Damon Lindelof, the creator of HBO's Watchmen, is interested in taking a trip to the Marvel Cinematic Universe, or a galaxy far, far away, in the future. Lindelof left his stamp in the DC universe in a big way with Watchmen, which proved to be one of the biggest hits of 2019. While there are no plans for a second season right now, Lindelof is interested in exploring other major franchises.
The writer and producer is currently promoting The Hunt, which is finally making its way to theaters this weekend after being delayed last year. During a recent interview, Damon Lindelof touched on a couple of franchises he would like to possibly explore next, given the chance, starting with Marvel. Here's what he had to say about it.'I think that doing something in the Marvel universe, anywhere in the Marvel Universe, would be really potentially exciting for me, especially as they start to get a little bit more experimental. Some of the things that I've seen for Wandavision, for example, just feel like, 'Okay, now we're getting somewhere'. Particularly in a television space.'
Indeed, it seems in Phase 4 the MCU is going to take some big swings. What little we've seen from WandaVision, which debuts on Disney+ later this year, looks to be a trippy detour from what we're accustomed to from these characters, with the show centering on Wanda Maximoff and Vision. We've also got Doctor Strange in the Multiverse of Madness coming down the pipeline, which is poised to be a unique experience. Not to mention that the X-Men and Fantastic Four will be rebooted within the MCU sometime in the future, which could open up many possibilities.
Star Wars is another story. The future of the long-running sci-fi franchise is a bit of a mystery following the release of The Rise of Skywalker last year. We know more movies will be made, as well as shows on Disney+ to go along with The Mandalorian. Speaking further, Damon Lindelof said he would love to do something in the Star Wars universe, but not for some time.'At some point, but certainly not in the immediate future, I feel like I would love to do something in the Star Wars universe. Maybe a decade from now when I would no longer be blamed for ruining it. That would be a hoot.'
Whoever is tasked with crafting the next chapter of Star Wars will be under intense pressure, that much is certain. Understandably, someone like Lindelof would want to avoid that pressure, especially after overcoming the odds with something like Watchmen, which defied expectations and served as a satisfying sequel to one of the most beloved comic book properties of all time. Imagine what Lindelof might be able to do for the MCU, provided the opportunity? This news comes to us via Fandom.
Thelma Schoonmaker has edited every one of Martin Scorsese’s feature script films, dating back to 1980 and “Raging Bull.” Recognized as one of the best, if not the best, editor of her generation, Schoonmaker could possibly be headed for her fourth Academy Award for “The Irishman.”
Schoonmaker was recently a guest on IndieWire’s Filmmaker Toolkit podcast, where she talked effusively about the film, which she views as one of Scorsese’s boldest and most visionary, as well as showcasing Robert “Bob” De Niro’s greatest performance that she has edited.
Check out Schoonmaker’s dissection of six of her favorite scenes from “The Irishman.”Angelo Chastises Frank: Pacing
Marty spoke to me early on that he wanted it to be a leisurely pace, not quick cutting, and that long slow push into Bob [De Niro] at the beginning of the movie is in some ways slowing you down and letting you know this isn’t going to be a slam-bang explosions kind of movie.
That pace really pays off in things, like for example, when he’s chastised by Harvey Keitel [playing Angelo Bruno] because he was going to blow up this laundry. That’s deliberately cut very slow because the deadly pauses are indicating to De Niro that he’s in serious trouble, and every time we cut to Russell, played by Joe Pesci, he’s not helping him. So, he’s beginning to realize he’s in big trouble. And then when the De Niro character says, “I’d like to pay the money to the guy,” and Harvey Keitel says, “He won’t need it,”and then he says it again, that means Bob has to kill him. I don’t know how many people get that. They may get it in reverse. See that’s very beautiful, what Marty did, the opaqueness of the way the mafia talks, they never say “murder,” “kill,” “shoot,” it’s always opaque language.
And that’s a very good example of it, the character knows if he doesn’t kill him, he’s going to be killed, so he has no choice. And then, Marty wanted to show the blandness. What’s the first thing he starts talking about? The gun, you need a gun no one else has used, it’s not, “Oh God, should I do this? This is terrible.” No. It keeps happening, every time. He has to kill Joe Gallo: Ok, you see him choose the guns and Marty wanted to make some kind of comparison to the banality of the way people functioned in the holocaust, who were running the concentration camps, you know that banal, “It’s just a job.” So he wanted to make that kind of connection and so the pacing in the movie is not bum-bum-bum, and a lot of films are cut much quicker...
Stephen Williams, whose directing credits include episodes of Watchmen, The Walking Dead, Lost, and more, is set to helm Universal’s new monster movie Don’t Go in the Water. There are zero plot details at the moment, but it’s safe to assume from the monster movie distinction and the title that this is going to be some sort of aquatic horror movie – and we could always use more of those.
Variety has the scoop on Don’t Go in the Water, described simply as a “suspenseful monster movie” from director Stephen Williams. Stranger Things producer Shawn Levy is producing, along with Dan Levine for 21 Laps Entertainment, while Adam Kolbrenner will produce for Lit Entertainment Group. Adam Rodin is executive producing.
Williams directed two Watchmen episodes – “She Was Killed by Space Junk”, which featured the now-infamous giant Dr. Manhattan dildo, and “This Extraordinary Being”, one of the most memorable episodes of the series, in which Regina King’s Angela relives her grandfather’s memories via a drug trip. That episode was highly renowned for its unique visual style, so it’s great to see Williams branch out into a big movie. Save for 1995’s Soul Survivor, all his other credits are in TV.
I wish I could tell you more about the Don’t Go in the Water plot, but there simply isn’t anything to tell. However, the title certainly suggests this is some sort of aquatic horror film, and that’s a sub-genre I always enjoy. Earlier this year we saw the release of Underwater, a surprisingly fun undersea monster movie starring Kristen Stewart.
Other entries include DeepStar Six, Leviathan, Deep Rising, and more. Hell, you can even include every shark movie under that banner as well – all the Jaws flicks, The Shallows, Deep Blue Sea, and so on. The only real prerequisite is that the plot involves unlucky characters either on a boat or in some sort of underwater location being plagued by danger. It doesn’t even have to be monster-based danger. There’s Dead Calm, where the danger is Billy Zane. Hell, go ahead and include Titanic in there, I don’t care. There are no more rules anymore, folks. Anything goes these days.