Anton’s family and friends came together at the opening night of Anton Yelchin: Provocative Beauty, an exhibit that features photos from Anton’s six-year photography work, at De Buck Gallery in Los Angeles last December 13th. Kristen Stewart (from Fierce People), Ben Foster (Alpha Dog), Bryce Dallas Howard (Terminator: Salvation) were among his co-stars that were there to support. The exhibit will run until January 20th.

Ahead of the Part 2 premiere on Friday, December 15th, Netflix has announced that Trollhunters is headed to new adventures with a third and final chapter! It is slated to premiere next year.

“Trollhunters” (Part 3) and “3 Below” (Second installment of Tales of Arcadia Trilogy)
“Trollhunters” Part 2, from Guillermo del Toro, premieres on Netflix, on Friday, Dec. 15, with a third and final chapter of the Emmy-winning series set to debut in 2018. “3 Below,” the second series in the previously announced Tales of Arcadia trilogy, will premiere in late 2018 and feature two royal teenage aliens and their bodyguard who flee a surprise takeover of their home planet by an evil dictator and crash land in Arcadia. Now on the run from intergalactic bounty hunters, they struggle to blend in and adapt to the bizarre world of high school all the while attempting to repair their ship so they can return and defend their home planet. A final chapter, “Wizards,” is set to debut in 2019. “Trollhunters” was created and executive produced by Guillermo del Toro with Marc Guggenheim, Rodrigo Blaas, Chad Hammes, and Christina Steinberg also serving as executive producers. Dan Hageman and Kevin Hageman serve as co-executive producers.

A new trailer has arrived for one of Anton’s final films, Thoroughbreds, which hits theaters on March 9, 2018. I have also added screencaps from the trailer into the gallery.

Last year, there was an exhibit that showcased Anton’s photography in Los Angeles. This time, it’s New York’s turn. De Buck Gallery will be hosting the exhibit, which features 54 photos from Anton’s six-year photography work. The exhibit will open on December 13th and will run until January 20th. For more details and the gallery address, visit the De Buck Gallery’s website!

NEW YORK—De Buck Gallery is pleased to present Anton Yelchin: Provocative Beauty. The exhibition will open Wednesday, December 13, 2017 and will remain open until Saturday, January 20, 2018. The selection of 54 mages spans from a productive 6-year period of photographic exploration.

At the time of his tragic passing at the age of 27, unbeknownst to most of his friends, Anton was pursuing a second career as a photographer. During this period, he documented a wide range of subjects using a Leica camera as well as disposable cameras. This exhibition focuses on portraits, self-portraits and interior images that Anton captured while exploring this private world. These photos include many intimate portraits of friends, family and also complete strangers. All of these people trusted Anton to convey his intimate interactions with them.

Anton was known primarily for his work as an actor in films such as Star Trek, Green Room, Like Crazy, Terminator: Salvation, Alpha Dog and many more. Yelchin’s career began as a child when he received rolls in Curb Your Enthusiasm, The Practice, Hearts in Atlantis, Delivering Milo, and ER. Passionate about photography since childhood, Yelchin was embarking on a second career as a photographer at the end of his short but beautifully-lived life, having been commissioned to shoot for a number of international publications.

De Buck Gallery wishes to honor the legacy of Anton Yelchin’s life and to recognize the tremendous creative energy, output and talent that he possessed.

The artist’s portion of proceeds from sales will be donated to the Anton Yelchin Foundation. These funds will be used for a variety of programs empowering artists who face career challenges due to debilitating disease or disability.

The exhibition is co-curated by Clayton Calvert and Rachel Vancelette.

Check out this feature article on Porto from MovieMaker magazine, which delves into the filmmaking procedure done for the film.

Porto is a love letter to the timelessness of great cinema. Director Gabe Klinger is a scholar of cinema history, and he was keen to invoke the textures and traditions of older films and filmmakers for this project.

The story didn’t have to be told in Portugal, but it had to take place in an old city that was lost in time. Depending on where you turn a camera, the city of Porto can transport you to any decade or century, and this was essential in creating a feeling of drifting through time and history. It was also essential to Gabe and I that we shoot on film (as opposed to digital), because film has a way of distancing the image from the present.

The film is about two people on separate paths that intersect for one cataclysmic night in a foreign city. We wanted Porto to evoke both the feeling of time passing throughout their lives, and of events happening in the present, and we worked with a variety of film formats to achieve this. Super 8mm was used for the more fleeting memories throughout their lives, almost like home movies. Super 16mm was our verité format, used to document the important events in their lives leading up to and following their night together. We used 35mm for a more formal real-time feel to show the encounter itself, unfiltered by time and memory. Initially these were to be separate chapters, but in the edit they were integrated to strike more connections between the past, present, and memory.

For the 8mm footage, we tested a half dozen cameras and settled on three different consumer models which slowly fell apart as the shoot progressed. We developed our tests with a hand-processor in Porto, something that we were very excited about initially, but the results were too unstable. In the end we sent our final films to ColorCity, a lab in Paris that at the time was still processing color reversal.

