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A Revolutionary War movie that actually looks like the propaganda paintings of the time is an interesting sounding idea, at the very least. And it would look spectacular, given the way reds and greens pop in Washington Crossing The Delaware.
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Mar 2, 2016 18:11
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Vintersorg posted:That sucks dude. There's not too many other directors who are as crazy about illustrated art and work their rear end off to replicate it in live action the way he does. He's one of those people who you know Warners has gone "so, hey, Akira...?" to multiple times.
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Mar 7, 2016 16:58
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Weird to see that since every single report during the casting of BvS kept on saying "oh, at this point, Gordon's dead, the Robins have died or moved on..." So I wonder what the reason for him not being in BvS is. Retired, maybe?
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Mar 7, 2016 22:56
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If only any Marvel movie was as willing to embrace camp on a level even approaching Flash Gordon's.
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Mar 12, 2016 02:32
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Also the context of the scene is that inside the house the mother of Clark's bully is trying to get the Kents to admit their son is touched by the hand of God or some poo poo, which is the exact sort of thing any parent wouldn't want heaved onto their twelve year old kid. Even the composition of the establishing shot puts Clark outside, alone, sitting on a swing. He's ostracized enough as it is. When Jonathan approaches him, he scolds him a bit, telling him that he has to keep this side of him a secret. And then Clark asks an impossible question to answer, and Jonathan, being human, fumbles it the slightest bit. And he decides that this is the moment to come clean to Clark about everything. And so he does. And explains why Clark has to keep his powers secret. Jonathan wants him to figure out why he was sent here before he embraces that he came from out there. He's not teaching him to be paranoid, he's telling him he needs to understand himself before he makes decisions that will sooner or later, weigh on humanity's destiny. He's heaving heavy poo poo on his kid, but telling him that he shouldn't put that weight on his shoulders until he understands why he needs to. That whole scene is so distinctly rewritten and un-Goyer that I figure both Jon Nolan and Kurt Johnstad finagled with it quite a bit before it was shot. There's a lot of room left for the physical acting to do work in that scene (Jonathan can't even look at Clark when he says "maybe"; Costner plays it as a shameful admittance, not a coercive argument).
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Mar 15, 2016 03:06
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Costner gets the real meat of the picture; Crowe gets to play across Shannon a whole bunch, and has monologues upon monologues, but the subtle and soft and tender moments are secretly all Costner. Jonathan Kent is more in the DNA of the picture than Jor-El, who admires, but is still distant and commanding of Clark.
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Mar 15, 2016 03:29
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Given that World War I isn't the "fun" war that can really be boiled down to "good guys and bad guys" the way World War II has been glamorized, it wouldn't be out of place for the movie to end on a dour note. Although I believe it's been reported that Wonder Woman will have bookend scenes in the modern day that will put her specifically in place for Justice League. So her movie is "Diana remembering what drove her out of Man's World for a century", with the end likely signalling what made her come back. It'll be interesting if the vengeful way the war's end played out politically is what makes her go "oh gently caress off" and vanish back to Themyscira for a hundred years.
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Mar 24, 2016 13:32
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Colonel Whitey posted:Haha a guy is a piece of human poo poo because you don't like the way he writes about comic book movies. Ok. You seem real swell yourself. Nah, Faraci is a giant piece of poo poo. This is his reaction to someone leaking the screenplay (written by a friend of his) for Fantastic Four after opening weekend (and the guy he's berating, we will note, never actually leaked the thing and Faraci never apologized):  He also just happens to be terrible at being anything but a self-aggrandizing tool.
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Mar 31, 2016 22:37
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Guy A. Person posted:He's not "getting a rumor wrong" he's intentionally lying about poo poo to support his narrative and drive traffic to his website. He literally did this today with a report on Suicide Squad's reshoots being about "inserting humor and lightness into the movie after the reaction to the Queen trailer". The guy who does the prosthetics for Killer Croc basically was like "uh, no, these have been pick-ups scheduled for months because Adewale's earliest availability was now", and meanwhile Will Smith is in NYC shooting another movie. A lot of the time it comes off like he doesn't actually know how movies are made when he has been covering it for well north of a decade.
