The Voyage of the Dawn Treader is due to start shooting on the Gold Coast in Australia later this month, and it looks like it will move to Cleveland Point at some point in September.  The film is still in pre-production, however, and no real start date has been set, according to our sources.  However, it’s looking like they are beginning to solidify details of start dates.

Last I had heard, filming would begin in August, and end in October.  However, there is a forum for the Australian Surf Rowers League where someone is “looking for several wooden boats to use in a film we are shooting on the Gold Coast. With view to hire or purchase.”  When asked when they would need them, they respond: “At this stage between 20th July to 5th Sept.”

This means that, should this be the same Gold Coast production (but really… they’re on boats in the Gold Coast), it means that filming could be starting as early as the 20th of July.  This doesn’t necessarily mean that filming would officially begin, however.  Many films begin with the second unit going in and getting the extra shots that don’t require primary actors.  This tends to start late in pre-production, and last throughout production and sometimes into post-production.  The actual start of production could still be around the first of August, with 11 days of second unit photography.  It helps editing and special effects to begin even sooner, as the only footage they would otherwise have is the primary actors, which, while part of it, they need the various shots as well, that will help move the effects along.

Either way, it’s a very important part of the process.

But what about the props?  What are they doing with them?  “The boats will not be used in the surf just in calm water, most will be back ground props in scenes and ideally a couple of full timbers in the foreground to sell the fact that all are timber. We would also like to dress them up to give them an old world appearance, fix a small mast and furled sail to one or two. So generally to dress a small harbour with a number of boats of same hull design with a few variations.”

What kinds of boats might we be seeing in the Dawn Treader?  And who would be in them?  These Wooden Surf Boats could be what they use to get ashore, from the Dawn Treader:

Granted, they’re definitely going to be removing the paint job, and some of the newer additions to make them even more old-world style.  Bob Booker-Props Department wants them for Dragons Prow Pty Limited which could mean that the production company isn’t Invisible ARMY Ltd. Dragons Prow Properties Limited would make a lot more sense.

As for the Cleveland Point location, it looks like they’re going to be bringing the Dawn Treader there as well:

Cleveland Point will be closed off to the public for close to two months, with most of the filming there to take place on a specially designed 40-metre vessel, attached to a new 60 metre by 50 metre pier with 20mx40m ramp.

Any damage done to the park will be fully repaired as part of the agreement between the production companies and Redland City Council.

The third film, which is set aboard a ship at sea and on exotic islands, will be making the most of both the State’s natural locations and film infrastructure.

Needless to say, things are REALLY ramping up!

Thanks to Michael Thom for e-mailing me about this.  He would have written about it, but he’s without solid internet at the moment.

-via Bayside Bulletin, ASRL #1, ASRL #2
Related Posts

• Voyage of the Dawn Treader comes to Gold Coast, Confirmed again
• Australia’s Gold Coast wins Narnia: Voyage of the Dawn Treader Production
• Voyage of the Dawn Treader on Gold Coast Next Month?
• EPA gives Brisbane Narnia: The Voyage of the Dawn Treader bid the thumbs up
• Dawn Treader to begin filming in Queensland this year?

It appears that The Voyage of the Dawn Treader will be shot on digital cameras.  The first two films were shot on traditional 35mm film stock, but the wave of the future appears to be in digital film.  Cinematographer Dante Spinotti was recently interviewed, and mentioned it’s use on Narnia.

Q: Why not go with a digital camera you’d already used? Why did you decide on the Sony F23 for Public Enemies?

Spinotti : Michael [Mann] likes depth of field, images with deep focus, and that camera has a chip that’s more like 16mm that gave us that depth of focus. It’s the same reason why I chose the same camera for the film I am going into now, The Chronicles of Narnia. The depth of field works in our favor. The camera also has an advantage in the sense that it is much more elastic. You can adjust gamma curves and gain for incredible control over the image. You can also shoot much bigger energy in the sense that you can have a zoom lens and the camera can move around in a quicker way.

When it comes to Digital vs. Traditional film… there are many many films being shot digitally these days.  You can even get camcorders that shoot straight to a hard drive or an SD card.  Videographers are torn, as film allows you to do a lot, and can currently capture more data.  Digital film has been making great strides for about 10 years or so, now, and is changing the way that movies are made in many respects.

Recent films shot digitally include: Superman Returns, Speed Racer, and Star Wars: Episode II – Attack of the Clones as well as Episode III – Revenge of the Sith.

