Over the past few years, I’ve been extremely lucky as I’ve been able to visit a lot of movies when they’ve been filming around the globe.  However, no matter where you get to go, visiting a movie set is usually the same: you spend hours watching from a distance, during a break in shooting you conduct interviews, and the production is always careful what you get to see while on set.  But when 20th Century Fox invited me to the set of director Shawn Levy‘s The Internship, it was a unique opportunity, because unlike most set visits that have a number of journalists visiting on the same day, I spent the day with only two other reporters, and we had a ton of freedom to watch what we wanted and take in the production on our own terms.  It turned out to be the perfect way to watch Owen Wilson and Vince Vaughn work on a very funny scene.

If you’re not familiar with The Internship, which opens June 7th, the film reteams the Wedding Crashers stars as two out-of-work salesmen who attempt to reinvent themselves by competing against young up-and-comers for an internship at Google.  The film also stars Max Minghella, Rose Byrne, Dylan O’Brien, and Jessica Szohr.  As you might imagine, there’s plenty of opportunity to showcase Vaughn and Wilson being ill equipped to handle modern technology in funny ways.  Hit the jump for more.

During our recent set visit to Pixar Animation Studios for their upcoming film Monsters University, supervising animator Scott Clark took time out of his busy schedule to participate in this one-on-one interview.  Clark talked about what exactly it means to be a supervising animator, his favorite scenes to work on, the film’s biggest technical challenge, believability vs realism and his favorite characters.

Monsters University features the voices of Billy Crystal, John Goodman, Steve Buscemi, Helen Mirren, John Krasinski, Nathan Fillion, Charlie Day and many more.  The film opens in 2D and 3D starting June 21st.  Hit the jump for the full interview.

As we stepped onto the campus of Monsters University, we were greeted by the school’s cheerleading squad who were accompanied by the drum section of their marching band.  Music and cheers filled the air as we walked to the center of campus where a huge tailgating party had been set up for the annual homecoming game against Fear Tech.  In the quad, all manner of student organizations were out in force trying to sign us up for the Yearbook Club, the Greek Council and the Art Club (or maybe it was just a guy named Art…).  As soon as we set foot inside the doors to the main hall, we knew we had arrived … at Pixar Animation Studios.

In what was too short a time at Pixar, our group was whisked on a whirlwind behind-the-scenes journey of their latest animated feature (and The Blue Umbrella, the short that will be preceding it in theaters).  Monsters University, the studio’s first prequel, will re-introduce fans of Monsters, Inc. to the college versions of Mike Wazowski (voiced by Billy Crystal) and James P. Sullivan (voiced by John Goodman).  Hit the jump for 35 things you need to know about it!

Just before Thanksgiving of last year, I took a little trip to Tijuana. Then things got a little fuzzy. I came to in a flophouse in the middle of nowhere and found myself with a front row seat to an out-of-control cock fight.  Blanket-draped chicken crates were stacked all around the seedy hotel room, which was quiet until Alan crashed into them … then all Hell broke loose.  Roosters took flight in the confined space and attacked anything they could get their talons on.  Unfortunately, that happened to be Phil and Stu’s faces.  Then, to make matters worse, Mr. Chow busted in and started firing a gun at the flying menaces, narrowly missing his friends.  After his clip ran out, director Todd Phillips yelled, “Cut! Reset!” and the cast and crew broke into laughter.

Rather than take to the dangerous streets of Tijuana itself (where someone might kidnap poor Oscar-nominated actor Bradley Cooper), this particular scene of The Hangover Part III was staged on a Warner Bros. studio set.  The safety of the location certainly didn’t negatively impact the crazy performances of Cooper, Zach Galifianakis, Ed Helms and Ken Jeong at all.  Roosters and bullets were definitely flying, though not all of them were real.  The excitement on set from everyone involved in the trilogy’s concluding chapter was, however, quite genuine.  The Hangover Part III opens on May 24th; you can watch the most recent trailer here.  I’ll have set visit interviews with the cast, writer and director coming up, but hit the jump for 45 things to know about the upcoming film.

Not many Americans are familiar Parkwood Estate, a Canadian National Historic Site about an hour’s drive east of Toronto. The sprawling mansion was home to Samuel McLaughlin, a business magnate who founded General Motors of Canada and built the home and gardens in the town of Oshawa. Today, it’s open to the public, though its interiors and garden remain much the same as they were when McLaughlin lived in it in the 1930s. It’s also the site of a number of famous film and television shoots, including the original X-Men, Billy Madison, Warehouse 13 and The Ref. On the day Collider visited, a much different series is wrapping up principal photography:  Netflix’s new original series Hemlock Grove. Hit the jump to read our full set visit report.

About a year ago, I got to visit the set of director Louis Leterrier’s Now You See Me with a few other online reporters when the production was  filming a key 3rd act scene in New York City.  The film centers on a group of magicians who pull off bank heists during their death-defying acts, and the FBI squad tasked with catching them.  Leterrier put together a great ensemble cast that includes Jesse Eisenberg, Isla Fisher, Woody Harrelson, Dave Franco, Mark Ruffalo, Michael Caine, Melanie Laurent and Morgan Freeman.  If you haven’t seen the trailer, watch it here.