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Mar 31, 2016 23:43
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Is this the first instance in CineD of someone not getting what a Kelly cartoon is
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Apr 4, 2016 21:19
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I like how that one report has everyone convinced that these are some big reshoots to retool the movie. Meanwhile the biggest star in the movie by a long shot, who would surely be involved in such reshoots, is literally clear across the country shooting a different movie, which kinda blows up that idea right away. World War Z had reshoots. This has pickups. You don't dedicate funds for a reshoot unless you think the movie might destroy careers at the point it's at. There might be more humor slipped into the pickups, sure. But the scenes aren't going to change the fundamental tone of the film since pickups don't do that at all.
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Apr 4, 2016 22:32
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achillesforever6 posted:What is his background anyway before he got involved with Marvel? He owned Toy Biz. He made a sweetheart deal for toys with Marvel in 1993, which in turn let TB (which was mostly Perlmutter and Avi Arad) slip in and buy Marvel out from under Carl Icahn and Ronald Perelman, who were both trying to buy the bankrupt publisher, in 1996. In 1998 the two companies were merged into Marvel Enterprises.
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Apr 9, 2016 04:24
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Yoshifan823 posted:For real, I didn't know that it existed 20 minutes ago, and now I've never needed anything more. You didn't know Ballroom Blitz existed before 20 minutes ago? did you never see Wayne's World?
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Apr 9, 2016 05:09
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DrVenkman posted:Other people have answered this but essentially he was one of the 'Creative committee' at Marvel while Kevin Feige was the go-between. He was notoriously tight fisted, even while Marvel movies were an extraordinary success and has made it a headache for some filmmakers (The whole Ant-Man debacle was essentially a fight between Edgar Wright and the creative committee). He supposedly told people that "black people look the same" when discussing Don Cheadle replacing Terence Howard. He made his money in toys, and was reportedly the reason that no Black Widow figures existed, because as he believed it girls didn't buy toys. Perlmutter was never a committee member; the committee was entirely staffed by Marvel writers. Talent's problem with Perlmutter was more that pumping for a little bit more money once they laid out the budget was next to impossible and he would also often, with Feige, essentially re-edit the pictures without input from them. This is the sort of stuff that has put him at cross points with Downey, who is big on letting directors and editors and other talent do what they're hired to do. It's why his post-Iron Man contract renegotiation gave him things like a full-fledged producer's power on his future Marvel movies (which is how Shane Black even got the chair for IM3 - Downey wanted to pay him back for hiring him at a low point in his career as well as basically guruing the first Iron Man into what it was) and why he's constantly wielded the power he's had in the company to do things like knock his co-star's pay up for Avengers sequels. When Downey slipped into Cap 3 (which he negotiated himself into through Disney directly), Perlmutter wanted to kill his contract since Downey isn't cheap ($30 million and first-dollar gross points - and that's not including producer's pay) and with him joining the cast a lot of Perlmutter's control went out the window (because, again, RDJ in the cast puts him and Susan, his wife, in producer roles as per his standard contract these days). As you can imagine, that was the thing Feige was able to bring to Horn to oust Perlmutter from the film side of the company and make the direct line of ascension for Marvel movies be Feige -> Horn instead. Because what better way to look like a lunatic than to scream about wanting to gut the golden goose of the company because it wants to lay more eggs. When this happened and Feige was put at the head of film production for Marvel, he disbanded the creative committee. But that committee was around well into the Disney era and probably still exists to a degree for the TV side of things (at least for Agents of SHIELD). Otherwise, the other Perlmutter stuff - the "black people" comment, the refusal to produce Black Widow or Peggy Carter toys until the last year or so, the penny-pinching and whatnot - yeah, that's all true. He's the reason Favreau dumped out on directing Avengers after IM2 got railroaded, why Branagh and even Joe Johnston walked away despite options available for both to do Thor and Cap sequels, and why at this point it's incredibly difficult for Marvel to get directors above a certain level to make their movies - Ryan Coogler is probably their first director since Branagh with some real acclaim behind him coming in. Most directors have learned a lesson about getting caught in the Marvel machine. It's also why Lucasfilm is operating in a completely different direction, with a wide berth for creatives to work in (which would make sense given Kathleen Kennedy's career basically being Amblin and Kennedy/Marshall, both of which operated under that dogma and were quite successful).