Just look at what James Cameron is doing to see where the future of filmmaking could be going in the next few years.  If it is everything it is touted to be, Avatar could be the film that breaks boundaries.

In December 2006, Cameron explained that the delay in producing the film since the 1990s had been to wait until the technology necessary to create his project was advanced enough. The director planned to create photo-realistic computer-generated characters by using motion capture animation technology, on which he had been doing work for the past 14 months. Unlike previous performance capture systems, where the digital environment is added after the actors’ motions have been captured, Cameron’s new virtual camera allows him to directly observe on a monitor how the actors’ virtual counterparts interact with the movie’s digital world in real time and adjust and direct the scenes just as if shooting live action; “It’s like a big, powerful game engine. If I want to fly through space, or change my perspective, I can. I can turn the whole scene into a living miniature and go through it on a 50 to 1 scale.” Cameron planned to continue developing the special effects for Avatar, which he hoped would be released in summer 2009. He also gave fellow directors Steven Spielberg and Peter Jackson a chance to test the new technology. Spielberg and George Lucas were also able to visit the set to watch Cameron direct with the equipment.

Other technological innovations include a performance-capture stage, called The Volume, which is six times larger than previously used and an improved method of capturing facial expressions. The tool is a small individually made skull cap with a tiny camera attached to it, located in front of the actors’ face which collects information about their facial expressions and eyes, which is then transmitted to the computers. This way, Cameron intendes to transfer about 95% of the actor’s performance to their digital counterparts. Besides a real time virtual world, the team is also experimenting with a way of letting computer generated characters interact with real actors on a real, live-action set while shooting live action. (via Wikipedia)

Now, this is NOT what they’re using on Dawn Treader… but it’s a good example of what is being done with digital filmmaking.  It’s something that I’m torn on, but I think it looks really great sometimes, and like seeing a push to a technology that requires less waste.

Thanks to Glumpuddle for contacting me about it.
Related Posts

• Interview with Narnia Storyboard Artist Tom Nelson
• Dufflepuds to be entirely Computer Generated?
• Voyage of the Dawn Treader Casting Call, Open to Australians
• Ben Barnes talks Promotional Tours and Prince Caspian
• Voyage of the Dawn Treader comes to Gold Coast, Confirmed again

The last two weeks have been some of the busiest weeks I’ve had since re-launching the mailbag.  Last week, in fact, was so busy that I didn’t get a chance to do the mailbag.  I usually do it on Wednesdays, but there was something important that came up last week.  You see, there was a movie that came out that has made nearly a half of a billion dollars worldwide, so far.  Being a child of the 80s, I had to see it.  Twice.  On opening day.  Yes, I am a geek, and no, I don’t recommend this movie for children to see.  But I won’t be reviewing it entirely unless I am asked to write further on it, the film is Transformers: Revenge of the Fallen, and I loved it.  Not every minute, but I thought it was great overall.

Now for an update that many of you asked me to give.  For those that didn’t know, my sister was diagnosed with thyroid cancer, and was to have surgery this week.  The surgery lasted twice as long as the doctors had anticipated, and they wound up taking the entire thyroid out.  Apparently she isn’t entirely in the clear, as of yet; but she’ll be having radioactive iodine treatments soon that should take care of the rest.  Prayers are welcome.  She also has a convent of 250 nuns praying for her.  She plans on entering the convent this fall.

We’ve got some great letters this week, so let’s get to it.

Q: In the LWW Extended Edition, on disk 4 (Visualizing LWW, The Complete Production Experience) Douglas Gresham states that when Jack and Warnie were living at the Kilns during WWII, several children were sent to live with them, and that one of them was the basis for the character of Lucy Pevensie, and that she became a well-known actress in England, and was still alive today.

Anybody know who he’s talking about?

-Islandgeek

Paul: I went straight to the source on this one, and got word directly from Mr. Gresham himself!

Douglas Gresham: The girl who was the model for Lucy was June Flewett, later to be known as Lady June Freud when her husband Clement Freud (Grandson of Sigmund Freud) was knighted.  He died just a couple of weeks ago.  June was an evacuee at The Kilns, and later volunteered to stay on there to help out.

Q: I was wondering if Harry Gregson-Williams was doing the soundtrack for The Voyage of the Dawn Treader film? I feel like I heard somewhere that he isn’t, since it has been taken over by Fox. If then he isn’t doing the soundtrack does that mean that all new music (with no recurring themes) would have to be created? I’m not sure if there are copyright issues there..?

