This is also the sole BTTF reference in this section (just so you know we aren’t crazy!). In the book, it also has the Ghostbusters (1984) symbol spray-painted on the door, but alas Sony must not have wanted to contribute. – Parzival’s vehicle of choice is obviously Marty McFly’s DeLorean from Back to the Future, albeit it has been retrofitted to include the red-light grill scanner from Knight Rider (1982). It should be noted Bluth and Spielberg later partnered for An American Tail (1986) and The Land Before Time (1988). However, the way the film animates his flowing black robes in the film seems intentionally evocative of how Don Bluth drew such robes on Nicodemus in The Secret of NIMH (1982). – Halliday’s OASIS alter-ego Anorak looks vaguely wizard-y, like Merlin or Gandalf. – Also seen getting gutted on Planet Doom is a cameoing avatar as Jason Voorhees from the Friday the 13th movies.
*(We shall henceforth refer to Aech in the OASIS as “he,” and in the real world as “she,” as the character seems to want to be approached in both realities.) To be specific the Freddy Krueger first played by Robert Englund in A Nightmare on Elm Street (1984), although fans’ favorite variation on the big bad came in Part III: Dream Warriors. – When we meet Aech on Planet Doom, he* is seen blasting Freedy Krueger into space buck coins. – Also during this sequence, commenter David Thiel spotted the Cyclops from Ray Harryhausen’s The 7th Voyage of Sinbad (1958). You know back before the franchise’s diminished returns. – During the opening montage, among the avatars filling up the OASIS portal terminals Z traverses is the original RoboCop from 1987.
#Ready player one movie
But not just any Batman… it’s Michael Keaton’s Batman from the Tim Burton classic of 1989! (For more superhero movie references after this point, please scroll down to the superhero movie reference’s subsection.
#Ready player one full
Setting up two distinct pipelines to deliver to Digital Domain and ILM’s requirements, Territory were responsible for concepting the creative language and designing the graphics on a per shot basis. The team then laid everything out in a 3D environment, projection mapping onto plates for the real world, animating, and lighting full CG graphics in the Oasis. Slap comps on plates were submitted for director review and approval before being packaged and shipped to DD and ILM for final comp.– In the opening montage of what you can do in the OASIS, the first actual homage appears to be Batman climbing Mount Everest.
Initially presenting concepts to production designer Adam Stockhausen, Territory’s team continued to work with Digital Domain for all traditional 2D and 3D ‘real world’ graphics and with ILM, for the interactive volumetric graphics featured in the full CG world of the Oasis.īridging the two worlds in terms of graphics and content, Territory drew on the studio’s narrative design expertise to develop the graphic language of both real and virtual worlds, adding content layers that tied into storybeats and narrative.ĭelivering over 265 VFX shots and over 80 unique assets, the team touched the majority of sequences in the film that feature interactive UI on monitors, visors, HUDs and 3D environmental signage.Ī hugely ambitious show, it demonstrates the value of Territory’s design led approach and VFX capability.
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