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Apr 9, 2016 11:57
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Ironically, the only reason these movies even exist the way they do is because the same guy managed to convince Lehman Brothers to give Marvel Enterprises the $750 million loan that let them produce the Phase 1 films, and that was basically him going "look, I licensed out these two properties (X-Men and Spider-Man) and they've more than returned any investment you would be placing on this by themselves. I have like ten properties here that could do the same."
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Apr 9, 2016 16:01
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dublish posted:If the WB execs saw something in BvS that gave them such high expectations, it seems unlikely that they'd just forget it due to negative reviews of a movie whose director is notorious for making divisive movies. I feel like people also forget that Snyder attracts really ridiculous talent to movies that ostensibly these people would never attach themselves to. He's very good at convincing actors to go on his crazy adventure - just as a random assortment, the man's worked with Sarah Polley, Ving Rhames, Oscar Isaac, Jon Hamm, Michael Fassbender, Jeffrey Dean Morgan, Lena Headey, Hugo Weaving, Carla Gugino, Kevin Costner, Dominic West, Scott Glenn, Michael Shannon, Laurence Fishburne, Billy Crudup, Patrick Wilson, Jackie Earle Haley, Jena Malone, Emily Browning, Diane Lane, Amy Adams, Russell Crowe, Chris Meloni, Geoffrey Rush, Sam Neill, Helen Mirren, Joel Edgerton, Jesse Eisenberg, Ben Affleck, Jeremy Irons, Ezra Miller, Holly Hunter, and now J.K. Simmons. I mean how in the hell did he talk Holly Hunter into a role in a goddamn capeman fighting cowlman movie. I'm still astounded he talked Sarah Polley into doing a zombie movie in a time when 1) zombies were not a big thing, and 2) she was avoiding studio pictures almost purposely (she hadn't done a studio picture since Go in 1999). Motherfucker even beat Steve McQueen to the Fassbender punch. 300 was Fassbender's first non-TV work. Like, that's a holy poo poo prescient eye for talent, especially when you realize that he's the "fight in the shade" guy who has a lot of little star moments sprinkled throughout the film. He gave Oscar Isaac a juicy villain role when the only two people prior had seen anything in him were Ridley Scott and Catherine Hardwicke (and God drat, does Isaac relish playing Blue. He has a loving BALL filling in that character). And he talked Affleck into playing Batman. That's clearly on the "worked out well" side of things. Plus he clearly has made the right choice with Gadot being Wonder Woman, based off critical reception to her. WB might just stick with him because he gives the studio access to people who would probably say no otherwise, no matter what insanity he tells them they're about to do.
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Apr 10, 2016 20:19
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Pixar is kind of on a different level, though. Or at least they were back when they made The Incredibles. I'm sure she'll be back for Brad Bird's "get back in the cage, you wasted $200 million of our money" mea culpa sequel, though.
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Apr 10, 2016 20:30
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Davros1 posted:I was more impressed that Marvel somehow got Robert Redford to be in a superhero movie. He cost a pretty penny and basically did it for his grandkids (and to pour more money into Sundance seminars, workshops, and whatnot). Most of what he does is for Sundance these days. Kinda like how Pacino generally only takes roles now so he can throw those paychecks into Actor's Studio semester budgets.
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Apr 10, 2016 21:52
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So does anyone want to venture a guess why Boomerang is at one point holding a stuffed unicorn in Suicide Squad, because there's a cut in that trailer where he's holding a big pink one while slicing through a thing's head.TFRazorsaw posted:I'm not saying GOTG invented anything. It's highly derivative. But it and Suicide Squad don't exist in a vacuumed and these past two trailers feel like they're trying to hit the same beats. A marketing campaign is trying to make you think of another popular, financially successful movie with a cast of mostly unfamiliar actors? I am shocked. I think the key difference is that the music is for the trailers only. Up until a few months ago Ayer was going to have zero score or music of any kind outside of incidental diagetic stuff, with the ambiance of the situation being the backing track to everything. Someone talked him back from that since now the score's being done by Steven Price, who did Fury for him. Considering how weird Fury's score was at times, this might even end up more interesting than the "no music" idea.
