Warner Reviving Conan

Friday, June 16th, 2006

My hopes are high, but my expectations are low. Warner Reviving Conan:

Warner Brothers has set Boaz Yakin to write and potentially direct Conan the Barbarian, a new take on the Robert E. Howard-created character, Variety reported.

Warner is eyeing an early 2007 production start for the film, which will be produced by Irving Azoff, Jon Jashni, Richard Alexander and Akiva Goldsman. Peter Sederowsky and Fredrik Malmberg of Paradox Entertainment, the intellectual property company that controls rights to the Howard estate, will executive-produce.

Yakin, best known for writing and directing Fresh and for directing the football hit Remember the Titans, has been a fan of the Howard series since childhood and came up with a take that impressed the studio.

Yakin’s concept is more faithful to the Howard story than were the two Dino De Laurentiis-produced Conan films that starred Arnold Schwarzenegger as the sword-wielding conqueror.

Warner has tried to revive Conan and got close twice. The Matrix directors Larry and Andy Wachowski showed interest, and then Robert Rodriguez emerged, but hiring the latter became problematic after he quit the Directors Guild of America so he could co-helm Sin City with Frank Miller.

The press releases always promise a faithful adaptation.

X-Men Extreme Makeover

Thursday, June 15th, 2006

The fxguide‘s X-Men Extreme Makeover explains how the actors playing Professor X and Magneto were made to look years younger:

These anti-aging shots are not achieved by the use of custom software or sparks, rather the team at Lola relied on standard inferno and flame software. But while the programs are off the shelf, the techniques have been developed over several years. The team cleverly uses a huge combination of discreet tools such as extended bicubic patches meticulously tracked in a technique the team calls “digital skin grafts”. But every trick in the book is used, from advanced colour correct to 3D tracking inside action.

The anti-aging of each actor is built on extensive research, both visual reference, and medical advice. Lola consulted with leading hollywood plastic surgeons and a vast library of material. It was discovered that noses continue to grow, as to ears, so noses were thinned and ears were removed resized 10% and retracked back on.

While Greg Strause was on set for much of the filming of this sequence, by his own admission, there was little to do. The actors had no special makeup, not even hair colouring. There were no special tracking markers, greenscreens, measurements or considerations given to the effects team.

The sequence was initially scheduled to be a makeup effects, when tests were not satisfactory, alternative actors were briefly considered but thanks to a previous relationship with Visual Effects Supervisor John Bruno, Lola was given the chance to helm the sequence. Lola’s first test was 19th of Nov 05. Not only did Lola contribute the opening sequence but the company was also used on “hundreds of other little” shots according to Bruno.

Definitely compare the before and after photos.

Korgoth of Barbaria

Saturday, June 10th, 2006


In a dark future wasteland, the cities have fallen, primordial beasts have reclaimed the globe and thieves and savages populate sparse, dirty towns. Korgoth emerges from the frozen north, and his merciless savagery may be his only key to survival.

Korgoth of Barbaria is an animated fantasy-action-adventure-comedy from Aaron Springer, the storyboard artist of Spongebob Squarepants. It’s a pretty straightforward Conan spoof, with elements of Heavy Metal, and the pilot is showing on Cartoon Network.

You can watch the preview — and a lot more — on YouTube. If you enjoy the genre — and over-the-top gross-out violence — you’ll enjoy it.

Tyger

Saturday, June 10th, 2006

Tyger is a short film directed by Guilherme Marcondes and funded by Cultura Inglesa, an educational branch of the British Council in Brazil, to promote British culture. It uses William Blake’s “The Tyger” as a starting point.

Top Grossing Films of All Time in the U.S. Adjusted for Inflation

Wednesday, May 24th, 2006

Movies keep breaking box-office records, but many of those records aren’t inflation adjusted. The Top Grossing Films of All Time in the U.S. Adjusted for Inflation include films from many decades:

  1. Gone With the Wind (1939)
  2. Star Wars (1977)
  3. The Sound of Music (1965)
  4. E.T. (1982)
  5. The Ten Commandments (1956)
  6. Titanic (1997)
  7. Jaws (1975)
  8. Doctor Zhivago (1965)
  9. The Jungle Book (1967)
  10. Snow White and the Seven Dwarfs (1937)

Move over Hollywood

Monday, May 22nd, 2006

John Patterson and Gareth McLean say, Move over Hollywood:

Today, US television is where cultural debates are sparked, and where popular culture renews and reinvigorates itself. Over the past 10 years, TV has slowly seized the creative initiative from the movies and run with it, all the way to the Emmys — and to the bank. With entire seasons of TV shows available on DVD and cheap iPod downloads of popular shows online, television is now teeming with beautifully written, well-made programmes, including The Sopranos, Deadwood, Law & Order and its many spin-offs, Lost, 24, Six Feet Under, The Shield and Nip/Tuck. Umbilically connected to the internet, TV is also able to attach itself swiftly to new currents in subterranean culture and bring them to viewers in a matter of days. This inventiveness affects all areas, from news to drama. And it is because of the sudden upsurge in TV drama, along with the immense fortunes to be made in it, that so many names we associate with the cinema are moving to television.

