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My Lovely Horse posted:how do y'all feel about the skyscrapers being empty in Fight Club? I feel like comparing a Marvel movie to a satire is the sort of thing that ends up not making the Marvel movie look any better. That's one of the jokes. Tyler's going to bring down the entire credit system and bring the world back to zero, irrevocably loving the economy because he is Jack's unbridled masculine id and cannot truly be with the "constraints" of things like responsibility, but don't worry, he's not going to hurt anyone, Scout's honor. Jack sees the obvious horseshit of his own subconscious lizard-brain plan, that a lot of people are going to get hurt by proxy (having already witnessed it happen with Bob), and that's what puts the two sides of his personality at odds. edit: In fact, this is what happens in BvS - Superman doesn't outright cause deaths by his own hand that we are aware of, but by proxy of him showing up, he causes ripple effects that get people killed, such as the government response to him showing up in the Middle East, and the Capitol bombing. This is what is at the core of Batman's problem with Superman, after all - that by virtue of him existing on our planet, he's gotten thousands killed. What's next, millions? The Cameo fucked around with this message at 09:21 on May 3, 2016 |
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May 3, 2016 09:14
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Snyder's biggest influence on the film is in the bookends since they need to tie into Justice League. Everything about Diana in the past is stuff that either has carried over from MacLaren developing the movie (she wanted WWI while Snyder was pushing for the Crimean War, she won out - this also suggests that early on it was clamped down that she leaves Man's World because Man's World engages in some really loving stupid pointless wars) or is Jenkins' take on the material, with Jason Fuchs bridging it all together as the screenwriter.
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May 6, 2016 03:04
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Davros1 posted:Did he lose Disney a poo poo load of money because of Tomorrowland? There's a reason he immediately found himself getting back to work at Pixar. That said, they kind of get the best of both worlds since he's doing The Incredibles 2. But yeah, Bird is in the same sort of hole Andrew Stanton got put in when they had to write off John Carter. Go back to the proven moneymaker, maybe we'll let you take a risk again like a decade from now. Tomorrowland flopping also probably killed his 1906 San Francisco earthquake movie cold.
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May 9, 2016 15:49
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Drifter posted:I enjoyed Tomorrowland AND John Carter. Well, they're not exactly quick to make. I don't think they'd done anything particular about an Incredibles 2 prior to Bird coming back to Pixar, either, so it's under cover of darkness until like 2017 at earliest since it's not going to be out until 2019.
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May 9, 2016 16:43
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Electromax posted:Seems like Ultron would've depressed the excitement for this movie a bit more in that case. Isn't it doing pretty well despite the previous one being generally accepted as one of the worst Marvel movies thus far? The average person probably doesn't view the movie with the name "Captain America" on it as the same exact franchise as The Avengers. For a lot of people their previous touchstone for a Cap movie would be Winter Soldier. And also if they were on the "every movie in this is part of one big franchise" POV that would mean the previous movie was Ant-Man.
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May 10, 2016 16:45
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To be fair Joss hadn't made his second movie with them and gotten locked out of the edit bay yet.
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May 17, 2016 20:48
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How quickly people forget 2004 and how Snyder committed the blasphemy of making Romero zombies run - and not just a lumbering jog, but full blown sprinting. The corner of horror fans that were zombie nerds (because back then that's all they were - a subculture in a subculture on the fringe of the mainstream) were livid over even the idea of it. 28 Days Later was okay because those were "infected". This was spitting in the eye of George himself. Needless to say, Snyder has always attracted derision for going against the grain. Doing Last Temptation with Superman and having Bruce Wayne going full Falling Down are just the latest trespasses against the borders of nerd culture. And Watchmen is a whole other front. 300 and Sucker Punch are minor (although Punch really, really makes some people sore) by comparison, and Ga'Hoole doesn't even register because what self-respecting nerd goes to see a movie about owls?* You can imagine this guy is going to end up doing Akira, and he's somehow going to make it actually take place in Tokyo and have at least one Japanese/Japanese-American actor as a protagonist and squeeze every last bit of paranoia and grime and insanity contained in that story, and this will somehow be the worst possible thing that could have happened to it and why didn't they just leave it well enough alone, how could they have let him get his grubby mitts on it, he ruins everything * Ga'Hoole kinda loving owns, by the way. A weird Don Bluth and Frank Frazetta lovechild of a thing. Owls with battle helmets and talon swords and a baby owl absolutely disturbed by its own natural body functions and getting Helen Mirren, Excalibur's Morgana, as the big baddie.