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Apr 11, 2016 08:15
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Basebf555 posted:Tarantino definitely deserves some credit for "discovering" Fassbender as well. That bar shootout scene was all people were talking about when they saw Inglorious Basterds. Fassbender already was being bandied around town after Hunger was a festival darling. I know it was the movie Pitt saw that made him suggest Fassbender to Tarantino early on in pre-production on Basterds. And Hunger was two years after 300. I'm not suggesting that Snyder broke him through to stardom or anything, but he is the guy who gave him the break he needed that probably helped get Hunger and Fish Tank off the tarmac, which led to Basterds and First Class and Fassbender being something of a name (even if at the current moment he's kind of an "anti-name" because of his preponderance to playing complete irredeemable assholes in the mainstream work he does). Other fun fact about Fassbender: he only got Basterds because Simon Pegg had to decline the role of Hicox due to Tintin. He'd already been brought in to audition for Landa based off Pitt's recommendation as mentioned above.
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Apr 11, 2016 15:40
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Honest Thief posted:Hey, name one thing from that year that really stood out. Not saying Forever deserved, but it was kinda a forgetable year. Seven. Apollo 13. Bad Boys. The Basketball Diaries. Braveheart. The Usual Suspects. Casino. Leaving Las Vegas. HEAT. Edit: the Laurence Fishburne Othello. Nixon. 12 Monkeys. It keeps going. Holy poo poo even City of Lost Children was put out in '95.
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Apr 11, 2016 18:09
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Seven, Usual Suspects, Heat, and 12 Monkeys were all in one calendar year. 1995 was pretty loving good, especially with Kids, A Personal Journey Through American Movies With Martin Scorsese, Godzilla vs Destroyah, Dead Man, Clueless, The Brady Bunch Movie, Before Sunrise, Babe, Hackers, Ghost In The Shell, Dead Presidents, Tank Girl, The Doom Generation...
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Apr 11, 2016 18:24
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Electromax posted:If you ever wondered how Marvel movies get written... That's how a lot of movies are written. You come up with sequences, you figure out threads to make the sequences feel like they belong in one movie - linking it through characters or plot machinations or a larger thematic meaning, or all three if you want it to really snap together - and then you revise and revise and revise and revise and revise and revise and revise and
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Apr 11, 2016 21:08
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Kurzon posted:I never go into Suicide Squad and I don't understand the logic of its premise. The SS is this government black ops program composed of supervillains who do black ops missions for the government in exchange for having their records expunged. How can the government do that? What if Deadshot, an assassin with multiple convictions, is caught trying murder someone after being released from the Suicide Squad? Won't that lead to awkward questions? Won't people ask "hey, how come this convicted murderer is walking free with no record?" I think the trick here is that Waller never actually expunges their record, but keeps on saying "once we feel you've served your duty to society we'll put you back in it". It's kind of silly to assume that a government employee who goes "we can use criminals to do our dirty work and plant bombs in their neck to keep them in line" is going to keep a promise she makes to convince said criminals to do said job. A bit of a carrot and a stick thing, except the carrot is imaginary.
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Apr 13, 2016 13:49
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Zack Snyder has created the "Head In The Box" scene of the 10s in cinema: the jar of piss scene. One day, at some party, a man or woman will belligerently yell at him that how could he make Holly Hunter drink a jar of piss, and he'll only respond with "I didn't" and he or she will walk off in a huff. David Fincher will walk up behind him and go "don't take it personally. It just means it worked."
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Apr 14, 2016 20:45
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Vintersorg posted:That is a garbage fight scene. Nothing looks like it has any impact - just dancing around. Winter Soldier gets elbowed in the loving head multiple times but he's fine? Come on. At some point Marvel execs basically went "why do we show the impact of hits" and since then for whatever reason have cut them all out from every movie. It's bizarre and jarring in the exact wrong way - stripping the violence of any actual violence. Seriously, the reason there's no impact is because they literally snip the moment of impact out. The only time I think they don't is when it's a faceless, inconspicuous mob that can barely be noted as "person" for their time on screen, like Ultron bots or Chitauri or HYDRA masked goons.
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Apr 14, 2016 22:16
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HUNDU THE BEAST GOD posted:Interestingly this is exactly the philosophy of the way they show action in WWE! Hard cuts on impact. It's attempting to make an inherently violent thing as family friendly as possible, which is dumb because it's not like kids are stupid enough to fall for it. gently caress, kids love violence, it's why things like superheroes and pro wrestling and Looney Tunes and so on endure over generations. A formative experience for most kids is seeing Luke Skywalker get his hand cut off by a laser sword.
