Only a few days away from the soundtrack release to his film “The Man With the Iron Fists,” RZA admits that -- for the most part -- he got what he wanted, even if the film itself took about seven years to come to fruition.
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LONDON - Whole vats of column ink (or the invisible online equivalent) have been spent by industry observers on the refuge Hollywood has recently sought in the humble fairytale. Whether on Red Riding Hood or the giant-slaying Jack, blockbuster millions are being lavished on reconfiguring a familiar storytelling universe that was once largely the domain of animators.
But if it's been easy to connect this increased taste for pumped-up tradition to financially fragile US studios seeking comfort in the ultimate known quantities, we might now have to amend that copy a bit: “Blancanieves” a lush, lively new Sevillian spin on “Snow White and the Seven Dwarves” that carries Spain's hopes in this year's Oscar race, takes the trend to the international arthouse. “Snow White,” of course, currently leads the charge in fairytale revisionism, having already yielded two contrasting English-language adaptations this year: Tarsem's larkish, cupcake-colored delight “Mirror Mirror” and Rupert Sanders' older-skewing and considerably dourer Gothic take “Snow White and the Huntsman.”
October 19 is my birthday, and though I know NBC didn't originally schedule the start of "Community" season 4 for this night because of me, it felt nice to know I could celebrate the day with Troy, Abed and the rest of the study group. But as you know by now, NBC changed their minds and delayed the premiere, to a date and time unknown. (My guess is it either replaces "30 Rock" in early 2013 or replaces "Up All Night" if that show's ratings drop any lower.)
Because the "Community" cast and crew are aware of the crazy love their fans have for the show, they decided to provide them with some original content for the 19th, regardless, and came up with this very special edition of "Troy & Abed in the Morning," addressing the delayed premiere and the idea that October 19 (also Gillian Jacobs' birthday) isn't so much a date as a state of mind. I like this, not only because it's a funny video, but because it gives me an excuse to declare virtually any day to be my birthday. Thanks, "Community"!
Frank Spotnitz has been the man up front for the first two Cinemax original drama series. He wrote the first four episodes of the Cinemax incarnation of "Strike Back," and is the creator and executive producer of "Hunted," a new thriller starring Melissa George as British private spy Sam Hunter, who is betrayed, left for dead, and returns to work a year later looking for revenge on whoever it was that set her up. (You can watch an exclusive clip from the premiere at the top of this post.)
"I wanted give the viewer an opportunity to experience something different to the normal images of lovers in video clips."
That's music video director Jessie Hill on her clip for Julia Stone's "Justine." In it, two, lovers flounce around the beaches of California, eating snacks, snipping drinks and kissing on the boardwalk. What makes the view into this love story somewhat unconventional is the contrast between the singer-songwriter and her beloved -- played by "The Blind Side" lead Quinton Aaron.
”I set out to make a video that depicted a heartfelt romance in a distant time...a love story in its purist state," Hill said in a statement to HitFix. "My casting agent suggested Quinton and I immediately contacted him to have a coffee. The contrast of Julia being so tiny and Quinton being a larger character was something I wanted to explore visually."
Welcome to Oscar Talk.
In case you're new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.
It's Morning Round-Up time, with quick reviews of last night's episodes of "30 Rock," "The Office" and "It's Always Sunny in Philadelphia," coming up just as soon as I'm thinking and doing kegels at the same time...
Chances are Seth MacFarlane's hosting gig will remain the biggest win for "Ted" at February's Oscar ceremony, but the raunchy teddy-bear comedy had its own taste of awards glory at the Hollywood Reporter Key Art Awards, which recognize the industry's top achievements in movie marketing, "Ted" won the night's top award, for best overall campaign. Top of the trailer heap, meanwhile, was "Shame," which took gold in the audio-visual category for its striking red-band "Subway" trailer. Other films recognized included "The Dark Knight Rises," "Martha Marcy May Marlene," "Prometheus" (though not for Most Over-Marketed Film of the Year, surprisingly enough) and the upcoming "Man of Steel." [THR]
Let's be honest before we begin: whoever directs this film is walking into a situation where they are going to be in service of someone else's vision, and that vision is going to consist of dozens of people's visions, all of them combined into whatever that script ends up being. Before they have a director set, they're going to have a script that they are committed to, that they've paid for quite dearly at this point, and that director is going to have to be willing to make that movie.
There are names that people always like to throw out for everything, names that are preposterous because they just aren't going to do it. Instead of picking non-starters today like Terry Gilliam (no studio on Earth is pulling the trigger on a $150 million film with Gilliam at the helm), Lana and Andy Wachowski (they're not interested and would much rather focus on their own material), or even Steven Spielberg (not gonna happen), we're going to name ten artists we would like to see given free reign to make the material whatever they want to make it.
Some of these names you might expect based on my reviews and reportage over the years. Some of them you might not expect at all or even agree with. But all of these are people whose "Justice League" would get us in a theater opening weekend. Let's see how many of these names you like, and who I'm overlooking, both of which I'll expect plenty of in the comments section below.
Well, it's down to the final four, and after last week's unimpressive outing, it's really anyone's game. I'm hoping the designers listened to the judges, because if they send some of that crap down the runway at Mercedes-Benz Fashion Week, man, they won't invite the show back.
Someone is going to make a new version of "20,000 Leagues Under The Sea."
Bold prediction, I know, but at this point, it's inevitable. Too many different writers have taken a crack at it lately, and in May of 2010, I wrote a piece about no fewer than three different versions that were in development at the same time. There was the Sam Raimi version that Craig Titley wrote, there was the Ridley Scott version that Travis Beachum was writing for 20th Century Fox, and there was also a Disney version that was originally being developed for McG until David Fincher went in and pitched the studio his own version that Scott Burns was going to write.
Now, just over two years later, it looks like Fincher is close to getting a green light from the studio, and according to Variety, they are asking him to put everything else on hold for a month as they look at the numbers and decide if they can make the film. Andrew Kevin Walker was working on the script earlier in the year, and the studio must be pretty happy with what's on the page right now. Variety also reports that Brad Pitt has been approached about playing the part of Ned Land, the sailor whose encounter with Captain Nemo drives the story. If anyone can get Pitt to sign on to what sounds like a far more normal role than he normally plays, it's Fincher, and if Pitt does sign on, that sounds like an irresistible package for Disney.
Warner Bros. seems determined to go head to head with Marvel Studios and the marketing muscle of Disney, and if they follow through on the plan that Ben Fritz wrote about in today's LA Times, it could prove to be one of the most significant tests of their ability to turn their DC Comics characters into an ongoing successful film franchise.
At this point, I think of the Marvel Universe as one big franchise. It doesn't matter which particular character or number you mention, since it all seems to work in concert as a huge single world that they are building, film to film, character to character. The phenomenal success of "The Avengers" this summer is a testament to how much good will they built up over their build from "Iron Man" to today, and as they prepare to start releasing their Phase Two films, they seem even more confident and in control.
Warner Bros., on the other hand, has got some serious problems when it comes to all things superhero.