Eddie Redmayne Web
Sep 2019

New images from the Aeronauts Press Conference that was held on Saturday.

Gallery Links:
Eddie Redmayne Web > 2019 > September 7 | The Aeronauts Press Conference In Toronton

Sep 2019

This time they do an interview with IMDB at Toronto.

#FelicityJones and #EddieRedmayne, last seen starring opposite one another in ‘The Theory of Everything,’ talk about what it was like to reunite for #TheAeronauts, the story of a pilot and a scientist who find themselves in a fight for survival while attempting to make studies of the air while in a hot air balloon.

Sep 2019

Eddie & Felicity are at the Toronto Film Festival today promoting their new film The Aeronauts. They talk with The Hollywood Reporter on reuniting to make this film.

(view here)

Aug 2019

Been anxiously awaiting this!

The new trailer for Eddie’s film The Aeronauts. In theaters December 6th and available on Prime Video December 20th

In 1862, daredevil balloon pilot Amelia Wren (Felicity Jones) teams up with pioneering meteorologist James Glaisher (Eddie Redmayne) to advance human knowledge of the weather and fly higher than anyone in history. While breaking records and advancing scientific discovery, their voyage to the very edge of existence helps the unlikely pair find their place in the world they have left far below them. But they face physical and emotional challenges in the thin air, as the ascent becomes a fight for survival.

Jul 2019

Amazon has released a new still from Aeronauts.

Gallery Links:
Eddie Redmayne Web > Films > 2019 | The Aeronauts > Production Stills

Jul 2019

Dang it! More bad news! Thank heavens I have Amazon Prime!

“We don’t expect to be part of that release,” Imax CEO Richard Gelfond said Tuesday.

The Aeronauts, starring Felicity Jones and Eddie Redmayne, is losing its berth in Imax theaters after Amazon Studios scrapped a plan to give the awards hopeful a traditional theatrical release.

Imax was set to play The Aeronauts — a period adventure set in 1862 about two hot air balloonists and their perilous journey — exclusively for one week before the film was to expand nationwide Nov. 1.

The Aeronauts will now only debut in a select number of theaters on Dec. 6, before premiering two weeks later on Amazon Prime.

Imax CEO Richard Gelfond on Tuesday told analysts during an earnings call that the giant-screen exhibitor — like a majority of cinema chains — generally won’t carry a film that doesn’t more or less honor the traditional 90-day exclusive window.

“So we don’t expect to be part of that release,” Gelfond said of The Aeronauts. Sources say a busy year-end schedule for Imax further complicates the situation.

The Amazon movie was designed for Imax and filmed with Imax cameras. Directed by Tom Harper and written by Jack Thorne, The Aeronauts is produced by Mandeville Films’ Todd Lieberman and David Hoberman and Harper, and executive produced by Richard Hewitt and Thorne.

FilmNation Entertainment is handling international distribution.


Jul 2019

According to Collider, the release date for The Aeronauts … luckily it is still coming out this year. Anyone else miss having Eddie on your screens?

Amazon Studios is pushing back the release of its Eddie Redmayne–Felicity Jones drama The Aeronauts from Oct. 25 to Dec. 6, and cutting the film’s theatrical window to just two weeks, as it is now expected to begin streaming on Amazon Prime Video on Dec. 20.

Directed by Tom Harper, The Aeronauts is set in 1862 and follows wealthy young widow Amelia Wren (Jones) and headstrong scientist James Glaisher (Redmayne) as they mount a balloon expedition to fly higher than anyone in history. It’s a journey to the edge of a then-known world, where the air is thin and the chances of survival are slim.

The Aeronauts had been slated to receive a traditional theatrical release, including a one-week IMAX engagement. In fact, key action sequences within a hot air balloon were designed with IMAX viewers in mind, but now, the entire IMAX release is, pardon the pun, up in the air.