Thanks!

~Marie

P.S. I thought of this question because I know that when a new composer did the soundtrack for the new Pirates of the Caribbean the old music was copyrighted and he couldn’t even use the old themes anywhere on the soundtrack.

Paul: Great question Marie, though this one is going to take some time for me to answer.  Bear with me as I expound upon my knowledge of the film soundtracks to which you are referring.

Long ago, David Arnold was announced to be the composer for The Voyage of the Dawn Treader.  Harry Gregson-Williams won’t be back for this film, but that doesn’t mean that his themes won’t be reprised in some way.  I don’t believe there are copyright issues, as the Narnia franchise isn’t Disney’s, it’s Walden Media’s; and Walden Media is still on the project.

When it came to the soundtrack for Pirates of the Caribbean: Curse of the Black Pearl, which was attributed to Klaus Badelt, it turns out that is a slightly misleading.  There was actually a team of composers behind the soundtrack of the first Pirates film, and all of them did so as part of Hans Zimmer’s Media Ventures.  Ramin Djawadi, James Dooley, Nick Glennie-Smith, Steve Jablonsky, Blake Neely, James McKee Smith, and Geoff Zanelli each composed snippets of music for the score.  Klaus Badelt served as the music supervisor on the project, with Hans Zimmer acting as over-producer.  Zimmer, himself, couldn’t take credit for having composed the score, because of an agreement with with another studio at the time.

Side note before I move on to the next film in that series: Alan Silvestri was the original composer on Curse of the Black Pearl, but his score didn’t match what producer Jerry Bruckheimer had in mind for the music.  The movie’s score was written from the ground up by Media Ventures at a break-neck speed, with only two or three weeks to complete.  They started with stock-music that Media Ventures already had, and built on that to complete the score.

Now, for Pirates of the Caribbean: Dead Man’s Chest, Hans Zimmer had far more time to actually work on the score.  He wrote themes for characters like Jack Sparrow and Davy Jones, as well as the Kraken.  In much the same way that Prince Caspian had his own theme that didn’t appear in the first film, Davy Jones had his.  There were rehashes of musical ques from the first film in both of the sequels, but Zimmer wanted to create defined themes.

Pirates of the Caribbean: At World’s End did the same thing, expanding themes established in the first two films, while also establishing some new ones, such as the Will Turner / Elizabeth Swann love theme.

As you can see, it was never a case of copyright infringement.  It could never be, as the same company and composer worked on all three films.  What you witnessed was a progression.  Think of it like a favorite band.  A band such as Skillet or Relient K.  Every album they release sounds like them, but it’s new music.  If all they did was change the lyrics, but not much else, they’d be Nickelback.  And that gets very boring, the more it is done.

There are many great examples of things like this throughout the film world.  The Lord of the Rings is an obvious example, as it’s quite possibly the greatest music written for film in the history of the motion picture.  But one film series in particular always starts the same, but different: Star Wars.  John Williams will even tell you, the theme music that plays over the opening crawl is different for each film.  He uses different instruments to emphasize different emotions for each film.  It’s very subtle, yes, but it is intentional.

A good example to look at, though, is the Harry Potter series.  John Williams was acting composer in the series for the first three films.  The theme has been used, though, in all films since.  The same will likely be true of Narnia, though each book is entirely different from the last, so it’ll probably sound pretty different each time.

And that’s all that I have time for, this week.  I have a lot of projects to finish tomorrow, so I need some sleep!  Contact us with your questions!
Related Posts

• NarniaFans Mailbag #30: Is Michael Apted qualified? Dawn Treader Promo Material? Caspian missing scenes?
• Filmtracks Reviews Shadowlands Film Score
• Narnia Brand Brings Audiences to Theatres
• NarniaFans Mailbag #35: Skandar Keynes, Georgie Henley, Indiana Jones, and Harry Potter vs. Narnia
• Prince Caspian Score, Narnia Songwriters Win Dove Awards

Portugese Narnia Fansite MundoNarnia.com had the opportunity to interview Tom Nelson, a storyboard artist who has done work on all three Narnia films so far, including the upcoming Voyage of the Dawn Treader.  How the interview came up is one thing, but they’ve alerted us to it, which you can read here.

