Entertainment Talk

Post image for Pulling them back in

Pulling them back in

by Alex on September 2, 2009

in Entertainment Talk,News

Back to the usual today with a few very interesting news bits.

I’m not going to discuss the Marvel $4-billion acquistion.
It’s been pretty much talked to death already.

However, there was a double dose of duh yesterday with the announcement of a fourth season for Mad Men and Boardwalk Empire getting picked up at HBO.

The Sarah Connor Chronicles’ Lena Heady will quickly be back on TV thanks to another HBO show, Game of Thrones. In this complicated piece of fiction, she’ll play “Queen Cersei of House Lannister, wife of King Robert and sister of twin brother Jaime Lannister and outsider younger brother Tyrion”.

Equaly as thrilling is Megan Mullally joining the second season of Rob Thomas’ Party Down.

WGA Award-winner Davey Holmes saw yesterday his spec script come to fruitition (almost) with FOX picking it up for a pilot commitment.
What am I talking about? Worthy, a show about “an Arizona politician named Worthy whose struggle to do the right thing takes a wrong turn after he is involved in a hit-and-run and gets blackmailed by a mob boss.“
Says Holmes:

I’m fascinated by moral dilemmas in politics. I also love the intensely colorful characters who spring from that world, the sweaty dance they do as they angle for power, weighing personal beliefs against their desperate need to win the next election.

Despite seeming to be cable material, Kevin Reilly and Peter Rice loved so much the script that it’s now at FOX.


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Post image for Pippin my studio: The Weinstein way of dealing with problems

You’ve probably heard by now about the Weinstein Company kind of being on the verge of bankruptcy (even though it’s starting to get back up following Inglourious Basterds’ success). If you don’t know what the hell I’m on about, then check out right now this in-depth look from the New York Times’ David Segal on why “Weinsteins Struggle to Regain Their Touch.” It’s eye-opening (take a look at the studio’s market share).

All done catching up?

Anyway, the Weinstein brothers still haven’t found the perfect equilibrium between filmmaking, and, let’s just call it “mogulamania”. Case in point with their acquisitions in 2006 of A Small World (Millionaire Facebook) and the Halston fashion brand while making, you know, movies. Go figure the correlation here.
But don’t feel too bad for the studio. It has found its way back on top.

Indeed, it looks like what is going to save the company is neither a Kevin Smith nor a Quentin Tarantino film.
How awesome is that:

From the producers of The Crow 3: Salvation and The Punisher 2: War Zone comes another revolutionary take on an American classic.
The Weinstein Company is proud to present to the world Pippin the Hunchback, the Musical: The Movie.

Yup, one of Harvey Weinstein’s passion project (for real) is none other than a movie adaptation of the popular 1970 Broadway musical Pippin.
And I’m dead serious about that.


First things first: I’m not talking about The Lord of the RingsPippin. Let’s be honest, who would want to see a play based on this character?


I’m here blabbering about a musical with a story loosely based on (read: a fictitious account of) Pippin the Hunchback’s life. What is so exceptional about Pippin (aka Pepin) is that he is the eldest son of Charlemagne. That’s a fascinating subject for a musical, wouldn’t you say? There was even a 1981 television movie directed by David Sheelhan. Perhaps this will allow William Katt to leave his work on Alien vs. Hunter and reprise for a third time the role of, you guessed it, Pippin.

Regarding the Weinstein Company, well basically the story goes that following the 2003 success of Chicago, Miramax (then-owned by the Weinsteins) bought the same year the rights for a potential movie adaptation of Pippin. The rest is History (extremely clever pun intended).

In any case, even though the brothers have had the property for some time now, it seems like the project is back on track as they’re currently looking for a writer. That and, as I said, it’s Harvey’s love baby, so he’s “never gonna give [it] up” (insert Rickroll comment).
This looks like the greatest segway to success, ever.

