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Eight movies from the X-Men cinematic universe not to be confused with the Marvel Cinematic Universe... at least not yet came out during the 2010s, but only one placed on our list of the Best Comic Book Movies of the Decade: Logan, which finished second overall after Spider-Man: Into The Spider-Verse. The James Mangold-directed film was a commercial smash, and along with Deadpool, served as evidence that people will flock to see R-rated comic book movies. But will they see R-rated Star Wars movies?
I have no idea, because there's never been one. But Scott Derrickson, the writer and director of the MCU's Doctor Strange and the sequel, Doctor Strange in the Multiverse of Madness, until he left the project due to the always mysterious “creative differences”, pitched a 17-and-older Star Wars movie that I, for one, would like to see get made.
In a tweet that's since been deleted, Derrickson wrote, “Just asked what kind of Star Wars movie I would make. I answered that I would make HOTH — an R-rated frozen planet horror film in the vein of The Thing or Lovecraft's In The Mountains of Madness, with zero connection to any previous characters or storylines.” If A New Hope can show the charred corpses of Uncle Owen and Aunt Beru, why not a Star Wars horror movie?
That wampa is waiting to get his revenge.
Via Comic Book
Jake Kasdan, once known exclusively as a comedy director, is now playing in the big leagues. With just the right amount of nostalgia and newness, Kasdan turned Jumanji into one of the biggest modern franchises around. While the large scale and effects were initially new to him, he’s now growing comfortable working at that level.
Kasdan made his directorial debut with a sharp ’90s noir with a killer Bill Pullman performance, Zero Effect. It features a Pullman performance deserving of more love in this world. Kasdan followed his directorial debut with Orange County, The TV Set, and Walk Hard: The Dewey Cox Story. During our phone interview with Kasdan, we recently talked about how Walk Hard has changed the biopics forever, how he’s grown as a filmmaker making the Jumanji movies, and the unfortunate state of the world at the moment.
Thanks for making the time.
Sure. Under the strangest of circumstances.
It is a weird time to be doing interviews.
[Laughs] Yes. I mean, yeah, it’s a weird time to just be going about your stuff, you know? It’s insane.
What’s like a Thursday or Friday for you like now? Any work still getting done?
I think everything is just sort of shutting down. It’s so crazy in so many different ways. On the one hand, I think especially for in the cities where people are conscious this is a great threat, they’re taking it seriously. It freaks everybody out. At the same time, very few people are directly close to it, so it’s somewhat abstract but freaky. Everyone is trying to follow the best advice, but it’s completely bizarre. It’s insane.
Such a strange time. Hey, be safe.
It’s nice to be talking to you, though. Funnily enough, I just revisited Orange County a week or two ago. Obviously, it was the first time you worked with Jack Black. What makes that relationship work?
In a lot of ways, that movie was important to me. It was the beginning of one of my all-time favorite collaborations, and it’s continued. We’ve gotten to work together closely and have had the best time doing these. In many ways, Orange County was really significant for me. Starting to work with Jack was one of the huge ways. Another huge way was working with Colin Hanks, and we’ve remained close. All those guys and I have remained very close to the last 20 years.
Have you noticed people who grew up with that movie are still very fond of it?
Oh, that’s good. I’m glad to hear that. It’s a movie that I love. Jack, Colin, and Schuyler, it was amazing. We had an amazing group of people surrounding them. It was an incredible experience. I mean, a bunch of brilliant comedy minds and directors. We got Ben Stiller to do a little thing in that movie, and...
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...