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May 18, 2016 08:18
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MeatwadIsGod posted:Actually someone just give us a Metal Gear movie already. I always think of the time an executive from Konami basically lied and said "oh Paul Thomas Anderson is interested in doing it". I think the last guy attached to that movie was the Kings of Summer guy, who's currently shooting Kong. Also I guess the co-writer of Monsters Dark Continent is writing it? My God it might actually work.
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May 18, 2016 17:05
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Alehkhs posted:Ever more Valerian: This movie is going to be the goddamn craziest thing and god dammit I can't wait So I guess Skrillex and Rick Ross will have a track playing over the end credits of Suicide Squad: https://youtu.be/4QnS9UkX7fU?t=9s
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May 19, 2016 00:09
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Richard Donner is 86 years old and hasn't stepped on a set for a decade, I wouldn't exactly see him surviving the shoot. Hell, on a modern blockbuster he'd probably croak during pre-production. Directing big movies cuts years off your life. Especially ones that cost more than some GNPs. edit: as for the running zombies thing, generally people that argued back about 28 Days Later either got "those are different, they're infected people", or they shut that complaint down and people just moved the goalposts onto complaining about the believability of zombie babies or something. Nobody ever brought up Return... I'm just reporting what it was like back when it came out. I'd imagine that if the AICN comments on reviews from back then still exist something would probably show up there. 300 was at least comparably straightforward in that people screamed it was fascist and basically Iraq War propaganda. The Cameo fucked around with this message at 15:55 on May 19, 2016 |
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May 19, 2016 15:44
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CelticPredator posted:If directing big movies cuts years off your life, Ridley Scott must be eternal. Ridley also practically took the 90s off. The biggest budgeted movie he did was GI Jane and that was $50m in a time when an adaptation of the TV show My Favorite Martian somehow cost $65m. His production cost for an entire decade was around $140m (in comparison, James Cameron spent around half a billion over three films). And even since then, he has peppered a lot of less-expensive projects in between massive productions. A Good Year was an excuse for him and Russell to hang out in Tuscany for a summer. The Counselor cost like the catering budget of Robin Hood. American Gangster cost $100 million in a world where $150m was basically the ground floor for big productions. He still hasn't spent more on one film than he has on Robin Hood, ever, over his whole career. To be honest I'm surprised he's still alive, given he's the lone surviving brother in his family, which is even more stressful, especially when both of the others committed suicide. That's a lot of pain to carry around. Corek posted:Richard Donner and especially his wife Lauren Shuler Donner have literally been producing all the X-Men movies. Nobody cared. Well, Richard only had his name on the first and X-Men Origins. Lauren is also the one who negotiated the deal for those film rights, so of course her name is on all the movies. The same way Amy Pascal's name will be on every Spider-Man movie so long as Sony releases them. I still can't quite figure out why Jon Peters had his name on Man of Steel - I'm going to guess that some aspects of it were scooped from the previous pre-Returns Superman false starts that he had been shepherding and it was a legally required credit if they wanted those sequences in the film.
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May 19, 2016 17:17
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HUNDU THE BEAST GOD posted:The biggest star in movies hands down is currently Robert Downey Jr. Leo? Robert is only a star as Iron Man (and maybe Sherlock Holmes, but it's been five years since one of those) at the moment, which pulls in more money overall, but Leo has a consistency across genres and hasn't had a disappointment like The Judge. Motherfucker got an R-rated three hour black comedy about the financial crisis to nearly $400 million. He got The Revenant to nearly $550m. His lowest grossing movies (Revolutionary Road, J. Edgar) still roughly doubled their very small budgets. Leonardo DiCaprio might be the only actor in Hollywood whom people turn out for because he's Leonardo DiCaprio.
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May 20, 2016 03:39
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The test for Lawrence (and Pratt) is if they open Passengers huge or not. If it does open, they're stars in their own right - if it opens to middling money or even doesn't open at all, then they're more tied to franchises than bonafide stars. I mean Joy barely crawled past $100 million on a $60m budget and was promoted hard as a counter to the second weekend of Star Wars, and the opening of Point Break and Daddy's Home (so basically a Christmas movie for adults) as well as being a reunion of Lawrence, Cooper, De Niro and Russell as a creative trio. The other non-franchise work post Silver Linings that Lawrence has put out is Serena, which I won't count against her since shooting it predates SLP and it was just shoved out randomly to cash in on that movie's success as well as the Hunger Games boom.