For all you Weinstein Company lovers, don’t panic.
If that’s not enough to revitalize the dying studio, they have another ace to play: a revival of Knight Rider (yes, that Knight Rider) through a movie (seemingly written by Bruce Feirstein, screenwriter of all the Pierce Brosnan/James Bond movies).

Gives a whole new meaning to the expression “crash and burn.”


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Post image for Avatar Day or how I tasted the 3-D revolution

I’m just back from seeing the 15-minute preview of James Cameron’s Avatar and one word comes to mind: gorgeous.


Wiggle your big toe!
We were able to see six very intense scenes in 3-D from the movie’s first half.
A quick note regarding the story: I didn’t expect much beforehand so I wasn’t disappointed on that part. It looks like a “green futuristic Pocahontas.“
Nothing more, nothing else.

Yesterday, I said I was going to wait until after Avatar Day to see the 2-D version of the teaser trailer, thinking the teaser would look pale in comparison to the true result. Looks like I was correct.
Indeed, the 2-D version is, dare I say, awful. Too flat, too unrealstic, too CGI. A video-game of sorts, like Crysis but on screen.
However, the 3-D end-product transcends everything you might expect.

Here it is folks: the most immersive movie in History.

Yes, that’s what over 120 years of technology have led up to.
I’ll refer you back to my November post about how “3-D will be introduced in 2009.“
If you think about what all those technological advancements in the entertainment industry were for, the answer is simple: realism.
With the use of sound, color, and now 3-D, mimicking the real was always the main goal of cinema.
And this is real enough, folks.
The CGI is so advanced that its uncanny valley equivalent has been skipped. Sure, we’re not talking about fake-humans here, this is no Final Fantasy: The Spirits Within, but the Na’vi skin and eyes are more than convincing. There’s no dead-eye syndrome either.
The movie seems to have completely immersive CGI aesthetics that perfectly blend in with the raw footage. Though you can obviously guess what was added (answer: everything non-human), it is still extremely realistic.
The night scenes are absolutely amazing, same goes for the fauna. Colors were vivid, despite the use of darkening glasses.

I might seem overly enthusiastic about the movie but I had two problems with the footage (hey, there had to be some):
The first scene we got to see was one only involving humans, and presented to us the world we were about to enter. As the camera was dollying in, the depth of field created by the 3-D camera felt too…forced. It was almost problematic. Basically, it looked to me like the technology seems to work great with CGI-based sceneries and scenes with some human/CGI interaction (like above), but seemingly not that well with “semi-raw” footage (or rather scenes only involving human interaction in normal surroundings).
Given that about 40% of the movie should be live-action, I’m still waiting to make up my mind regarding Cameron’s use of 3-D in non-VFX scenes.
Probably the main disappointment however came from the main action sequence featured in the preview (a chase between Jake Sully and an alien creature through a forest). The camera and editing were way too quick. The scene was almost all a blur. With 3-D, eyesight cannot really adapt to the various depths.
Also another minor quarrel: Given that I saw the preview in Paris, the movie was subtitled (fortunately not dubbed). You might have noticed the use of subtitles yourself during the native Na’vi language as well as its Papyrus font. They were pretty distracting overall. The eye has to deal with the subs in the forefront, plus the whole movie behind with its own depth of field.

Anyway, in case you’re wondering, theatres aren’t being equipped with Avatar-only technology. It’s your standard run-of-the-mill modern 3-D tech, including XpanD glasses (the ones you might have used on Up).


Incidentally, Cameron has just inked a deal with Panasonic to help promote 3-D TV and 3-D Blu-Ray players. The home video business plan for Avatar will be extremely interesting to see…
That said, what separates Avatar from previous movies is its use of the revolutionary Fusion/Reality Camera System 1 developed by James Cameron and Vince Pace allowing groundbreaking stereoscopic imaging.

Remember when I said:

If [typical 2-D movies were meant for 3-D], something huge would have been missing from the first time we laid eyes on them.

