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With the help of faithful family bodyguard Butler (Nonso Anozie), the boy learns of his father’s involvement with Haven, a vast fairy realm hidden deep underground, and embarks on a quest to free Artemis Sr. From his prison cell inside a remote sea fortress, a dwarf called Mulch Diggums (Josh Gad) narrates a tale about young Artemis Fowl (Ferdia Shaw), who discovers his father Artemis Sr. Nviz, Argon and The Third Floor shared a variety of previs, postvis and virtual production duties.Īrtemis Fowl is wrapped in a framing narrative. Additional work was done by Exceptional Minds and an in-house team of artists led by associate visual effects supervisor Martin Walters. Working alongside visual effects producer Barrie Hemsley, Henley assembled a team of visual effects vendors led by Moving Picture Company (MPC), supported by Framestore, Industrial Light & Magic, RISE and BUF. The fairies have more of a connection with the natural world than we have and that’s become part of the technology they’ve developed.” The idea is that humans split off from the fairies years ago, but they’ve carried on developing just as we have, in a parallel society. “Everyone was keen for an element of originality on the fairy front,” said Henley. Kenneth Branagh discussed design strategies with his key department heads, including production designer Jim Clay, director of photography Haris Zambarloukos and visual effects supervisor Charley Henley. The story of Artemis Fowl spans two different worlds: the familiar above-ground realm of human beings, and an underground domain where fairies and their kin have spent millennia in hiding. Weeks of uncertainty followed, at the culmination of which Artemis Fowl skipped cinemas completely and was finally released in June through the Disney+ streaming service. However, as the marketing campaign hit high gear early that year, the COVID-19 pandemic prompted major studios to postpone theatrical releases across the board. Kenneth Branagh was appointed as director and the film was scheduled to hit theaters on May 29, 2020. Years of development followed, culminating in a 2013 announcement that Walt Disney Studios - owners of Miramax between 19 - would adapt the first two novels in the series. The anti-hero Artemis Fowl II went on to star in seven more books, with motion picture rights secured by Miramax Films in 2001. The author challenged conventions not only by making the book’s lead character something of a villain, but also by giving his fairies possession of a unique brand of advanced technology. These two influences collided in 2001 with the publication of Artemis Fowl, Colfer’s breakout novel about a 12-year-old criminal mastermind who kidnaps a fairy from an underground realm and ransoms her for a ton of 24-carat gold. He also happens to be a big fan of Die Hard.
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Two Worlds CollideĪuthor Eoin Colfer has a deep affection for the fairy folklore of his native Ireland. Ferdia Shaw stars in Disney’s Artemis Fowl. This online version of my Artemis Fowl story does not include the range of effects-related images normally featured in a Cinefex article, but the text is exactly what you would have read if Cinefex 171 had been published as originally planned.
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Now, with the kind permission of Cinefex publisher Gregg Shay, I’m pleased to publish what I’ve come to think of as The Cinefex Article That Got Away. Cinefex went on hiatus shortly afterwards, before finally closing its doors following the publication of its final issue, Cinefex 172, in February 2021. My Artemis Fowl story was one of those that ended up on the cutting room floor. By the time Artemis Fowl was finally released on the Disney+ streaming service on June 12, 2020, we’d been forced to scrap all our theatrical release content for the June issue and replace it with streaming shows.
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By the end of April the article was finished, edited, reviewed and ready for production.īy this time, however, the global COVID pandemic had brought the world to a shuddering halt and swung a wrecking ball through movie release schedules.
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Through February and March 2020, I conducted a series of interviews for an in-depth article on the Disney adaptation of Artemis Fowl, for publication in Cinefex 171, due out in June of that year.