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May 20, 2016 03:58
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Well internet reporters seem very adamant that Steppenwolf is the villain of part one, so I assume that it'll be "Steppenwolf and some New Gods are the recon/heralds/occupying force Darkseid sends, they're pushed back by the League, Darkseid decides if he wants something done right..." which would have him either as a minor role or being introduced towards the end of it. I have to imagine keeping him as the major villain will be kept for the sequel. My guess is the main closure of the story they're going to go for will be the the Superman arc of going from the unsure man of MoS and BvS to defending His World and standing in the face of Gods, now having risen from the grave, Wonder Woman finding her faith in man again, Bruce regaining hope, Flash and Cyborg proving themselves, Aquaman being... Aquaman (I guess his main arc in JL will be, from stuff that's been mentioned, that Atlanteans and Amazons are not on good terms, and his arc will be learning to forgive and accept Diana as an equal and a partner), that sort of stuff. Delivering emotional closure to the stuff in BvS rather than straight plot bows beyond the Steppenwolf stuff. I also assume we'll find out who is playing some of the New Gods at SDCC and I bet Willem Dafoe is Highfather or some poo poo. And supposedly Javier Bardem has been in negotiations, and I can only imagine if you're looking for a Darkseid... That would be fascinating, by the way. Two No Country alums playing the galactic-level, end boss baddies of two comics publishers in big crossover blockbuster event pictures that basically tentpole an entire year for their respective studios alongside one other huge property (Star Wars and Harry Potter). How different the industry has gotten since 2007.
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Jun 8, 2016 00:29
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Simmons has always been a beefy guy, but good god almighty https://www.instagram.com/p/BE1RkVuvvJl/ Zack Snyder gives everyone compulsive gym disease it seems, even his photographer (Clay Enos) is loving ripped to shreds
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Jun 8, 2016 01:12
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They stopped talking about doing a two-parter before BvS even came out. Terrio kept on saying he wasn't doing the second one and had written Justice League as a brighter conclusion to the "trilogy" of MoS/BvS/JL, and instead of going "maybe that means they're no longer one big movie split in half" they reacted with "Justice League two-parter to change writers midstream?!" Hell, Warners dropped the "Part 1" from Justice League months out from the release of BvS when they would talk it up at investor talks or promoting the future slate to media. Like in late 2015, that's how far back we're talking. What probably happened was that both Terrio and Snyder expressed a wish to not be tied to these movies perpetually (Snyder will have been doing DC universe movies for five years straight, no real breaks, when JL comes out), so Warners gave in and cut the two-parter idea and simply stopped referring to the movies as such. Dollars to donuts they're trying to get Justin Lin on to do JL2, which is why they seem to be letting him cut loose on making Space Jam 2 his way. Snyder has both an adaptation of The Illustrated Man that he's wanted to do since Sucker Punch, and has gotten his eye on the Ayn Rand screenplay for The Fountainhead, so he wants to pursue that stuff on WB's dime as a "you owe me" for doing the whole DC thing and giving them this whole launching point and probably remaining on as an executive producer and a guy to schmooze creatives onto the projects. Terrio probably has offers to direct screenplays that he's written, and for the most part got sold on even doing these DC scripts by Affleck and Snyder in the first place.
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Jun 21, 2016 18:14
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Dan actually did a pass on the Skull Island script, so you're both right. Kinda.
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Jun 27, 2016 18:52
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BvS has contextual counterweight with that shot since it leads into the pundit montage and the overarching story of the "survivor" of his Mideastern adventure acting as a specter over his characterization. He inspires hope in the downtrodden, but in the back of mind the words of people on TV are gnawing at him. It's a humanizing moment mixed in the center of a frame that posits him as a god to some. Avengers has a Greatest Generation member tell Loki to go gently caress himself and then another Greatest Generation member dressed like the flag shows up and punches him. I mean, the joke is great on a weird level - Loki gets called Hitler and Cap gets to punch a fake Hitler ONE MORE TIME, figuratively - but it's a simplistic thing that further waters down Loki as a character coming off of his much more textured portrayal in Thor.