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Apr 14, 2016 22:26
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Ghost in the Shell's story and themes are so uncentered from Japan that Oshii didn't even scout any city in Japan for the setting; he went to Hong Kong and made it pretty readily apparent, since Hong Kong looks exceedingly different from Tokyo. He also ended up being right on where the international center of power and tech would move in the future of the period, but that's either blind luck or acceptance/awareness that the bubble had popped for good in Japan that early into the Lost Decades.
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Apr 16, 2016 21:56
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Huh, so maybe there's a nugget of truth to that 4chan rumor, since Dafoe was on that list. The other "in negotiations" actors there were Javier Bardem (of which, there's like one role I can imagine they're trying to get him for - which would make it interesting since Brolin is Thanos), Frances McDormand, Joel Edgerton, Jackie Earle Haley, Bill Nighy, and Rosamund Pike.
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Apr 19, 2016 18:11
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MacheteZombie posted:Which rumors out of curiosity? It was basically stuff concerning the plot (Batman racing against Amanda Waller to find the members of the League before Darkseid arrives, and then, surprise, here come the New Gods), claims of where things are currently sitting for development like Shawn Levy being chased for Shazam and people like Matt Reeves/Duncan Jones/Rian Johnson for Green Lantern Corps, Cyborg having a black director if they go forward with the movie which is entirely dependent on how he's received in JL, a bunch of people apparently already cast that haven't been announced like Ed Harris and Imogen Poots and James Remar, claims that there's early development on a Blue & Gold movie, a Legion of Superheroes movie, and so on. He's followed it up with claims that WB is chasing anime properties (believable given how loving deep in on making anime and adapting them to live-action stuff the Japan wing of the studio already is - five Death Note movies including the one this year, plus they just did Erased's live action movie, and the TV side has been doing stuff like bankrolling the Jojo's show, Terraformars, and Shirobako in recent years), is pretty close to getting the Pokemon license (again somewhat believable because of the history WB has with distributing the movies and broadcasting the show giving them an upper hand in terms of prior relationships coming into play), and - this is the hardest one to believe - that Rebecca Sugar has a Sailor Moon script that she's turned in and they're going to announce something by the end of 2016 on that. Given the merchandising juggernaut SM is everywhere, I imagine the news of such a thing potentially even happening would be all over the trades the moment such a script slid across an executive's desk. A couple more posts since then have had claims that BvS not hitting a billion would have killed anyone besides Snyder, but because he's well liked at the studio and because he and Debroah have done all the work in setting up the cinematic universe and picking the talent to bring it to life (with the studio being high on Squad being a boost for him), he's being given a last chance with JL. His final bit was that Nolan was going to do Akira until suddenly switching to Dunkirk in the last weeks before negotiations were finalizing, and that the studio has forced Zack to storyboard every bit of JL to "keep him in line", which are dubious at best because Akira, if anything, is probably what Nolan is considering when he has to make a "for them" movie again (which he inevitably will, even if Dunkirk is a big hit), assuming WB doesn't keep continuing the "let him run free" thing they've been running with, and the JL thing is BS because Snyder always storyboards everything. He's done it forever. He's done it since Dawn of The Dead. I think he even mentions so on the commentary for that movie. Oh, and also that WB was going to do stuff with Looney Tunes, Space Jam 2 is dead, Max Landis had pitched an anthology film of shorts for the Tunes but that died because of BvS underperforming (all of which smacks of "these things get brought up on the internet, let me make up poo poo about that").
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Apr 19, 2016 19:07
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Leon Trotsky 2012 posted:I didn't realize that there was a Power Rangers reboot or that Elizabeth Banks still had a film career. She directed Pitch Perfect 2, is doing 3, and she just got announced as the director of a Charlie's Angels reboot that I presume she will co-star in in some capacity.
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Apr 19, 2016 19:12
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The Elton John video was actually after the last time he got clean. In fact it was his first job after leaving rehab. That said yeah he was still hungry for recognition and acclaim back then and was still willing to do weird and different films. Kinda lost all respect for him when he bad-mouthed indie films while also saying he wouldn't star in them anymore. What a poo poo thing to say, especially when his dad was an independent filmmaker and the entire reason he was able to get the Tony Stark role was on the back of his work since 2001 which was 90% independent productions.