For the Super 16mm, we were watching a lot of direct cinema and verité films, and we were determined to get into the minimal, essential headspace of those filmmakers as much as possible. We even looked into reviving the sound-on-film cameras Robert Drew and associates were using, like, the Auricon, which scribbled the location audio directly onto the camera negative with a pulsing, shuttered light. Ultimately we decided that if those filmmakers were shooting today, they’d be using the lightest and most liberating 16mm cameras, and it was more important to honor their intention than to reanimate the technology. We used an Arri 416 for all the handheld and long-lens scenes following the two lead protagonists, Mati (Lucie Lucas) and Jake (Anton Yelchin), through their solitary existences. After filming several of these scenes, I found I was having a hard time falling into step with Anton. At last, he revealed that he had been honing a nearly imperceptible limp in his right foot for the role, as though Jake had been injured in his youth but hadn’t healed properly. I just had to learn the limp, and from then on we were in perfect sync! Anton was extraordinarily immersed in the role, even limiting his diet to local junk food like “Francesinhas” (meat and cheese sandwiches that are typical in the region) the entire time we were in Portugal, true to his character, who at one point in the film tell us that he doesn’t take care of himself.

For the scenes that take place in real-time the night of the encounter, Gabe wanted to jump up to 35mm ‘Scope to make it feel grander and more immersive, as the evening is experienced for Jake and Mati. We wanted it to feel less dated than the other material, so we shot with cleaner lenses (Cooke-S4s) and designed all of the scenes as single shots or series of shots with as little coverage as possible. Even the lovemaking scenes were designed to feel continuous and unyielding, unlike many love scenes which are minced together from a variety of angles in order to feel discreet. We did, however, shoot them very dark, keying two and a half stops under and filling three stops under from the key side, which veiled them in grain and rendered them in simpler forms, so that the nudity was not awkward and distracting.

The thing I love most about shooting film is that it removes everyone from the immediate results. With digital, you’re constantly seeing how the image will be rendered, which takes you out of the moment. When I look through an optical viewfinder and hear film whirring through the gate, I become totally tuned into the event happening in front of the camera, which is the essence of filmmaking. Each take is a unique event which cannot be repeated. An actor cannot do the same thing twice. This is true with digital, but somehow it’s easily forgotten. Seeing the picture on a monitor makes you think you can refine it endlessly, and that the final, flattened image is most important. It’s not. Good directors can maintain that immediacy and intimacy of the event when working with digital systems, but with film cameras it is inherent in the technology. This is why so many films we love from the last century feel so spontaneous and “raw.”

For us, it’s not about the aesthetic qualities of film (though those help); it’s the way film changes the process. With Porto, Anton and Gabe wanted to get back to this kind of filmmaking, which embraces chance and acknowledges that a movie can never be made the same way twice; that it is a product of who you cast and work with, and where and when you shoot. Thousands of factors influence the events that happen in front of the camera, and it becomes a cultural and historical artifact as soon as it is captured. Unfortunately, with Anton’s passing, this philosophy became even more real for Gabe and I. We’re very grateful to have the film as a recollection of our time with him.

Tech Box

Cameras: Arri 416 and Arricam Studio and Arri LT

Lenses: Zeiss Ultra16s and Cooke S4s

Film: Kodak 7219, Kodak 5219, Kodak Ektachrome and Fuji Velvia MM

One of Anton’s final films, Porto is set to be released in New York City this Friday, November 17th, in Landmark Sunshine Cinema, and will run until November 23rd. Visit this link for details and for booking advanced tickets! After that, the film will be shown in Los Angeles, California starting on November 24th to 30th in Landmark Nuart Theatre. For more info and for tickets for the LA run, visit this link. Check out high-quality images in our gallery and the official trailer below! Also, keep an eye out (if you’re not yet following us) on our Twitter for some more goodies as we approach and during the film release. All thanks to Kino Lorber, the distributor of the film.

The second season of Trollhunters is set to debut on Netflix next month, December 15th. Guillermo del Toro mentioned before that Anton’s work will still be a part of the second season. “The reality and the beauty of this is that we can continue not only the storyline and the characters, but we have a huge swath of work from Anton that allows us to continue Anton through more than half the season,” he told Entertainment Weekly. Check out the trailer for the new season, dubbed as Trollhunters Part 2!

From the limitless imagination of master storyteller Guillermo del Toro comes a tale of two worlds set to collide in the epic saga DreamWorks Trollhunters. When ordinary teenager Jim Lake Jr. stumbles upon a mystical amulet on his way to school one morning, he inadvertently discovers an extraordinary secret civilization of mighty trolls beneath his small town of Arcadia. Strong-willed and seeking adventure but wholly unprepared for the responsibilities thrust upon him, Jim is forced to take on the exalted mantle of Trollhunter, sworn to protect the good trolls from powerful enemies bent on revenge. The first human ever to hold the honor, Jim abruptly goes from fighting his way through the daily mayhem of high school to joining a war that has raged for centuries, a conflict that now threatens all of mankind and troll-kind alike. Accompanied by his closest human friends and a few key troll allies, the courageous fifteen-year-old must plunge headlong into a fantastical world of astonishing creatures, glorious cities, and fierce enemies desperate to destroy him. Suddenly destined to play a crucial role in an ancient battle of good and evil with stakes that couldn’t be higher, Jim is determined to save the world — right after gym class. DreamWorks Trollhunters is a heroic tale that uncoils with ambitious, complex storytelling and stunning visuals that raise the bar for animated series, creating an event series that will thrill the entire family.

The first official trailer of Thoroughbreds has just been released. The film is one of Anton’s final projects, and also stars Anya Taylor-Joy and Olivia Cooke. I have also added screencaps of the trailer into the gallery.