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Jul 7, 2016 19:37
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One's from a movie that's wrapped and in full-scale post, going through the real color grading process, with any digital effects having been worked on since even before the movie started shooting. The other started shooting three months ago, had a basic color pass done on it to make it look reasonably presentable, and maybe has had five or six months of any FX work done, when projects of this kind literally go up to the last forty-eight hours before a world premiere to lock picture on the digital work on the regular. Like it's a rough, rough version of what it eventually will look like. Especially Cyborg - his appearances are so "this was the most presentable pass we had ready for marketing to to approve". And his work is probably the furthest behind because almost anything that can be pushed on with had to start after Fisher started shooting, since it has to be matched to his performance. Even Flash's FX shot is really, really basic. There's a reason why 95% of the "trailer" is people talking, practical work (Momoa and the water, specifically), and shots that don't have fifty different distinct digital pieces going on. The funny thing is that this is why studios are always incredibly reluctant to put out something involving the stuff they just started on, regardless of how big it is. Because it's going to look like crap compared to a finished product, or even to a half-finished product that has moved to a full post schedule. People at the con are going to forgive these things because they're made really aware "this is an early early sneak peek" and they're wildly in love with the concept in the first place. But people complained so much about Suicide Squad not being online last year that they went with putting everything up this year to head off the headaches there. That said, the lighting is so Game of Thrones that it's pretty hilarious. Blown out skies, blues and grays everywhere, hot windows. You can tell where the cinematographer's spent the last several years.
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Jul 24, 2016 02:36
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Sir Kodiak posted:Definitely a shame that Larry Fong was only able to drop in for Batman v Superman and then left for King Kong: Skull Island, though obviously good for that movie, whose trailer is very pretty. I can also understand not going back to Amir Mokri, even though Man of Steel is a very pretty movie, since the tone is far off from that movie and getting someone already accustomed to shooting set-based work with a lot of digital elements in the mix at a quick clip is only a plus. But yeah, Skull Island is lit fantastically, as expected from Fong. For a guy who sounded pretty sad he wouldn't get to shoot with Zack again immediately, he certainly hasn't half-assed his work there. What I really want to know is who is Rick Famuyiwa going to grab for Flash. I hope he continues on the roll he's on with Rachel Morrison - both Dope and Confirmation are pretty sumptuous-looking pictures.
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Jul 24, 2016 03:06
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My Lovely Horse posted:Guardians of the Galaxy shoulda been a heist movie, come to think of it. All the planning for Ant-Man being the "heist movie" series in Marvel's catalog probably put a stop to any potential of that.
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Jul 25, 2016 20:47
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Karen Fukuhara speaks both English and Japanese fluently. She's from LA. Worked on Disney shows in Japan. Also apparently is a martial arts champion.
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Jul 27, 2016 02:01
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Sir Kodiak posted:I'm pretty sure all of Snyder's stuff has been shot on film. Ayer also shot Suicide Squad on film and Wonder Woman is as well. I think Bugblatter brought up either in this thread or the BvS one that Snyder's so dedicated to shooting on film his movies are like one of, if not the, last projects using an insanely high speed film camera for his speed ramping shots and slow-mo inserts instead of just switching over to a digital camera to get them.
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Jul 28, 2016 22:26
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He was being sarcastic.
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Aug 2, 2016 16:59
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The depressing part about Civil War is it quickly revealing itself to be "spinning wheels, the movie" because it's not time to punch up things for Infinity War but they still need a movie for the summer. So nobody who'll actually need to be okay for the next Avengers gets hurt or even gets a glancing blow, they sacrifice one of the "unimportant" characters the audience has now sunk cost fallacied themselves into caring about (poor Don Cheadle, having one movie where he gets to do much of anything in and it being practically erased by the ongoing "continuity" of the movies), and they leave a blatant hook for that next Avengers movie with a loving burner phone in a UPS envelope so that people feel like something happened.
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Aug 3, 2016 16:17
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The co-directors of John Wick were stuntmen on the Matrix movies, which is how they ended up doing the movie in the first place - Keanu approached them about doing stunt work or choreography for it, with the underlying thing being "you should just direct this". They fell in love with the concept and rewrote the script from there and pitched a take and got the job. Thus, like half the people John kills in the movie are people who Neo killed in The Matrix movies. Because it's just a big happy family of stuntmen.