An amusing metaphor:

Going to the movies has become like buying hardback books; those with patience may opt to wait for the DVD, the paperback.

How the economics are changing:

It used to be that TV producers made 22 shows a year while grinding towards the magic number, Episode 100, when syndication of a successful show on local stations commences. At that point, with residuals kicking in and points finally being counted, the major players all stood to make a fortune. Today, the money starts to pour in the moment the first season has its DVD release, usually in the run-up to season two. And iPod downloads for a couple of dollars mean that a hit show can start minting money the morning after it is broadcast. This year’s flood of pilot directors suggests that more of them are becoming aware of how lucrative TV can be, compared with notoriously undependable movie projects. They’re tempted by executive producer titles that, if the pilot goes to a series and becomes a hit, can earn them enormous fees and back-end deals.

Kids, Let’s Exploit a Show

Friday, May 19th, 2006

Kids, Let’s Exploit a Show describes Disney’s efforts to capitalize on its surprise hit, High School Musical — in India, and around the world:

At the movie studio, executives agreed to make Disney’s first foray into Bollywood. They reasoned that the only other country where bursting into song out of nowhere is a typical entertainment theme is India. The plan is to release a version in theaters, featuring local stars. The studio is considering local versions for Latin America and perhaps China and Japan.

The question is whether “High School Musical” will travel. Disney is preparing to roll out the U.S. TV version of the song-and-dance medley in more than 100 countries starting in June. The first stop is Australia. For non-English-speaking markets, the dialogue will be dubbed and the singing will be subtitled.

Mr. Ross says the movie hinges on themes that resonate in every country: It’s about kids expressing themselves and recognizing diversity.

That doesn’t mean they’ll be using the same template in every country though. In India, for instance, the version being developed for theaters could be set in college against the backdrop of cricket. India will also get the U.S. television version with the songs dubbed by Bollywood stars.

Voices from the New American Schoolhouse

Saturday, April 29th, 2006

Voices from the New American Schoolhouse
“explores life outside the usual educational box”:

Narrated exclusively by students, the film chronicles life and learning at the Fairhaven School in Upper Marlboro, MD which practices an undiluted form of freedom and democracy that turns mainstream education theory on its head. Filmmaker Danny Mydlack enjoyed unrestricted access over a two-year period to produce this candid and unblinking encounter with kid-powered learning.

Definitely watch the video. I half expect Billy Jack to protect these kids from close-minded townies. (“I’m gonna take this right foot, and I’m gonna whop you on that side of your face — and you wanna know something? There’s not a damn thing you’re gonna be able to do about it.”)

(Hat tip to Boing Boing.)

Here’s how the Fairhaven School describes itself:

Fairhaven students ages 5 through 19 and beyond are free to decide for themselves how to spend their days. Motivated by curiosity and the drive to become competent adults, they grow emotionally, creatively, and intellectually — through play, school governance, conversation, the arts, classes, computer activities, reading, and the exploration of nature. All kinds of learning, all types of intelligence are valued.

Fairhaven is a true democracy: a weekly School Meeting, made up of students and staff, votes on all aspects of the schools operation — from school rules to budgeting to staffing. Issues of justice are resolved by the Judicial Committee, on which everyone serves on a rotating basis. Students learn firsthand what it means to live in a working democracy, with the freedom and responsibility it entails.

Fairhaven School is modeled after the 35 year old Sudbury Valley School.

I also can’t help but think of the Enriched Learning Center for Gifted Children from Bart the Genius — the first official episode of The Simpsons. (“Discover your desks, people.”)

Jon Favreau and John Carter

Friday, April 28th, 2006

Jon Favreau (Swingers) was looking to direct a John Carter of Mars movie, but Paramount decided to shelve the whole thing:

Unfortunately, due to the 2008 Paramount production of Star Trek, it looks like Carter is not going to happen in the near future. I assure you that the script and artwork were very well received, but they’ve got a lot of “similar” stuff in the pipeline at the studio. I am trying to help position the film to get made and remain committed to seeing it through. That said, it’s not going to happen this year.

