“Lanier” is slated to begin filming in February 2022, with a targeted September-October release date to “pay homage to those that fell at Oscarville” in autumn 1912. Maybe a history documentary isn’t enough.” In order to show that, maybe horror is the best way to do it. “To show the scenes of this film - it’s got to be harsh, or else people aren’t going to get it, the pain of the people. “It’s not going to be pretty,” said co-writer, producer and the movie’s lead actor Ali Ashtigo.
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While the movie doesn’t tie a nice bow around the topic of racism, the team hopes viewers with tainted views will come away with a different outlook on life and people of color.
I’ve always felt that way, from the moment I read about it (for the first time).” “It’s really important that we tie in that history. “That was the nail in the coffin,” Bush-Anderson said. Oscarville wasn’t always the anchor for the plot, however in fact, the team wasn’t aware of the account until two years ago, when they began researching drownings and disappearances that have occurred at the lake. By doing that, you’re constantly showing people what the past was, how ugly it was and how vindictive it was, and why it shouldn’t be like that now.” “I think we have to continue to shine a light on racism or even have films that talk about racism, and not only in one genre form, because you can tell that story in so many different ways. “We’ve been saying we’re at the height of racial tension for a while, but the unfortunate truth is that it’s never going to end because racism is taught as long as it’s taught, it will always exist in the world,” he said. That, paired with the deaths of Breonna Taylor and Ahmaud Arbery in the not-so-distant past of 2020, leads Bush-Anderson to believe now is an opportune time to produce a film like “Lanier.” We hear about deaths happening, we hear about disappearances - the whole nine, in my opinion, is because of the past.” “We know about Oscarville, but we don’t know as well as other things that have happened there that are just evil,” he said “I think that’s why we still hear about drownings happening today. “That’s what makes Lake Lanier so mysterious,” her husband, Bush-Anderson, echoed. “(Lake Lanier) isn’t all fun and games like people think it is it can be very dangerous.” “There’s a lot of ‘accidents’ and drownings that happen here, and there’s a lot of people that take that very lightly,” she said. She’s of the persuasion that many injuries, disappearances and other incidents backdropped by the lake were instigated by spirits seeking retribution for the crimes committed against Oscarville. “Foodtastic” is streaming now on Disney Plus.As co-writer and producer Cindy Kunz-Anderson sees it, the dark history lurking beneath the shallows is the inciting incident unleashing the paranormal activity associated with it Lake Lanier. “It was important to me that this felt very tropical, humid and sculptural, and so everything in the space was carved and hand done. “It’s very fantasy, and ‘fantasy’ is a word that is synonymous with Disney,” Connelly says.
It includes practical mountains and rocks built out of foam that are hollow in the back to hide additional shelves, ingredients and even crew members as needed and a pantry built inside a tree. In three months, the designer developed and built a set that resembles an elven village.
“She said, ‘I kind of feel like it’s “Lord of the Rings,”’” Connelly recalls.
The competition set was inspired by images of enchanted forests, as well as a direction from Endemol Shine’s chief content officer, Sharon Levy. For “Star Wars,” for example, red beam lights were incorporated, evoking lightsabers. The competition set, on the other hand, was designed to be a consistent from episode to episode, but altered slightly to fit the specific episode’s IP. Even “placing cables on the floor of the hangar was exciting” for Connelly, a longtime “Star Wars” fan.Ĭonnelly recalls having about a month to work with 12 3D artists and a couple of other designers to create the digital set for Palmer’s scripted portion of the episode, which was shot after the competition took place. The script he received for the episode put Palmer in a Yavin 4 X-wing Starfighter hangar, which he calls “unbelievable territory for us.” Lucasfilm provided guidance and a “small toolkit” when it came to set-pieces and style details, including sending Connelly’s team a 3D model of an X-wing. When it came to the “Star Wars” episode, Connelly and his team brought in Lucasfilm magic as well.
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