While on set, I got to participate in roundtable interviews with most of the cast, Leterrier, and the producers, and I walked away having learned a lot about the film.  I also got a good vibe from the filming and the footage they showed us, and really think Now You See Me is going to be a fun ride when it gets released May 31st.  Hit the jump for more.

Channing Tatum is running across the damaged roof of the White House as fast as he can.  He’s desperately trying to stop Jason Clarke‘s character from firing a rocket launcher.  As he races past debris and rubble scattered all over the ground, he reaches his goal at the lack possible second, tackling Clark and preventing him from firing the weapon.  But as soon as he does, an epic brawl starts, pitting the two leads of Roland Emmerich‘s White House Down in a battle high above the ground.  After some punches, I hear someone call cut.

Let me back up a second.

Last year, when White House Down was filming in Montreal, Sony invited a few reporters to visit the set to talk to the cast and filmmakers.  While I’ve always been a fan of Emmerich’s summer blockbusters (Independence Day, 2012), this was my first time getting to see him work up close.  As you might imagine, it was a very fun experience.  Hit the jump for more.

Storm Shadow and Snake Eyes are locked in battle atop a snowy cold mountain.  Somehow Storm Shadow has gotten the upper hand and he’s got Snake Eyes pinned to the ground.  Try as he might, Snake Eyes can’t escape.  While they’ve battled many times, they’re always equally matched, and it’s hard for either to get the upper hand.  But not this time.  On this day, it looks like Strom Shadow is finally going to win.  But as he applies even more force with seething anger in his eyes, all of a sudden, Jinx appears from behind and she’s got some sort of breathing device that she puts on his nose and mouth, and a second later, Storm Shadow falls unconscious.  I then hear director Jon M. Chu call cut.

But let me back up a second.

As I type these words I’m on a plane back to Los Angeles.  It’s Wednesday, October 26, 2011 and yesterday I got to spend all day on the set of G.I. Joe: Retaliation.  While I’m clearly in the minority as I really dug the first film, after getting to see a great looking sizzle reel on set, watch the filming of two big action scenes, and speak with Chu, Byung-Hun Lee (Storm Shadow), Ray Park (Snake Eyes), Elodie Yung (Jinx), Dwayne Johnson (Roadblock), DJ Cotrona (Flint), and Ray Stevenson (Firefly), and producer Lorenzo Di Bonaventura, I’m 100% sure the sequel is going to be even better.  Hit the jump for more.

One of the reasons why G.I. Joe: Retaliation looks better than the first film is, quite simply, Dwayne Johnson.  I’m of the opinion that if you want to make any franchise better, all you need to do is add The Rock.  Look what Universal did with Fast Five…they added Johnson and it’s the best of the series.  And in the G.I. Joe sequel, Johnson has been brought in as Roadblock and he’s front and center leading the Joe’s against Cobra.

During a fantastic group interview on set when the production was filming in New Orleans, Johnson talked about how he got involved in G.I. Joe, why he wanted to play Roadblock, the WWE, his weapons, working with director Jon M. Chu, the Fast and Furious franchise, interacting with his fans on social media, and so much more.  Hit the jump for what he had to say.

Late last year I got to visit Bad Robot studios, a company founded in 1998 by J.J. Abrams, the prolific writer/director/producer that previously made Lost, Fringe, Alcatraz, Cloverfield, (named after a street near the studio), Mission: Impossible, Super 8 and, of course, Star Trek.  The reboot of the Star Trek series, which was able to respect the legacy and create room for a whole new generation, will keep telling its story in Star Trek Into Darkness—I went to Los Angeles to find out more about the movie.

My tour of the studio began at the department of special effects where we were shown some footage of an action scene that reminded me of the freefall from the first movie.  Without getting into too much detail, it’s safe to say that Abrams has done it again: the tension of Into Darkness is intense, but leaves room for the sharp dialogue that is the trademark of the franchise.  Hit the jump for more on the special effects, costumes and props, the soundtrack, IMAX, the creatures, and so much more.

It’s a breezy fall day in Nashville, Tennessee. Leaves are falling over an expansive estate that’s as haunting as it is gorgeous, and South Korean director Park Chan-wook—the man behind Oldboy, Sympathy for Lady Vengeance, Thirst, and many others—is directing his English-language feature film debut in the country music capital of the world.

In September of 2011, Collider was invited to the set of the horror drama Stoker, which stars Mia Wasikowska, Matthew Goode, Nicole Kidman, Jacki Weaver, and Dermot Mulroney.  The production had opted to film most of the pic’s scenes in and around a rather gothic-looking estate in Nashville, so along with a small group of journalists, we were able to spend a day on set and to get a look at how Park Chan-wook was making his Hollywood debut.  Hit the jump for my full set visit report.