Avatar is exactly that.
Seeing the 2-D trailer just shows how great the gap between the two “dimensions” is.
Even on a big screen, I doubt Avatar 2-D would visually work, or at the very least if it would be as immersive as 3-D.
James Cameron clearly revolutionizes 3-D not by the way it is made but by the way it is used.
We’re far from Journey to the Center of the Earth or My Bloody Valentine with their “gimmicky” use of the tech.

We’ll just have to see the 2-hour result on December 18th.


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What is going on with all those brand renaming themselves?
Gatorade changes to G, Pizza Hutt to The Hutt, RadioShack to The Shack, and now Cartoon Network, who freshly announced a slate of non-cartoon shows, is also considering a name change?

There are even whispers inside the channel’s Burbank animation studios that the network might drop “Cartoon” from its name.
[…]
Rob Sorcher, a veteran cable programming executive who joined Cartoon Network last year after a stint at AMC, where he spearheaded that network’s push toward original dramas and was involved in the development of “Mad Men” and “Breaking Bad.“
[…]
Although they are committed to their approach, they disagree on the fate of Cartoon Network’s name. [Sorcher] said he expects “we will have to deal with this down the line.”

Please don’t do this.

Side-note with some movie stuff:
Remember Outland, the SF/western 1981 movie with Sean Connery?
Well, it’s getting a remake with Shoot ‘Em Up’s Michael Davis set to helm the project.
Who’s the guy writing the script? That would be Chad St. John.
You might recall that John also wrote SOTW6’s The Days Before (notice how FlashForward is also on there, kinda funny considering the two scripts’ stories).
Anyway, I loved the Days Before script so I’m wondering what Chad will be able to pull for this Outland remake.
Incidentally, the current issue of Script Magazine has a piece on Chad St. John.

There’s also this other Dirty Dancing remake currently planned by Lionsgate.
What is interesting is that this time the writer is Julia Dahl. If you don’t know her, she was The West Wing’s executive story editor from 2001 to 2002, and wrote two of the show’s 3rd season episodes.

Moving back to TV territory…
The Academy of Television Arts & Sciences lost its longtime PR agency, the Lippin Group, due to the recent debacles surrounding this year’s Emmycast.

ABC is moving on a haunted-hotel series entitled Clive Barker’s Hotel from two original Saw writers, Marcus Dunstan and Patrick Melton. I’m not here talking about the original movie, rather the latest four instalments (Saw IV throguh Saw VII).
Charlie’s Angels/Terminator Salvation’s McG might also be set to direct the pilot if the project comes to fruition.

And finally, some more great news for Caprica (remember, the Battlestar Galactica spin-off).
James Marsters is joining the cast for a “seizable arc” in at least three episodes of the show’s first season.
He will play “a dangerous terrorist leader by the name of Barnabus Greeley. Driven by desires both moralistic and carnal, Barnabus is as lethal as he is unpredictable.”

There’s also this new FlashForward poster that I just find plain awful.
The faux-embossed character pictures are kitschy, the “flash-forward” ball is badly done and made out of basically the same fifteen pictures used over and over again, and the sea reminds me of some 1990 photography background.
See for yourselves:


My eyes are bleeding…


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Post image for Don Bluth: The Man who would not scream “Eek-A-Mouse”
Hey again, Lordofnoyze here with an unusual look at one overlooked master of animation. Now, for this blog, I will talk about a time way before DreamWorks Animation and Pixar, way before 3-D (well, as we know it or we are about to know it…I see you, James). Ever since the launch of Walt Disney Studios, in the 1930s, the Mouse firm maintained a strong domination in terms of animation feature films. (Warner Bros. and Universal only competed in short films).
That is, until the 1980s, when a renegade director born in El Paso, Texas (*insert Clint Eastwood music here*) took the challenge to direct animation feature films and fight Dinsey on their own turf.

The first Don Bluth-directed movie was for MGM, a little movie called “Brisby and The Secret of Nimh”. It was adapted from a Robert O’Brien book, that may have its second coming on screen thanks to Paramount and Neil Burger (but this time, it would be live-action…with a little CGI enhancement, of course).