MundoNarnia.com: Your work is discrete, but very important to the beautiful results that appear on the screen when we talk about adaptations of Narnia for the cinema. And you work on the storyboards since the first movie. Tell us about who Tom is and about being an artist who develops storyboards.
Tom Nelson: I started working in animation many years ago, after a while I wanted to work on projects that had a little more drama so I started to work on movies the Narnia chronicles being among them.

MN: Which are the major storyboard projects you took part?
Tom: The Narnia movies are probably the biggest.

MN: How was the production of storyboards for Prince Caspian and The Lion, the Witch and the Wardrobe?
Tom: The first movie was very special.  Everyone was contributing to the movie, we knew we were working on something amazing. I met a lot of interesting people and found a very special place in my heart for New Zealand. I will always remember it.

MN: Have you ever read The Chronicles of Narnia or got in touch with them only by scripts?
Tom: I read the books when I was a child, and remembered them fondly, I never thought I’d be working on the movies!

MN: I promised you not to make “embarrassing questions”, but could you tell us something about the emotions for the forthcoming movie, The Voyage of the Dawn Treader?
Tom: In some ways its a different feel from the first two if only because of the setting of which a large part is the ocean. I think they’ve crafted a great story and can’t wait to see it!

MN: I truly want to thank you, in the name of all Portuguese-speaking Narnia fans who access MundoNarnia.com, for the interview and let you know that your work is a gift for us, a gift that makes a dream come true.
Tom: Thank you! Its great to work on something that so many people have a great love for.

Thank you to Lucy and the gang at MundoNarnia.com for tweeting us about this!
Related Posts

• Douglas Gresham Discusses Prince Caspian in Radio Interview
• The Chronicles of Narnia: The Exhibition Pulls into Union Station
• Mark Johnson Looks ahead to Dawn Treader
• Becker Group Announces Epic ‘The Chronicles of Narnia: International Museum Exhibition’
• Narnia Film Composers win BMI London Awards

Hi, everybody.  Welcome  to Tumnus’s Book Shelf, where we review any and all books relating to CS Lewis and the Chronicles of Narnia . For today’s review, we will be looking at CS Lewis’ Christian Reflections.

Title: Christian Reflections

Author: CS Lewis

Editor: Walter Hooper

Publisher: Wm. B. Eerdmans Publishing Company (January 1994)

ISBN-10: 0802808697

ISBN-13: 978-0802808691

 

Summary:

Here is a collection of the earliest short essay written by CS Lewis dealing with Christian doctrine, theology, and church traditions. Quick, concise, and to the point, they offer not only insights into many relevant topics, but show a glimpse at times of CS Lewis in his formative stages of his faith. We also get a rare glimpse of CS Lewis as a key writer of early sci-fi on the subject of space travel.

 

Review:

One thing that makes Christian reflections stand out so well, is the fact that largely many of the essays presented predate Lewis writing such notable works as Mere Christianity, Abolition of Man, and the rest of his works on theology and ethics . As such we see the ground work for many of his theological and ethical views.

This collection itself was put together after his death and is wonderfully complied. The essay
Related Posts

• Tumnus’s Book Shelf: The NarniaFans Book Reviews: ” Reflections on the Psalms.”
• Tumnus’s Book Shelf: The NarniaFans Book Reviews: “The Abolition of Man.”
• Of Other Worlds: Stories and Essays“>Tumnus’s Book Shelf: The NarniaFans Book Reviews: Of Other Worlds: Stories and Essays
• The Four Loves“>Tumnus’s Book Shelf: The NarniaFans Book Reviews: The Four Loves
• Tumnus’s Book Shelf: The NarniaFans Book Reviews: The Weight of Glory

NarniaWeb member icarus found an entry on Lee Ravitz’s resume, stating that he was involved in green screen tests for the Dufflepuds in The Voyage of the Dawn Treader.  This leads us to believe that the Dufflepuds with either be entirely CG, or they’ll be motion captured much in the way that Gollum was motion captured for The Lord of the Rings. Lee Ravitz’s resume states:

Role: Dufflepud (Green Screen VFX Test Shots Only)
Type: Film (Feature)
Production: Voyage of the Dawn Treader
Director: Angus Bickerton
Company: Purple Sail Ltd.
Venue: Twickenham Studios

Like Gollum, though Andy Serkis’ costume was white and it was on a location mostly, or any of Robert Zemekis’ motion capture CG projects (Polar Express, A Christmas Carol),  Ravitz was likely dressed in a green-screen suit for testing.  This would help the computer program to understand the movements that the Dufflepuds would likely make.  They’ll probably wind up entirely computer generated.

