The Hollywood Reporter


The Elevator Pitch is the art of summing up your movie idea in a line or phrase that can instantly give the listener an impression about the theme or genre of a project. For example, “Die Hard on a bus.” That’s Speed in a nutshell. Or Wagon Train to the Stars, which is how Gene Roddenberry pitched Star Trek to NBC in the 1960s. So what kind of movie does the pitch “Godzilla Meets Lost In Translation” conjure? How about “Transformers versus Adaptation“? Well that’s how the new movie Colossal is being described, and now Anne Hathaway, who’s no stranger to high-concept projects, has been cast to star in the film. (more…)


When motion capture performance became a thing at the beginning of the 21st century, Andy Serkis was at the forefront, and it was his dedication and talent playing Gollum in The Lord of the Rings trilogy that made people realize this was an extremely effective tool in creating a new kind of performance on film. Still, like most technological evolutions in Hollywood, there has yet to be a lot of love for it from the establishment, and by that we mean major awards consideration. There’s been talk before of Serkis getting a nod for Lord of the Rings or other roles where his performance has been motion captured, but Twentieth Century Fox is now apparently getting ready to make a serious push for Serkis to get an Academy Award nomination for his work in Dawn of the Planet of the Apes. (more…)


It seems that comic book movie firings can make for great soap opera, as further sordid particulars regarding the divorce between Edgar Wright and Marvel Studios spill out into the open. While some have inexplicably been backing the corporation (just look at the comments on Latino Review’s initial breaking of this story and then the ones on my own reporting), the rest of us who care about our cinema not being completely homogenized have been wondering if this is a case of Marvel going too far in terms of creative meddling. A new story over at The Hollywood Reporter has some pretty damning insight, all but directly confirming that the comic book entertainment factory couldn’t care less about “vision”. (more…)


Following in the footsteps of The Lion King, Monty Python and the Holy Grail, The Producers and Evil Dead, it seems that the next Hollywood movie heading for a musical adaptation is The Princess Bride. Inconceivable? Not really, since the deal involves no less than the man behind the story in the first place and one of the biggest names in huge, stage musicals currently working. (more…)


Damon Lindelof is one of the busiest screenwriters currently in show business, and it’s all thanks to his six years show running Lost. Well, we all know how that ended, and if we had forgotten, the internet reminded us the other night following the final episode of Breaking Bad.

Lindelof was recruited to write a piece commemorating the end of Breaking Bad by The Hollywood Reporter, and at some point it turned into a pseudo-apology slash admission of guilt concerning the alleged crapiness of the end of Lost.  “I agreed to write this piece because I am deeply and unhealthily obsessed with finding ways to revisit the Lost finale and the maddening hurricane of shit that has followed it,” Lindelof wrote.

“In the comments section of the piece I did not write, the following sentiment would have been echoed dozens of times over: ‘What the f— do you know because you f—ed up Lost?!?'” he continued. “How do I know this? Well, for starters, my Twitter feed was pretty much a unanimous run of, “Did you see that, Lindelof? That’s how you end a show.”

That’s true, and some of it was pretty nasty. Still, Lindelof admits that he’s got a problem. “Alcoholics are smart enough to not walk into a bar,” he explained. “My bar is Twitter. It’s Comic-Con. It’s anytime someone asks me to write an article even casually relating to Lost.

“And what do I do? I jump at the opportunity to acknowledge how many people were dissatisfied with how it ended. I try to be self-deprecating and witty when I do this, but that’s an elaborate (or obvious?) defense mechanism to let people know I’m fully aware of the elephant in the room and I’m perfectly fine with it sitting down on my face and shitting all over me.”

Well, there’s an image. Lindelof goes on to say that he’s tired of the fight, and that he appreciates the quiet number of Lost fans who are fans of the finale and feel like lepers because of it. So he’s decided to offer us a truce:

“I’d like to make a pact, you and me,” he said. “And here’s your part: You acknowledge that I know how you feel about the ending of Lost. I got it. I heard you. I will think about your dissatisfaction always and forever. It will stay with me until I lie there on my back dying, camera pulling slowly upward whether it be a solitary dog or an entire SWAT team that comes to my side as I breathe my last breath.

“And here’s my part: I will finally stop talking about it. I’m not doing this because I feel entitled or above it — I’m doing it because I accept that I will not change hearts nor minds. I will not convince you they weren’t dead the whole time, nor resent you for believing they were despite my infinite declarations otherwise.”