According to Deadline, Redmayne and Jones were supportive of the decision, which Amazon made with the goal of driving curious film fans towards its streaming service, Amazon Prime Video. I understand collapsing the theatrical window for Sundance acquisitions like Brittany Runs a Marathon, The Report or Honey Boy, but The Aeronauts seems like a movie that’s intended to be seen on the big screen. So on that front, this move feels like something of a blow.

What’s unclear, however, is whether this decision will have any impact on the film’s Oscar chances. The Aeronauts was supposedly seen as Amazon’s prime awards contender, but if a film is streaming in voters’ living rooms just two weeks after it hits theaters, does that change its optics? Keep in mind, Netflix gave Roma a three-week window in theaters, if I’m not mistaken. On the flip side of that coin, will The Aeronauts get a bump with voters because of its easy accessibility? I’ve heard good things about the film, and expect it to be a major player either way.

What’s interesting about this decision is that it lines up with what I’ve heard, which is that the theatrical business is becoming less important to Amazon. The company knows where its strengths and weaknesses lie, and they know how expensive a theatrical release can be, not to mention how tricky it can be to market certain indies in a world that seems more interested than ever in blockbuster IP. I’m not saying that theatrical won’t be a part of Amazon’s strategy going forward, just that we’re living in the age of the Streaming Wars, and that means satisfying your current subscribers and trying to add new ones, not trying to beat studios at their own theatrical game without any major IP. Amazon boss Jennifer Salke said it herself in a statement to Deadline. “The theatrical experience is an important part of our business but our highest priority is our customers.”

Amazon has stressed all along that each of its films will be evaluated on an individual basis as far as its release goes. For example, The Report will stream soon after it debuts in theaters, but Brittany Runs a Marathon will respect the traditional window.

Harper directed from a script by Jack Thorne, and he’s also producing alongside Todd Lieberman and David Hoberman of Mandeville Films. Thorne is executive producing with Richard Hewitt, and the film co-stars Tom Courtenay, Vincent Perez and Yesterday breakout Himesh Patel. Deadline broke the news.

Jun 2019

Eddie is going to be one of the keynote speakers at this year’s Adobe Summit EMEA.

UK – Europe’s largest digital experience conference, the Adobe Summit EMEA 2019 returned to ExCeL London earlier this month. Creative technical event production company Hawthorn was once again chosen by agency Taylor Bennett Partners to deliver the full technical production for the two-day event.

Focused on creating innovative customer experiences, over 6,000 delegates from across Europe, the Middle East and Africa gathered to hear the latest updates from Adobe Experience Cloud and its partners. Led by group creative director Pete Harding, Hawthorn was tasked to bring Taylor Bennett’s incredible vision to life, delivering the technical production for the main conference plenary, exhibition space, break-out sessions and the hotly-anticipated summit celebration. Featuring a spectacular light installation and an interactive projection mapped chill-out area, the Adobe Summit once again proved that when it comes to delivering extraordinary experiences, they knock it out the park.

It wouldn’t be the Adobe Summit if there wasn’t a wildly creative centrepiece drawing delegates into the exhibition space and this year certainly wasn’t any different. Measuring 500sqm and floating gracefully above the Adobe stand, this beautiful light installation, known affectionately as the Jellyfish, was dreamed up by Russell Bennett, partner at Taylor Bennett Partners. To turn his truly unique vision into reality, Hawthorn collaborated with experiential design studio Cinimod and laser specialist ER Productions. Four circle truss structures fitted with 84 Robe 150 beam fixtures and 84 DMX controlled fans allowed the illuminated material to billow float on air. With interactivity the name of the game, delegates changed the colour of the installation by passing their hands through a cage of 24 laser beams situated in the centre of the Adobe stand.

If one interactive experience wasn’t enough, guests were able to take some time out in the projection mapped chill out space. Inspired by the Adobe Experience Cloud, the area featured a series of deconstructed blocks that came together from a specific focal point to create the Adobe logo. Delegates were able to alter the colour and movement of the logo content in real-time using a handheld replica of the Adobe ‘A’ fitted with an accelerometer.