Lionsgate shrugging

Friday, April 28th, 2006

Variety reports on Lionsgate shrugging:

Lionsgate has picked up worldwide distribution rights to “Atlas Shrugged” from Howard and Karen Baldwin (“Ray”), who will produce with John Aglialoro.

As for stars, book provides an ideal role for an actress in lead character Dagny Taggart, so it’s not a stretch to assume Rand enthusiast Angelina Jolie‘s name has been brought up. Brad Pitt, also a fan, is rumored to be among the names suggested for lead male character John Galt.

Angelina Jolie is a Randroid? Who knew?

Film of the book: top 50 adaptations revealed

Thursday, April 27th, 2006

The “experts” at The Guardian have revealed their list of the Top 50 Adaptations of books to film:

  1. 1984
  2. Alice in Wonderland
  3. American Psycho
  4. Breakfast at Tiffany’s
  5. Brighton Rock
  6. Catch 22
  7. Charlie & the Chocolate Factory
  8. A Clockwork Orange
  9. Close Range (inc Brokeback Mountain)
  10. The Day of the Triffids
  11. Devil in a Blue Dress
  12. Different Seasons (inc The Shawshank Redemption)
  13. Do Androids Dream of Electric Sheep? (aka Bladerunner)
  14. Doctor Zhivago
  15. Empire of the Sun
  16. The English Patient
  17. Fight Club
  18. The French Lieutenant’s Woman
  19. Get Shorty
  20. The Godfather
  21. Goldfinger
  22. Goodfellas
  23. Heart of Darkness (aka Apocalypse Now)
  24. The Hound of the Baskervilles
  25. Jaws
  26. The Jungle Book
  27. A Kestrel for a Knave (aka Kes)
  28. LA Confidential
  29. Les Liaisons Dangereuses
  30. Lolita
  31. Lord of the Flies
  32. The Maltese Falcon
  33. Oliver Twist
  34. One Flew Over the Cuckoo’s Nest
  35. Orlando
  36. The Outsiders
  37. Pride and Prejudice
  38. The Prime of Miss Jean Brodie
  39. The Railway Children
  40. Rebecca
  41. The Remains of the Day
  42. Schindler’s Ark (aka Schindler’s List)
  43. Sin City
  44. The Spy Who Came in From the Cold
  45. The Talented Mr Ripley
  46. Tess of the D’Urbervilles
  47. To Kill a Mockingbird
  48. Trainspotting
  49. The Vanishing
  50. Watership Down

Caprica

Wednesday, April 26th, 2006

The Sci-Fi Channel has announced a new spin-off series, Caprica:

From executive producers Ronald D. Moore and David Eick (‘Battlestar Galactica’), writer Remi Aubuchon (’24′) and NBC Universal Television Studio, this new series is set over a half a century before the events that play out in ‘Battlestar Galactica.’ The people of the Twelve Colonies are at peace and living in a society not unlike our own, but where high-technology has changed the lives of virtually everyone for the better. But a startling breakthrough in robotics is about to occur, one that will bring to life the age-old dream of marrying artificial intelligence with a mechanical body to create the first living robot — a Cylon. Following the lives of two families, the Graystones and the Adamas (the family of William Adama, who will one day become the commander of the ‘Battlestar Galactica’) ‘Caprica’ weaves corporate intrigue, techno-action and sexual politics into television’s first science fiction family saga.

If I may geek out for a moment: Frakkin’ awesome!

Smith is Legend

Wednesday, April 26th, 2006

I was a fan of the original Asimov I, Robot short-story collection, and I enjoyed the original Wild, Wild West TV show.

I also enjoyed Richard Matheson’s I Am Legend.

Now Smith is Legend — and that’s probably not a good thing:

Will Smith will star in I Am Legend, the long-gestating Warner Brothers adaptation of Richard Matheson’s classic SF novel, to be directed by Constantine helmer Francis Lawrence, Variety reported. Smith has a pay-or-play deal to make Legend his next project, after he completes Tonight, He Comes at Sony.

Akiva Goldsman rewrote an original script by Mark Protosevich. An early 2007 start date is planned for the movie, which will be shot in New York.

The film moves the story from Los Angeles to a post-apocalyptic New York and will center on the last healthy man following the release of a virus that decimates the population. To survive, he must battle mutants that wreak havoc during the night.

