which was great for me as a filmmaker, because they created this dynamic relationship and all I had to do was shoot it. It was an act of real dedication by an extraordinary actor and collaborator.”

Hanks was drawn to the way the script gets inside Oskar’s mind at a time when the power of logical facts to keep him grounded seems to have evaporated. “In the blink of an eye, the course of Oskar’s whole world changes, and he loses his only anchor,” Hanks says. “His father used to tell him that there are always clues and treasures to be found in the world. So when he finds his father’s key, it’s very interesting that Oskar devises his own elaborate hunt for what the key might mean, convinced it will somehow explain the unexplained to him. It becomes a very personal, intimate story of a kid trying to make sense in his own way of a nonsensical world.”

He adds: “It was easiest thing in the world for me to want to do this – as soon as I read it, there was not even any question.”

The actor says he gave a lot of consideration to the kind of father Thomas was to Oskar prior to his death. He also kept in mind that Thomas was himself a child of immigrants who took up the trade of jewelry as his only clear opportunity to support his family, even though he dreamed of being a scientist. “I think Thomas was someone who felt the real task in his life was to make sure that his very bright son became a well-rounded, content human being who might make the world a better place,” Hanks says. “Since Thomas himself grew up without a father, fathering Oskar was the most important thing to him. I think he loved inventing wild stories for Oskar, like the one he makes up about New York’s lost Sixth Borough, but he also very clearly designed these stories to get Oskar out in the world and help him feel safe there.”

In part, Hanks drew on his own experiences as a father. “The emotional part of it for me was going back and remembering what it’s like to have an 11-year-old kid who is bubbling over with life,” he says.

While Hanks believes Thomas was well aware that Oskar often showed signs of behavior akin to Asperger’s Syndrome, he also says Thomas readily accepted and even related to many of his son’s oddities and phobias, which made the two of them even closer. “I think Thomas wasn’t bothered at all by his son’s behaviors,” he says. “Instead, he looked for ways to build bridges over Oskar’s turbulence, over his constant questions, his flights of fancy and his fears. Yet because of that, when he’s gone, it magnifies the incredible loss for Oskar even more.”

Opening soon across the Philippines, “Extremely Loud & Incredibly Close” is distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.