Valentine Morgenstern (Jonathan Rhys Meyers) is holding Clary Fray (Lily Collins) down on a long wooden table.  He’s angry, and getting more frustrated with each passing second.  Standing close by is Jace Wayland (Jamie Campbell Bower), who is covered in tattoos, and he looks concerned.  After some time passes, Valentine screams “I want my cup!” A second later, he slams Clary’s head onto the table and turns around and hits Jace.  Immediately Jace says, “you said you wouldn’t hurt her!” and then grabs a long wooden staff to go in for the attack.  A second later, I hear director Harald Zwart call cut.

But let me back up a second.

About four months ago, I got to visit the set of The Mortal Instruments: City of Bones with a few other reporters when the production was filming in Toronto.  While on set I participated in group interviews with the cast and filmmakers, watched a few scenes get filmed, and saw firsthand how Cassandre Clare’s extremely popular young adult series was being brought to life.  And from what I saw on set, if you’re a fan of the series, I think you’re going to be extremely happy.  Hit the jump for more.

Over the past seventeen years, Bryan Singer been able to jump from genre to genre with great results.  And while he’s previously made superhero movies (X-Men, Superman Returns), thrillers (The Usual Suspects, Apt Pupil), and a film about trying to assassinate Hitler during WWII (Valkyrie), in his upcoming Warner Bros. movie Jack the Giant Slayer, he’s tackling the classic children’s fairy tale with a modern twist.

Back in the summer of 2011, when Singer and his team were filming outside London, I got to visit the set with a few other online reporters.  While Singer was busy trying to shoot an important scene involving a giant, during a break in filming he let us come over to his director’s area to talk about the film.  During our extended interview we talked about the challenge of making the film, how pre-viz was a very important part of the production, the look and design of the giants, the 3D, the casting, and a lot more.  Hit the jump to either read or listen to the interview.

The courtyard is bustling with activity.  All around me, I see Munchkins, Tinkers (Oz’s industrious builders and inventors), and many other inhabitants carrying sticks, baskets, and other props as everyone is preparing for war.  They’re all dressed in the most amazing clothes and every hair is perfectly adjusted with some of the men having mustaches and beards that could win awards.  In the center of the courtyard is James Franco.  He’s wearing an old black suit with his hair slicked to one side.  He looks like he just arrived from a circus.  As I stare at where he’s standing, I see that he’s talking to a small 18 inch maquette and having a very serious conversation.  While he’s talking to a white doll that’s being moved around by a man in an all blue suit, eventually this maquette is going to be an all CGI character named China Girl, and she’ll be voiced by Joey King who is standing off to one side.  As they finish their conversation, I hear director Sam Raimi call cut.  The busy activity comes to a halt and I look around with a smile on my face.  After spending so many years watching The Wizard of Oz on TV, I can’t believe I’m visiting the magical land of Oz.  I also can’t believe that as I watched the action unfold, I was literally standing on the yellow brick road.

But let me back up a second.

As I type these words I’m on a plane back to Los Angeles.  It’s Saturday, October 22, 2011 and I’ve spent the last two days visiting Sam Raimi’s Oz The Great and Powerful while the production was filming at the brand new Raleigh Studios in Pontiac, Michigan.  Oz is the first production at the massive new studio and while there I got to participate in group interviews the cast and filmmakers, visit all of the practical sets, and see the props, weapons, and the amazing art department.  While I’ve been able to do many set visits, what is being done to bring Oz to life was truly a sight to behold.  For more, hit the jump.

Jason Momoa is dressed in a sharp black suit with his hair slicked back.  With his size and stature, he’s clearly someone you don’t want to fuck with.  He’s walking towards the back of a local Crescent City (New Orleans) bar, and after walking down a short, narrow hallway, he gets to an open door.  As he turns to enter the room, he quickly glances around to take in the surroundings.  Sitting at a table in a small room are four men playing cards, with another reading the local paper.  The man reading the paper appears to be the one in charge.  As Momoa moves closer to the table, he says to the man reading the paper, “Open the safe.”  The man responds, “What did you say?” Momoa responds, “Open the safe.”  Surprised by Momoa’s statement, the man says, “Who the fuck do you think you are?” Then, almost a millisecond later, Momoa responds, but not with words but with bullets.  Boom. Boom. Boom.  And just like that, Momoa has shot three of the people in the head.  “I said open the safe.”  A moment later, Boom! He’s shot the final card player at the table in the head.  “Please, open the safe.”  Clearly taken aback by the brutal killings, the final man left alive stands up, and leads Momoa towards the safe, opens it and takes a step back.  As Momoa reaches in to grab a thin tan file, we hear “Boom!” He’s shot the boss in the head.

Let me back up a second.  It’s August 23, 2011, and I just left New Orleans. I’m sitting on a plane flying back to Los Angeles because I spent yesterday on the set of director Walter Hill’s Bullet to the Head.  For more on the visit, hit the jump.