But this doesn’t rule out that they’ll use the actor from the waist up, much like when they brought Mr. Tumnus to life on the screen, as well as many of the other creatures that inhabited Narnia, that were half-man type.

“Director” Angus Bickerton is the Visual Effects Supervisor on Dawn Treader, making him the Director of visual effects, at least for that shoot, if not more.  Twickenham Studios is located in London, and is actually a rugby stadium.

The name “Purple Sail Ltd.” likely comes from the concept art for the ship, The Dawn Treader, in which it has a purple sail.  It’s gotta be the production company’s name for the film, as productions that shoot in countries other than where the studio is located have to, for tax purposes, form an actual temporary company that lasts as long as the film is in production.  For example: Prince Caspian used the name “Wimbleweather Ltd.” for it’s production company.

For more information about Lee Ravitz, check out his resume.

-additional reporting: Aslan’s Country Related Posts

• Voyage of the Dawn Treader to Shoot on Digital Cameras
• Interview with Narnia Storyboard Artist Tom Nelson
• Voyage of the Dawn Treader Casting Call, Open to Australians
• Ben Barnes talks Promotional Tours and Prince Caspian
• Voyage of the Dawn Treader comes to Gold Coast, Confirmed again

Last time we posted something from an unknown source, we had to promptly take it down.  I’m going to take no chances here.  Mundo Narnia has what appears to be storyboards from The Voyage of the Dawn Treader.  Granted, these drawings are very non-descript.  They give nothing away, really, and they are merely scenes that are in the book.  Nothing too exciting, but pretty interesting none-the-less.

One shows what looks like the eye of a dragon, with The Dawn Treader reflected in it.  Another shows what looks like Reepicheep with an eye patch, being spun around by Eustace.  There is also one that shows what could be Lucy, Edmund and Eustace floating in the water.

If you’re curious about them, you can check them out at Mundo Narnia.
Related Posts

• The Voyage of the Dawn Treader to film at Cleveland Point in September
• Voyage of the Dawn Treader to Shoot on Digital Cameras
• Interview with Narnia Storyboard Artist Tom Nelson
• Dufflepuds to be entirely Computer Generated?
• Voyage of the Dawn Treader Casting Call, Open to Australians

We’ve been promising news of casting calls whenever we receive them, and tonight Oswald the Lucky Rabbit e-mailed us with this update from StarNow.co.uk.  One of the stipulations is that you should be living in Australia for this.  Another item to note about the page is what it says near the top: Casting for Chronicles of Narnia – Invisible ARMY.  Could Invisible ARMY be the working title? They write:

We are currently casting for a number of various roles as listed below for the feature film – Chronicles Of Narnia starting filming from 15th July – 15th November 2009. Location: All states, Australia. Payment details: PAID – Award.

Young Nurse
Any gender, aged 18 to 23 from Australia
Late teens – Early 20s, female, attractive saying goodbye to her (Young Soldier) boyfriend. Visual – nice cameo

Young Soldier
Males, aged 18 to 23 from Australia
Late teens – early 20s, good looking, about to go off to war saying goodbye to his girlfriend (Young Nurse). Visual – nice cameo.

Older Soldier
Males, aged 25 to 32 from Australia
Role type: Supporting role Breakdown:Bit rough, not a pretty boy, has attitude. 1 line dialogue.

Intake Soldier – Actors ONLY
Males, aged 35 to 45 from Australia
Late 30s-45, seasoned soldier, saw action in the last war (WW1) and now responsible for the intake of new soldiers. Couple of lines.

Mediterranean man
Males, aged 30 to 45 from Australia
Mediterranean, fit, man of the sea. Dialogue – good role.

You must apply by July 15.  If you want to apply, and you’re Australian, visit the site, here.
Related Posts

• Casting Call for Eustace Clarence Scrubb
• Dawn Treader Casting Call
• The Voyage of the Dawn Treader to film at Cleveland Point in September
• Voyage of the Dawn Treader to Shoot on Digital Cameras
• Interview with Narnia Storyboard Artist Tom Nelson

Ben Barnes is a very down to earth guy, and provides a really good example of what he went through on the promotional tour for Prince Caspian.  He mentions New York, where I saw him about four out of the seven days that I was there, and sometimes twice in one day, so I can attest to what he says about his experience there.

