Stories II: The Collected Stories of T Coraghessan Boyle, Volume II, by TC Boyle | Financial Times
Spring , Volume 17, Issue 2. Winter Volume 17, Issue 1. Winter Volume 15, Issue 1. Spring Volume 15, Issue 2. Winter Volume 14, Issue 1. Spring Volume 14, Issue 2. Summer Volume 14, Issue 3. Fall Volume 14, Issue 4. Winter Volume 13, Issue 1. Spring Volume 13, Issue 2. Summer Volume 13, Issue 3. Fall Volume 13, Issue 4.
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The Collected Short Stories of TC Boyle, volume 2 review
Fall Volume 11, Issue 4. Winter Volume 10, Issue 1. Spring Volume 10, Issue 2. Early Summer , Volume 10, Issue 3. Late Summer , Volume 10, Issue 4. Fall , Volume 10, Issue 5. Winter Volume 9, Issue 1. Spring Volume 9, Issue 2. Early Summer Volume 9, Issue 3. Other props he created for the film included two sets of blasters for Quill, with removable blaster cartridges, and "steampunk-looking weapons and belts" for the Ravagers;  Bobbitt explained that four different weapons were designed for the latter group, and then 15—20 versions of those were produced to be used by the various Ravager actors there could be up to 85—95 Ravagers per scene.
For their belts, the props team cut the leather themselves rather than buying existing belts, and then parts from different electronic devices such as radios and cell phones were glued together to make each belt "a unique piece of art". The prop department also made edible props for certain scenes: Pre-shooting began on February 11, ,  at Pinewood Atlanta Studios in Fayette County, Georgia ,  under the working title Level Up ,  with Henry Braham serving as cinematographer and Scott Chambliss as production designer.
Principal photography began on February 17,  with Marvel confirming that Russell had joined the cast, and revealing that Elizabeth Debicki and Chris Sullivan had also been cast, all in undisclosed roles. Gunn said the sequel required more sets than the first and "our sets are very large, even though a lot of the film is CGI. I like to have as many practical sets as we can and make the environments as real as possible so it balances out the CGI elements. Sets constructed for the film included several for the Sovereign planet, for which Chambliss used a "s pulp fiction variation on s art deco design aesthetic"; the Ravager's main ship in the film, the Eclector , which was constructed in sections to provide a complete degree view of the ship as well as the ability to move sections around and portray different areas of the ship; and the Iron Lotus establishment on the "pleasure planet" of Contraxia, which Chambliss wanted to feel like it had been put together from "a whole yard of repurposed junk where old spaceships are cast away and industrial materials that aren't of use anymore are just left to rot", creating a "kind of neon jungle in its own way and covered in ice and snow.
He wanted a camera that could deliver equivalent image quality to the Alexa 65, and tested multiple options. He eventually met with Red employees, whom he had a positive experience with working on The Legend of Tarzan , and they introduced him to an early prototype for the Weapon 8K. He, Gunn, and Marvel decided to use the camera in September , when only that single prototype existed, and spent three months working with Red to get the camera ready for filming. Each shot using the camera had to be carefully set up and choreographed.
Exteriors of the ships were filmed with the camera on a technocrane , but any shots inside the cockpits again used the Stabileye which is "so small that you can get it in there next to the actors". In April , Gunn revealed that Reilly would not be part of the film, and stated that there were many other characters he could not include in the film due to rights issues, saying that 20th Century Fox "owns so many awesome cosmic villains and minor characters that I'd love to play around with" such as Annihilus and Kang the Conqueror.
Homecoming began at several Pinewood Atlanta soundstages. Gunn also felt that this would move the focus of audiences from wanting to discover who Quill's father is to "the story and the relationship that these characters have". In November, Gillan revealed that the film was undergoing reshoots. The Hollywood Reporter noted this score could not necessarily be compared to any non-Marvel movies due to Marvel's specific testing process that selects its audience "from a more select pool of recruits, what it terms 'friends and families screenings'".
I actually had to do like a full day's worth of dancing to get Groot's dance down this time. Last time it was me in front of an iPhone , and this time it's me dancing on a huge soundstage and shooting it from five different angles. Gunn still considered Fillion's cameo canon to the MCU, despite it being cut. Framestore rebuilt Rocket "from the ground up" for Vol.
Framestore also created the film's opening sequence. Gunn provided reference video for Baby Groot's dancing in the sequence.
Executive Creative Director Erin Sarofsky noted the challenge of placing the credits while the sequence was being refined by Framestore. Sarofsky proposed several different options for the credits, including having "a little hovering character that projected a hologram up on the screen", but Gunn did not want another character in the sequence to deal with. A simpler 2D option was used instead. Sarofsky also worked on the end credits, the first time for the company, integrating the actual credits from company Exceptional Minds with designs inspired by old music album art, taking albums and scanning them for their old textures and scratches.
The destruction of the Ravager ship the Eclector was handled by Weta Digital. Weta also needed to create a digital double for David Hasselhoff for the moment when Ego shifts into Hasselhoff's guise. Guy Williams, Weta's visual effects supervisor, said, "We tried morphing to a live action Hoff — but it did not hold up as well. The Kurt version looked better than the Hoff version,.. But in the end we did have to do a partial build digi-double of the Hoff. The reason we did the Kurt digi-double in the first place was to make sure all the effects stuck correctly to the body For the Hoff, we got pretty close, but it is not quite as detailed as for Kurt.