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Aug 3, 2016 21:54
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Why is it every time I hope one of y'all is posting the "I can't believe this is a commercial for a Batman movie" video, it's always ABC Family's commercial and not this one, literally produced by Warner Brothers to play on The WB and UPN: https://youtu.be/y9NNIQ-F5lw The different subtext of that "Batmobile through the waterfall" bit is some crazy poo poo on its own, that is some magical editing right there
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Aug 15, 2016 15:57
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Snowglobe of Doom posted:They very rarely have anything to do with it unless they have enough pull to get something written into their contract. I've heard stories that the director on John Carter had a lot of pull in the ad campaign for that movie but he also shot scenes in such an order that not a lot of good stuff was sufficiently complete for the ads anyway, but on the other hand that might just be rumours spread by Disney peeps who wanted to throw him under a bus. There's also the famous mistake Sony Pictures made of letting David Fincher have control of the Girl With The Dragon Tattoo ads, which immediately led to David having the photoshoot with Craig and Mara where she's topless and having that be the teaser poster for the movie. They had to talk him down to sending the poster out with a sticker over the areola as to avoid people absolutely losing their poo poo. Then he spent a chunk of change (on SPE's dime) on the music rights to "Immigrant Song", which at least got them an award-winning teaser trailer.
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Aug 15, 2016 20:24
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Nolan did a page one rewrite of the Goyer Batman Begins script, itself influenced by the Year One script Aronofsky and Miller wrote a half decade prior. Beyond that, Dark Knight and Dark Knight Rises were 100% Chris and Jon, with Goyer getting a credit for the use of characters like Rachel and other reoccurring aspects that can be linked back to his Begins draft (thus the story, and not screenplay, credit). Goyer did sit in on the writing sessions for Dark Knight, but acted as the watchman of canonical stuff - basically keeping them from diverting too much off the established archetypes of Batman/Joker/Two-Face stuff. He was basically entirely out of the picture during Dark Knight Rises' development as he was working on the story Bible for Da Vinci's Demons and writing Man of Steel by that point.
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Sep 8, 2016 21:20
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Sure am looking forward to the dimension tripping movie written by the guy who got angry at Inception's ending because Christopher Nolan didn't show us whether the top fell over or not. And directed by the guy who might have the single blandest filmography in genre filmmaking.
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Sep 9, 2016 03:08
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The key phrase to get in the contract is "first-dollar gross participation", which is that a percentage (almost always small - under one percent) of the money that comes in to the studio is immediately cut into a stream that specifically goes to you, before any internal accounting is done on it, at which point money just appears to disappear down a dark hole that no one in accounting is willing to rappel down into. Like nobody ever has this, though. Nolan has it. Spielberg. The Weinsteins have let Tarantino have it after Pulp Fiction basically made Miramax (Tarantino pulled in somewhere around $35-$40 million off of Inglorious Basterds, and close to that off of Django Unchained -- Quentin Tarantino is probably worth north of nine figures at this point, dude is obnoxiously rich). And I want to say only Nolan and Spielberg have large up-front quotes that they get in addition to that first-dollar gross, and I don't even know if Spielberg necessarily has that anymore, since the town for whatever reason at this point has deemed him as old hat. Jenny Angel posted:Having heard the rule of thumb for how much a movie needs to make compared to its budget to be truly profitable increase from 2 to 3 to 4 in the last few years, I'm genuinely curious which of two uniquely pathetic scenarios is true: The joke here is that distribution is cheaper than ever, as more and more digital cinema takes over, cutting out so many middlemen as now DCPs are sent by courier in bulk to like five thousand theaters across the world. No more striking prints, no more courier-to-courier passing down the line driving up costs. No more prints wearing down on a long run requiring replacement prints to be struck six to eight weeks into it - plus simpler and easier retrieval of the "films" as they get popped into boxes and dropped in a FedEx box - we're at a point now where a studio putting out an actual amount of film prints out of anything more than necessity of them wanting to play a movie in some random corner of the world is newsworthy. The 70mm roadshow presentation of Hateful Eight? That The Master and Inherent Vice were given limited 70mm runs? That Dunkirk will be IMAX 15-perf and 65mm from start to finish and available in the film print versions of those formats? These were all newsworthy. A few decades ago, it was goddamn expected that there'd be a 70mm blow-up of the big movies, with some of the truly big swaggering names in the industry getting to swing their dicks and shoot in 65. So the answer is #2. The Cameo fucked around with this message at 01:32 on Sep 14, 2016 |
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Sep 14, 2016 01:29
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Hinds will always be one of the Jewish assassins in Munich to me.