It was followed by two videogames: “Dragon’s Lair”, and “Space Ace”. But Don Bluth hit the jackpot when he associated with Steven Spielberg and Universal. The results were two of the better-remembered 80’s kids flicks: “An American Tail” in 1986, and “The Land Before Time” in 1988. It spawned two franchises built around the heroes, Fievel the Mouse from the West, and Littlefoot. Fievel had one theatrical sequel, and two direct-to-video sequels. Littlefoot returned in a staggering 12 video sequels (!!!), the most recent dating way back to 2007. Both also had animated shows, and proved worth a lot of money for Universal.

This is where I pause. You know the first time when I cried while watching a movie? Nope, it sure wasn’t “Bambi”. It was the earthquake scene of “The Land Before Time”, when Littlefoot loses his mother. It was disturbing as hell to me, and it was the first time where I realised my own mortality, as well as the ones around me. Needless to say, putting four orphan dinosaurs put into situations of danger, all while grieving, took a lot of balls. It made for a highly emotional movie, that disputed any of the Disney classics.

Shortly after that, Bluth reunited with MGM for his most daring movie yet, “All Dogs Go To Heaven”. And if you thought that “The Land Before Time” had dark subject matter, I present to you the IMDB pitch.

A dog returns from the dead looking for revenge on his killer using an orphan
girl who can talk to animals.

Yes, we’re talking about a G-rated movie.

And a kind soul put the ending on YouTube, so to all of you that are not afraid of spoilers (right…like you cared about this movie until now), enjoy the imagery.

I mean…

Come on.
The movie was the first one produced under his new Sullivan Bluth Studios in Ireland. Right after the average box office scores, trouble began. Right after finding trouble in investments, and having a hard time distributing “Rock-A-Doodle”, his final movie for the Lion Firm, Bluth signed a deal with Warner Animation Studios, a newly founded wing destined to produce animation movies…and also compete with Disney. He produced two movies under the Warner banner: an adaptation of “Thumbelina”, one of Hans Christian Andersen’s tales, and “The Pebble and The Penguin”. The first one did good, the second one was a flop, critically and commercially.

Bluth had to wait until 1997 until luck found him again. 20th Century Fox appointed him and Gary Goldman to be chairmen of Fox Animation Studios, also a new division destined to compete with Disney and soon-to-be-open DreamWorks Animation. The success of “Anastasia”, with voices from Meg Ryan, John Cusack and Kelsey Grammer, led to a DTV sequel around Bartok the rat (again). But the phenomenal flop of “Titan A.E.” in 2000, scripted by three screenwriters well-known of us geeks, John August, Ben Edlund and Joss Whedon, led to an early retirement.

Now he’s opened his own website, donbluth.com, and his Don Bluth Films based in Phoenix, AZ, produces content for Web and IPhones alike.

OK, so…what’s my point?

Well, Bluth is a forgotten “artisan” that always stayed true to 2-D animation, and if you can see anything in his movies, it’s uncompromising (and yes, often dark) subject matter. But even if seeing it with very young kids is not a very good idea, it stays great to rediscover an alternative to rosy-colored, two-dimensional characters. I mean, for crissakes, the dogs in “Charlie” gamble, and it’s set in 1930s New Orleans, Vice City before Miami claimed that crown!!! But think about it: if there weren’t any Bluth movies, would Disney execs have accepted a pitch where an old man goes on a quest for adventure when his wife dies of illness?

(Well…they probably would have, since it’s Pixar. But you get my point.)

So, here’s my 2 cents to respect the artist. And I’ll leave you with a few in-depth links:
- Interview to IGN back when Titan A.E. was released

Oh, and a lot of his movies may be available on the YouTubes.

I said “may”.
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About the Author

Based in Southwest France, Lordy is a local reporter in all areas of France (really, look it up). As a hobby though, he has a keen and often deconstructing look on the entertainment business, even as a simple fan. — You can follow him on @lordofnoyze






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