There's nothing even close to it. Animal Logic and Method Studios also worked on the various parts of Ego's planet, with Animal Logic focusing on Ego's cathedral, and Method on the arrival sequence and Baby Groot's "not that button" sequence in the Planet Hollow. Animal Logic's work for Ego's cathedral was also based on fractal art. The team at Animal Logic were initially brought on to the film to work on the story vignettes that were used to explain the backstory, which started as oil paintings before evolving to falling sand, and eventually the final plastic sculptures that were used.
Method also created the film's final sequence for Yondu's funeral. To make Rocket shedding a tear convincing, Method used in-house footage of Animation Supervisor Keith Roberts "performing the scene for reference, studying the macro facial movements like minor eye darts or blinks, in addition to what was filmed on set and in the sound booth by" Cooper. Additional work included the scenes on the planet Berhart.
To achieve the younger Ego, Lola referenced Russell's performance in Used Cars , as "he had a lot of the [facial] action" the visual effects artists were looking for. They also used a younger stand in, Aaron Schwartz , since he had "big broad jaw, chin, and most importantly the way the laugh lines move[d] and crease[d] as he talk[ed]", similar to Russell's. By August , Gunn had "some ideas listed, but nothing for sure" in terms of songs to include in Quill's Awesome Mix Vol. Gunn added, "But I feel like the soundtrack in the second one is better.
Awesome Mix Volume 2 , along with the film score album composed by Bates, were released on April 21, In June , Marvel announced plans for an expanded merchandising program for the sequel, with Groot playing a central role. The custom bags were available to purchase on Amazon.
In July , Gunn, Pratt and other members of the cast attended San Diego Comic-Con to promote the film,  showing footage and revealing additional character information. Club ' s Esther Zuckerman called it "an immediate crowd-pleaser". And there's a lot of mysteries in Guardians 2. A second trailer aired during Super Bowl LI. Germain Lussier for io9 called it "hilarious",  while Anderton said it was "one hell of a" Super Bowl spot, "one that probably overshadows the game itself for people like me There's plenty of badass cosmic action, the humor we all love, a stellar soundtrack, and some great new footage from the sequel.
The film also topped a Fandango survey of fans' favorite film trailer during the Super Bowl. Haleigh Foutch at Collider felt the trailer added "hype" to the film, and was "just an all-around wonderful trailer, lit up with the wacky humor and irreverent charm that made the first film such a hit, with an extra dose of visual splendor.
Guests who attended received an exclusive mini poster and a set of souvenir collectible buttons. The digital release also exclusively features the breakdown of three scenes, from their initial ideas to their completed versions, and a behind-the-scenes look at the Guardians of the Galaxy — Mission: Stan Lee and Guillermo Rodriguez also make cameo appearances in the video.
The digital release of the film had the most digital downloads and largest opening week of any Marvel Studios film. Since tickets went on sale on April 24, , the film was the number one seller on Fandango , and surpassed the advance sales of Avengers: Age of Ultron in the similar time frame. The film also outperformed the original's opening weekend in all markets except Belgium. It also had the biggest May opening day and the third-highest opening day for an MCU film there.
The website's critical consensus reads, " Guardians of the Galaxy Vol. Owen Gleiberman of Variety called the film "an extravagant and witty follow-up, made with the same friendly virtuosic dazzle Maybe a little too hard. He noted that " Vol. It's fun, clever and a great kick-off to the summer movie season. Also giving the film three out of four stars, Sara Stewart at the New York Post felt the film was overstuffed, but that Gunn's "lighthearted approach makes this matter surprisingly little" and "at least it's stuffed with good cheer".
Praising the tone and s references that gave the film a sense fun, Stewart called Vol. O'Sullivan felt it avoided usual sequel problems by building on the original film rather than repeating it, and also noted the use of music as well as "dazzling" visuals throughout, describing the film as "a toe-tapping, eye-popping indication that summer is here, and that it might not be so bad after all.
Turan concluded, "There are enough reminders of the first Guardians to make the sequel an acceptable experience, [but it's] less like itself and more like a standard Marvel production. Lane concluded, "Let's hope that Vol. In November , when Gunn said he had the "basic story" for Vol. I don't know what exactly the order will be. We're trying to figure it out,"  also adding, "There are no specific plans for Guardians of the Galaxy Vol. But we know unless something goes horribly—which is always possible, you never know—I think that Marvel would want to make another movie.
However, in July , Disney cut ties with Gunn following the resurfacing of old, controversial tweets from Gunn. From Wikipedia, the free encyclopedia. This article is about the film.
- Internationalism and the State in the Twentieth Century (New International Relations).
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- Rocket Skill Packet 16 (Kindergarten Digital Workbooks).
Fred Raskin Craig Wood. So it's very general and that could change I'm excited by the possibility of creating a sequel because we had to do a lot of setup in [the first] movie and with a sequel we don't have to do that setup which will make it so much easier for me. Ego's planet top was designed to be "highly geometric" and made extensive use of fractals , including Apollonian gaskets bottom. The character is hinted at in this mid-credits scene to set up a future appearance in the MCU. British Board of Film Classification.
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