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Apr 29, 2016 05:08
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The idea that the superhero boom didn't start until 2012 is hilariously myopic. The boom started in earnest with Spider-Man, but movies can take a long goddamn time to develop (Edgar Wright and Jon Favreau were developing their projects in 2003 when Marvel was going to just have a film deal with Artisan Entertainment), but even then they were opening huge and being some of the top grossers of the year (Spider-Man, in 2002, was bigger than Star Wars, let's think about that for a sec).
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Apr 30, 2016 07:36
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What, you saying you don't walk on water or turn water into wine? poo poo man, I heal lepers as a way to get parties started.
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Apr 30, 2016 21:27
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broken clock opsec posted:Watchmen DC made it go from Pretty Good to Pretty Awesome, so there's that if you want an example that's actually from the same director working for the same company making a superhero comic book movie. He also added a scene to Dawn of The Dead for home video while reinserting the Gore he had to remove for the theatrical. His Sucker Punch extended cut adds a number of tiny character moments and one big scene that makes Jon Hamm integral to the movie's message and not a "oh hi there" cameo appearance. In fact I think Man of Steel might be the only live-action Snyder movie that doesn't have a director's cut. Even 300 has a "Complete Experience" cut that inserts some moments here and there. It seems like he at some point just hands his preferred cut over to the studio and if they snip it up he makes sure that the pre-snipped one will make it out into the world in a reasonable amount of time.
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May 1, 2016 00:01
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Luminous Obscurity posted:Batman's reflexive little "woah, buddy" gesture as the gas wears off when he's punching Superman was def one of my favorite gags I've seen in a superhero film in a while Also Superman tapping Batman on the shoulder sending him near the entire length of the alley they're in in response to Batman getting up in his face and being a belligerent rear end in a top hat. *I UNDERSTAND COMPLETELY -" *flies like fifty feet backwards from a tiny push* Most of the jokes are basically centered around Batman, really. Stuff like his pecking with Alfred, or him being like "I am so loving far out of my league" with everything Doomsday like when he has to run and hide under a piece of debris when the energy wave comes while Wonder Woman and Superman just kinda throw their arms up and lower their center of gravity. There's literally just a point where he climbs out from under the rock and watches the other two fight the monster and it's kind of effective as both him being in awe of the spectacle in front of him and also him being like "I have zero goddamn idea what to do here". Which in turn leads to Doomsday turning his sights on him and Batman just pulling an "exit stage left" with his grappling gun and running like Bugs Bunny being chased by Elmer Fudd.
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May 1, 2016 06:50
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I am so amazed that one dude is so willing to blow up any and all connections and relationship he had with a studio and the filmmakers working with it - he actually had an in with Snyder once upon a time - because of which publisher's comics he read as a kid. And all the while, he's being Gossip Gertie about it and trying incredibly hard to scatter the breadcrumbs that so clearly lead back to him by avoiding outright declarative statements. It is the most brilliant slow-motion giant manbaby trainwreck I think I have ever seen on the internet. It's also unsurprising for a guy who thought the best idea for him to do was get into a boxing ring with a filmmaker whose movies he had ravaged up to that point. While still wearing contact lenses. With no headgear. After insulting him and his work to his face. Devin Faraci is a loving gibbering idiot is what I'm saying.
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May 2, 2016 04:23
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And yet, if you're going to be in a combat sports environment with one of those filmmakers, you better hope it's one of the Duplass Brothers, and not the one who is like a foot taller and in much better shape than you.
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May 2, 2016 04:30
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True. I guess he could take on Aaron Katz and have it be a fair fight.
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May 2, 2016 04:34
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The "dusting" of people in that first WotW attack is about a thousand times more horrifying than them exploding into a bunch of blood squibs could ever be. That the ashen remains of people end up coating Tom Cruise and once the adrenaline wears off when he looks in the mirror back home and realizes it? And it makes the bloodferns later even more effective as up to that point Spielberg avoids using that color, and all at once, Cruise steps out into a world that no longer feels like it belongs to humanity. Which matches with the fact that what they do with the people they're keeping alive is about a million times worse than simply disintegrating them. Those people got off easy.
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May 3, 2016 04:39
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