|MOVIE FRANCHISESSTAR WARS,TARANTINOSTAR WARSMARVEL|
J.D. Dillard to develop a new Star Wars project: A new Star Wars entity of some kind is in development from Sleight writer/director J.D. Dillard and Luke Cage writer Matt Owens, per The Hollywood Reporter. Of course, little else is known about the project, including whether it's a movie or a series.
Eli Roth to direct a video game movie: After the success of Sonic the Hedgehog, here's another video game movie to look forward to: according to The Hollywood Reporter, Eli Roth Hostel is directing an action movie based on the Borderlands RPG shooter franchise from a script by Craig Mazin The Huntsman: Winter's War.
Dexter Fletcher to helm The Saint: Paramount is moving forward on a reboot of The Saint, which is based on a series of novels about a Robin Hood type of thief for hire that previously spawned a TV series and a 1997 movie starring Val Kilmer. Variety reports the new adaptation will be helmed by Rocketman's Dexter Fletcher with a script by Seth Grahame-Smith Abraham Lincoln: Vampire Hunter.
An In Bruges reunion: Colin Farrell and Brendan Gleeson will reunite with In Bruges writer/director Martin McDonagh for The Banshees of Inisheer. According to Deadline, this movie, which is based on a very early script from the Three Billboards Outside Ebbing, Missouri filmmaker, will be set on a remote Irish island.
Robert Pattinson to reunite with Claire Denis: Future Batman Robert Pattinson is re-teaming with High Life filmmaker Claire Denis for The Stars at Noon, about a couple trying to escape Nicaragua in the 1980s, per Deadline. The romantic thriller also stars Margaret Qualley Once Upon a Time in Hollywood, whom Deadline also reports will star in Scott Cooper's next movie, the horror novel adaptation A Head Full of Ghosts.
Dev Patel to star in Flash Crash: Speaking of rising stars, Dev Patel Slumdog Millionaire is set to star in Flash Crash, a true story about a man who figured out a way to beat the stock market. According to The Hollywood Reporter, the adaptation of Liam Vaughan's upcoming book will be written by Jonathan Perera Miss Sloane.
Orphan prequel lands The Boy director: William Brent Bell, who helmed The Boy and its new sequel, Brahms: The Boy II, will next tackle another horror franchise. According to The Hollywood Reporter, he will direct Esther, a prequel to Orphan detailing the origin story of its title character.
Christoph Waltz to star in The Portable Door: Oscar-winning actor Christoph Waltz is teaming up with the Jim Henson Company for an adaptation of the fantasy adventure novel series The Portable Door, which is described as The Office meets Harry Potter. According to The Hollywood Reporter, the movie will also star Guy Pearce and Tolkien's Patrick Gibson.
Abbi Jacobson gets...
Before the Marvel Cinematic Universe was even a thing — heck, before X-Men and Spider-Man kicked off the current age of superhero blockbusters — Quentin Tarantino had his heart set on making a Luke Cage film. Though it never happened, the director revealed on a podcast that he had grand plans for one of his favorite comic book heroes and even had a specific actor in mind for the titular role.
The prolific writer/director appeared on Amy Schumer’s podcast via The Guardian and explained that he wanted to make a Luke Cage movie between his directorial debut Reservoir Dogs and Pulp Fiction. He also explained how that choice caused him to abandon the project after his friends constantly badgered him to choose a different lead.
“Growing up I was a big comic-book collector, and my two favourite [comic books] were Luke Cage: Hero for Hire, later Luke Cage: Power Man, and Shang-Chi: Master of Kung Fu.
“What dissuaded me … was my comic-geek friends talked me out of it,” Tarantino went on. “Because I had an idea that Larry Fishburne would’ve been the perfect guy to play Luke Cage. But all my friends were like, ‘It’s got to be Wesley Snipes.’ And I go, ‘Look, I like Wesley Snipes, but Larry Fishburne is practically Marlon Brando. I think Fish is the man.’ And they’re like, ‘Yeah, but he’d have to get in shape in a big way. Snipes is that way already!’ And I go, ‘F*ck that! That’s not that important! F*ck you, you ruined the whole damn thing!’”
In defense of Tarantino’s friends, Wesley Snipes would later land the role of Marvel’s Blade, which arguably set the stage for the onslaught of superhero films to come, so their judgment wasn’t too far off. Lawrence Fishburne did “get in shape in a big way,” however, and thoroughly proved his action star chops as Morpheus in The Matrix, so the Pulp Fiction director was definitely onto something.