This year’s keynote theatre played host to a number of famous faces, including international human rights attorney Amal Clooney, actor Eddie Redmayne and comedian Jack Whitehall. With world-leading brands such as Unilever, BT and illycaffè taking to the stage to share their insights, Hawthorn used fifteen Barco UDX-4K32 projectors to create a mammoth 78 metre wide screen. With the addition of ROE CB3 LED panels supplied by 80-Six, this mega set-up delivered a jaw-dropping 24 million pixels.

Lighting in the keynote theatre was thought up by Russell Grubiak who created a stunning design to complement the on-screen content, whilst delivering dramatic walk-on stings and ensuring the speakers remained beautifully lit throughout. The rig included Claypaky Sharpy, Martin Aura XB and Martin MAC Viper Performance and Profile fixtures.

With the Summit being located at the opposite end of ExCel this year, Hawthorn had the challenge of maintaining the even coverage and excellent sonic quality of previous years whilst working with greatly reduced height and the complicated demands of maintaining sightlines to the mammoth screen. To accomplish this, they employed four hangs of 6 d&b V-series line array per side and a central array of 4V-series. Coverage for the bleachers was provided by four hangs of 4 d&b Y-Series line array and 1 Y-Sub to extend low-end to the back of the room. All V and Y line array were array processed to ensure even coverage throughout the venue. Additional fills in the room were provided by 14 D&B V-series point source boxes and ten Y-series point source boxes. Packing a real low-end punch this year were eight of d&b’s brand new SL-subwoofers, each featuring three 21” drivers.

Taking guests on a journey around the world, this year’s summit celebration saw guests party their way through Japan, India, Switzerland, America, France and the UK, sampling delicacies from each country along the way. From Taylor Bennett Partners vision, Hawthorn worked with creative event specialist Bimblabee Productions to ensure globe-trotting guests were in for a treat. A projection mapped replica of No.10 Downing Street allowed guests to catch a peek of Theresa May’s legendary dance moves through the window whilst a nine-metre high version of the Golden Gate Bridge created the perfect viewing platform to survey the spectacular surroundings.

If that wasn’t enough, revellers danced the night away to pop sensation Jess Glynne, DJ Benny Blanco and Adobe Summit regulars The Earth Lights. Taking guests up, up and away, thousands of white balloons were used to form clouds that surrounded the stage whilst vintage hot air balloons and propeller planes hung from the ceiling to complete the sky set-up.

To create the perfect stage background to display vibrant video content and allow beams to pass through, the Hawthorn team installed 181 panels of GLUX BAtN LED panels. A striking lighting design enhanced the party atmosphere, with Robe LED 150 Beams, Robe BMFL’s, SGM P5s and MAC Viper Wash fixtures featuring in the impressive rig.

Russell Bennett, partner at Taylor Bennett Partners, said: “The Adobe Summit is where experience makers are born so the pressure is always on to find new ways to immerse and amaze delegates. By getting technical experts such as Hawthorn on board, we’re able to utilise the latest technology to create engaging brand experiences that forge everlasting memories. We have a fantastic relationship with Pete and the Hawthorn team and no matter how crazy the idea, I always know that they’ll rise to the challenge and find a technical solution that will turn my vision into reality.”

Pete Harding, group creative director at Hawthorn commented: “It is always a privilege to work on the Adobe Summit EMEA with Russell and the award-winning team at Taylor Bennett Partners. They’re renowned for delivering awe-inspiring brand experiences and every year, the summit pushes that bar higher and higher. We love using the latest production technologies to find unique and creative solutions to bring their incredible visions to life and by working with industry experts such as Cinimod Studios, ER Productions, Andy Coates and Graymatter Video, we’re able to combine our expertise to deliver something truly extraordinary.”

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