Legend came closest to getting made back in 1997 with Ridley Scott directing Arnold Schwarzenegger. Warner applied the brakes because the budget hovered around $108 million, a figure considered high at the time. Michael Bay and Smith then aligned to have a go at the film in 2002, but the pairing didn’t advance.

Matheson’s book was the basis of previous movie adaptations, including the Vincent Price movie The Last Man on Earth and the Charlton Heston vehicle The Omega Man.

The Code that Killed the Golden Age

Wednesday, April 26th, 2006

Once Upon a Dime reprints The Code that Killed the Golden Age of comics, which was self-imposed in response to Fredric Wertham’s 1953 book, Seduction of the Innocent, a sensationalist attack on comics that claimed that Batman and Robin were “a wish dream of two homosexuals living together” and that Wonder Woman was a “lesbian counterpart of Batman”.

From General Standards Part A:

  1. Crimes shall never be presented in such a way as to create sympathy for the criminal, to promote distrust of the forces of law and justice, or to inspire others with a desire to imitate criminals.
  2. No comics shall explicitly present the unique details and methods of a crime.
  3. Policemen, judges, government officials, and respected institutions shall never be presented in such a way as to create disrespect for established authority.
  4. If crime is depicted it shall be as a sordid and unpleasant activity.
  5. Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates the desire for emulation.
  6. In every instance good shall triumph over evil and the criminal punished for his misdeeds.
  7. Scenes of excessive violence shall be prohibited. Scenes of brutal torture, excessive and unnecessary knife and gun play, physical agony, gory and gruesome crime shall be eliminated.
  8. No unique or unusual methods of concealing weapons shall be shown.
  9. Instances of law enforcement officers dying as a result of a criminal’s activities should be discouraged.
  10. The crime of kidnapping shall never be portrayed in any detail, nor shall any profit accrue to the abductor or kidnapper. The criminal or the kidnapper must be punished in every case.
  11. The letters of the word ‘crime’ on a comics magazine shall never be appreciably greater than the other words contained in the title. The word ‘crime’ shall never appear alone on a cover.
  12. Restraint in the use of the word ‘crime’ in titles or subtitles shall be exercised.

The Wave

Tuesday, April 25th, 2006

In 1981, a small-budget After School Special, The Wave, became a prime-time made-for-TV-movie event:

The Wave was the first movie I ever made. I pitched the project to ABC and plunged forward. As an After School Special it was done on a very low budget, roughly $250,000 when an average Prime Time hour in those days was done for roughly $1,000,000. All acting and writing was done for scale fees and the number of shooting days were very few to hold down costs, As I remember it shot in 8 days. When ABC saw the final show they took it out of the After School slot and aired it in prime time against 60 Minutes on Sunday night. Needless to say the ratings were very low, but even at that, back in those days about 17 million people saw it in the States. And since then millions more have seen it around the world. I’m proud of the show and the message it delivers. As the years have gone by production styles and social behaviors have shifted, that’s just the way it is. So be it, the show still seems to have legs.

The movie was based on a hard-to-believe real-life story. A teacher in Palo Alto, California, in 1969, decided to put his class through a sociological experiment where he propounded “Strength through discipline, strength through community, strength through action!” In one week he had them offering one another a special Third Wave salute and ratting out anyone who didn’t support the cause. He had turned them into Fascists, and they all joined him for a rally supporting the cause:

“Listen closely, I have something important to tell you.” “Sit down.” “There is no leader! There is no such thing as a national youth movement called the Third Wave. You have been used. Manipulated. Shoved by your own desires into the place you now find yourself. You are no better or worse than the German Nazis we have been studying.”

“You thought that you were the elect. That you were better than those outside this room. You bargained your freedom for the comfort of discipline and superiority. You chose to accept that group’s will and the big lie over your own conviction. Oh, you think to yourself that you were just going along for the fun. That you could extricate yourself at any moment. But where were you heading? How far would you have gone? Let me show you your future.”

With that I switched on a rear screen projector. It quickly illuminated a white drop cloth hanging behind the television. Large numbers appeared in a countdown. The roar of the Nuremberg Rally blasted into vision. My heart was pounding. In ghostly images the history of the Third Reich paraded into the room. The discipline. The march of super race. The big lie. Arrogance, violence, terror. People being pushed into vans. The visual stench of death camps. Faces without eyes. The trials. The plea of ignorance. I was only doing my job. My job. As abruptly as it started the film froze to a halt on a single written frame. “Everyone must accept the blame No one can claim that they didn’t in some way take part.”