It can be hard work being a Hollywood hero. Just ask Ben Barnes, a.k.a. Prince Caspian, star of the billion-dollar-grossing Chronicles of Narnia franchise.

There’s the grinding tour of world premieres (”Travelling for three months, sitting on your own in a hotel room in Taiwan, thinking, ‘what am I doing here?’ Just weird.”) and the red-carpet appearances where your every move is greeted by an electric storm of flashbulbs (”I don’t think there’s any way of ever being comfortable with it. You put on a perma-grin, which is so unnatural, and the lights make you squint. I get very anxious.”). There’s the frankly disconcerting experience of seeing your very own toy action figurine for the first time. “My own was absolutely awful, shamefully bad. I was a bit upset by that. How many times do you get an action figure made of you? Mine looked like a cross between Adrien Brody and Javier Bardem – but ill.” There’s the tireless and tiresome conveyor belt of press junkets and interviews.

“They take as much out of you as filming does”, sniffs Barnes. “I thought, ‘it’s only chatting, how hard can it be?’” As it turned out, the New York round of Prince Caspian promotion very nearly wiped this swashbuckling regent out: he did 90 interviews in one day, woke up the next with no voice and found he had to do 70 more, dosed up on a cocktail of vitamin C, honey and lemon, and Chinese potions. “I didn’t really have a choice. The film was called Prince Caspian, there was no hiding.” Appearing on Jay Leno’s sofa was a rare highlight. “Have you seen it? It’s definitely the best interview I’ve done…”

[...]

Today, arriving at his agent’s office and blaming his late arrival on the Piccadilly line, Barnes doesn’t really look like a star. Tall and slim and dressed in a white T-shirt, leather jacket, jeans and biker boots, he’s sporting some patchy stubble and “ridiculous” long hair in preparation for the [Chronicles of Narnia]: Voyage of the Dawn Treader shoot in July (”I do not want extensions again.”).

[...]

It has not always been an easy ride; Barnes already has one dispute under his belt, when he left The History Boys six months into its West End run to play Caspian, annoying the National Theatre. “I’m still hugely regretful about it and I still haven’t heard a peep out of them. I didn’t feel like I was leaving anyone in the lurch but I did feel like I was letting people down. And I felt like I was going to vomit for three and a half weeks between getting Prince Caspian and leaving. It was always my dream to work at the National: I’d been going there with my Dad since I was 10. I’d love to round it off one day by going back. It’s still the most gratifying job I’ve ever done.”

Prince Caspian, he implies, was not quite so gratifying. “It’s more to do with the contrast between the marketing and what I was asked to do. I was trying to do this awkward character who wasn’t sure he wanted the responsibility of being a leader. I don’t think that tested so well, so they tried to tweak him into a hero.” Did they Hollywood-ise him? “Just a little. Yeah. Which is completely fair and it made a lot of money so they know what they’re doing. But at the same time, as you can see by all my other choices, it’s not particularly what I’m going for. I want to play characters that are interesting to watch.”

-via The Independent

Related Posts

• NarniaFans.com Ben Barnes Interview Exclusive
• Interview with Narnia Storyboard Artist Tom Nelson
• Ben Barnes talks Voyage of the Dawn Treader
• Ben Barnes Interviewed on Moviefone and Reel Talk
• Ben Barnes Prepares for Fan Explosion, Dawn Treader to film in Mexico

It’s been more than a year since the release of Prince Caspian, and it’s just been nominated for an award.  More specifically, concept artist Justin Sweet has been nominated for Best Product Illustration for The Chronicles of Narnia: Prince Caspian.  The Chelsey Awards are given for excellence in science fiction and fantasy art or illustration. The awards have been presented since 1985 and are run by the Association for Science Fiction and Fantasy Artists (ASFA). The awards were named after the artist Chesley Bonestell after his death in 1986.  They are presented at the World Science Fiction Convention.  The convention will take place in Montréal, Québec, to be held Thursday 6 August – Monday 10 August, 2009.

Here is an example of the artwork painted by Justin Sweet for Prince Caspian.  Very impressive art.  Congrats, Justin!

-Chesley Awards 2009
Related Posts

• Ben Barnes Nominated for MTV Movie Award for Prince Caspian
• Voyage of the Dawn Treader Concept Art
• Caspian Nominated for People’s Choice Award
• Vote for your Favorite Pevensie at the Talented Young People Awards
• Narnia Lands BAFTA Children Award Nom