Not to mention, he would’ve delivered a Luke Cage movie that featured the same knack for the Blaxpoitation genre that he showcased in both Jackie Brown and Django Unchained. But if you’re hoping Tarantino might still have a Marvel movie in him, don’t hold your breath. He’s still adamant that his next film will be his last, and it’s probably not going to be for the MCU.
Via The Guardian
There’s one particularly telling and effective moment in The Skywalker Legacy, the feature-lenght documentary that’s included on the Star Wars: The Rise of Skywalker home release that sums up much of the ambivalence and consternation that some had with J.J. Abrams’ return to the Star Wars universe. After showing the intricate construction of a giant, practical snake monster, the doc cuts back to footage of Jabba The Hutt, that old analogue beast that slithered its way into our hearts. The sentiment is clear – we’re making movies like we used to! A celebration of practical effects, the dripping of k-y jelly to give viscosity just like the old costume days, it’s all there. There’s excitement on set, everyone talking about how amazing it looks, how lifelike, how this is how you’re supposed to do movies like this.
Cut to Visual Effects Supervisor Roger Guyett who shatters the myth, letting us know the creature was replaced by a CGI version in post.
Guyett’s resume is mighty. Having made his bones on groundbreaking films like Twister and Casper, he helped Spielberg bring the events of D-Day to screen in Saving Private Ryan, helped bring to life the best looking film in the Harry Potter series, Alfonso Cuarón’s Prisoner of Azkaban, and even made the theatrical version of Rent feel more than a stage production. Guyett has had many collaborations with Abrams – from the Star Trek Reboots through The Force Awakens and The Rise of Skywalker he was even second unit director on the former, as well as working with George Lucas on Episode III to round off the prequels. He’s in a unique position to speak to these changing landscapes of epic filmmaking.
We spoke at length about the apparent contradictions and indulgences in making a Star Wars film, and he made the case for why nothing was wasted and all contributed to the final presentation. He was erudite and open to the discussion, making for a dream conversation with a man who quite literally has helped shape what amazes us on screen for decades.
The following has been edited for clarity and concision.
We see practical effects being championed as almost a marketing ploy with the “postquels” as a mix of nostalgia and an attempt to delineate from Lucas’ second trilogy. In some ways the love of the practically-realized snake undercuts the extraordinary CGI you and your team accomplished, and raises questions about why the need to fetishize the on-set inclusions when they’re replaced anyway. Could you talk about that ethos, that somehow doing stuff on a computer is a “cheat” while doing an effect practically is not?
I think at the end of the day we’re all trying to do the best that we can, trying to make the best, most dramatic or emotional movie we can visually. I’m coming from figuring out how do you get the most...
The Third Floor, the industry's busiest visualization company in tackling superhero movies “Black Widow,” “Avengers: Endgame”, already had an advantage working remotely with real-time tools and virtual workflows when the coronavirus pandemic struck early this year. Turns out, though, that the COVID-19 epicenter was too close for comfort.
“When this crisis began, we initially faced the challenge of protecting our staff in Beijing, who were in the midst of launching our first permanent office in China,” said CEO and co-founder Chris Edwards. “When the virus started spreading beyond Wuhan, the first thing we did was send everyone home and connect them virtually...we learned a lot about the procedures for mitigating the risk of spreading the virus that we began to apply to our other offices in London, Atlanta, and LA [headquarters].
“Time was of the essence to put a highly secure, remote-working infrastructure in place,” he said, “and we needed to leverage the company infrastructure to bolster communication and function as a support group for all of our employees and their families.”
Back in LA, The Third Floor TTF found the resilience of its Beijing crew instructive. The company, which has become the go-to visualization specialist for the MCU performing rough previs of scenes, more elaborate techvis breakdowns of camera lenses, set construction, and stunts, and postvis enhancements during crunch time, used video conferencing and other methods of digital collaboration to significantly advance preparations and stay on schedule. Despite the physical isolation, however, everyone started relying on the video calls for more than just work-related advice.
“At our [LA] hub, we didn't want to take the risk of being unprepared, so we authorized our IT team to increase our internet band tenfold, and build an advanced remote login system that could enable our artists to work fluidly and securely from home,” said Edwards, who worked with IT chiefs at major studios such as Disney for advising and approving their comprehensive work-from-home solution.
But the two-week transition to a completely virtual studio only became possible with the help of industry colleagues and suppliers when California Governor Gavin Newsom and LA Mayor Eric Garcetti issued the stay-at-home order. And, as part of its mobilization effort, the company launched a TTFaid program as a resource for more than 100 employees and their families with supplies, aid, and emotional support.
“With this early foresight in February, we were prepared to roll out a set of guidelines, which I called the TTF Health Vigilance Plan, across our other studios in LA, Atlanta, and...