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Nov 5, 2016 00:33
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He looks like a design rejected from an inFamous game. poo poo, he might be a design rejected from an inFamous game. Who knows.
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Nov 19, 2016 04:24
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He has his BvS outfit, and then presumably at some point he goes "okay, poo poo's gotten out of hand here, I'm gonna need something a little tougher" and has that thing. The goggles look hilarious. I'd guess they're winding up for a trailer soon if they're putting out this image. Gonna assume the ramp is going to lower and there's going to be that shot of them all in line before the title, and the button will be a shot of Superman waking up or appearing evil or some poo poo.
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Jan 9, 2017 00:55
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Timby posted:God, I totally glanced past that. Looks like Nite Owl. I kinda hope Zack continues to find increasingly weird ways to reference back to that movie with every capeflick he makes. He's definitely making a run of it so far.
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Jan 9, 2017 01:30
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Timby posted:The layman's version is that Microsoft went with a slower, cheaper type of RAM (DDR3) in the Xbone. It was also endemic of their initial plans of the thing becoming a replacement set top box more than a gaming console in an attempt to truly mainstream the brand. They went in the wrong direction according to the base of people who were early adopters, and they've been trying to walk it back ever since (very clumsily). Much like Warners making the switch from "our heroes exist in a world just like ours, and have to deal with the same reality we deal with" to "oh, our heroes are going to be fun now" with the DCEU.
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Jan 10, 2017 22:18
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Yeah, that quote has been floating around for a couple of days and it was what I was thinking of when I wrote that last sentence.
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Jan 10, 2017 22:41
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Marvel tossed a contract for $250,000 at Mickey Rourke when he was coming off his Oscar nomination for The Wrestler. Downey had to go to bat for him and say "give him at least a million, guys, come on, it's not even a deal with options in it" and Marvel raised the offer. I think they only paid Sam Jackson like $900,000 per film for his nine movie deal. Mind you the deal was such that if he showed up for thirty seconds or thirty minutes in a movie he got paid the same. I want to say Evans had the rawest deal of all, since he wasn't on an uptick when he got cast - his initial deal was only for $300,000 with a small bump per following appearance. It was that post-Avengers renegotiation where Downey basically said "pay them more now or I'll sit on my contract until you do". Even then, Downey is getting $20 million, sometimes $30m, sometimes 40, to do these pictures while Evans floats around $10m. Methinks Evans needs a new agent. Comparably Warners pays actors incredibly well, and after settling with HarperCollins/Tolkein's estate to tie off the LOTR royalty lawsuit against New Line, they've clearly put their rear end in gear to pay anyone who has any sort of rights to a character a fair share as well. This has kind of been the Warners m.o. since the Studio Era - pay the talent better, give them more rope than other studios, and they'll flock to you. How else do you think they got Marlon Brando and Gene Hackman to be in a Superman movie?
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Jan 24, 2017 23:05
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https://youtu.be/FXpiRzumrVY I'm just gonna toss this in here. Warning: contains actual unironic quoting of Robert McKee's STORY, one of the great bullshit screenwriting books of all time that teaches about how to write well with all the capability of a bald tire on an ice patch. The Cameo fucked around with this message at 14:24 on Jan 28, 2017 |
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Jan 28, 2017 14:21
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HUNDU THE BEAST GOD posted:Save The Cat and STORY have a lot to answer for. I'm gobsmacked that anyone would attempt to use that as an authoritative statement on anything, or even a good example. These are books for people who really want to be a screenwriter but don't want to read scripts, which is like learning how to cook by starving yourself. I felt like the video was on wobbly ground when it suggested that a character being heroic the first time we see them and the last time we see them is a problem, ignoring great swaths of the picture where, out of costume, he is a guy trying to find a place in the world, which is the actual underlying story. Then he said "in Robert McKee's great book, STORY..." and I had to close the window, because fuuuuuuuck is that the worst thing to quote in any cinema or storytelling argument.
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Jan 28, 2017 16:54
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