There. Everybody happy now? That’s what I thought. But because he can, Lindelof decided to get one last word in before signing off.

“I stand by the Lost finale,” he said. “It’s the story that we wanted to tell, and we told it. No excuses. No apologies. I look back on it as fondly as I look back on the process of writing the whole show. And while I’ll always care what you think, I can’t be a slave to it anymore. Here’s why: I did it for me. I liked it. I was good at it. And I was really … I was alive.”

So there you go, internet, you won. Lindelof is broken-ish. Lesson learned.

Source: Blastr


I’m a bit behind on Game of Thrones, did anything big happen in the last episode? Kidding. But while fans revel in the awesomeness of the great Red Wedding scene in last week’s episode, a kettle of fish about the portrayal of violence on TV seems to have once again been opened.

Game of Thrones producer Dan Weiss weighed in on the debate via The Hollywood Reporter, and called the network TV approach to violence “sanitized,” and that it’s desensitizing the kids of the America. Here’s what Weiss had to say:

“Violence in the real world is awful to witness. But it’s the sanitized versions of violence on TV that are worse … On network TV, people die in droves in a way that’s clean and easy to watch and fun. It’s more like an old video game… 

Especially with the gore, there’s a line beyond which it starts to work against itself and… looks like The Evil Dead 2 – it becomes a splatterfest.”

He’s got a point. Half the shows on network TV start with a hooker being found in a dumpster, and it’s almost always bloodless. In fact, there was more blood on M*A*S*H then there is on the average episode of CSI. But I digress, where do you Bastards weigh in on this?

Source: Blastr


Not only is there a new Superman movie coming out this summer, but it’s the Man of Steel’s 75th birthday. It’s been three-quarters of a century since the Last Son of Krypton first passed through the comic book pages of the local newsstand, and it seems that some top creative talent wants to pay homage to that history in a new animated short, including Man of Steel director Zack Snyder and Superman: The Animated Series producer Bruce Timm.

The concept of the film, one conceived by Snyder apparently, will be a three minute unbroken shot that will show the evolution of Superman from the 1940s through to the most recent variation portrayed by Henry Cavill. Here’s the quote:

Max Fleischer’s cartoons, on-screen portrayals by George Reeve and Christopher Reeves, iconic versions drawn by artists Wayne Boring, Curt Swan and Neal Adams, on up through Henry Cavill’s interpretation in Man of Steel.

The film will also reportedly feature collaboration with Man of Steel storyboard artist and Justice League: Flashpoint director Jay Oliva, DC writer/editor Geoff Johns, former Superman line editor Mike Carlin and Creative Director of Warner Bros. Animation Peter Girardi.  According to The Hollywood Reporter, an unfinished version of the short will be previewed at San Diego Comic-Con in July with the finished film to be released sometime later this year, likely on the Man of Steel Blu-Ray.

Sounds like a cool idea. I’m looking forward to seeing it, who’s with me?

Source: Bleeding Cool


Remember that time the Clash of the Titans remake came out just a couple of months after Avatar convinced Hollywood that it became the highest grossest movie of all time because it was in 3-D? Well, the man behind Clash says the rushed post conversion 3-D in his film says it sucked.

I’ll let that sink in.

While talking to The Hollywood Reporter, Louis Leterrier, who’s doing press for his new film Now You See Me, discussed how he was “literally thrown under the bus,” and how the studio twisted his arm in its decision to convert the film to 3-D in post-production was made by the studio brass.  “At one point it was like, ‘Yeah, Louis chose the 3D.’ And I was like, ‘No, guys, I didn’t choose the 3D. I actually told you it’s not working. I couldn’t control it. I said don’t do it.’”

As for what happened after that…

It was famously rushed and famously horrible. It was absolutely horrible, the 3D. Nothing was working, it was just a gimmick to steal money from the audience. I’m a good boy and I rolled with the punches and everything, but it’s not my movie.

That was a bold statement for Leterrier to make… more than four years after Clash of the Titans came out. But at least we have official confirmation from someone in the know that, yeah, they made a boo-boo converting Clash to 3-D in post. C’est la vie.

Source: /Film



The comic book series The Walking Dead has been going strong nearly a decade, and has published over 110 issues and counting. So all things considered, like the tremendous success of the TV series that bears The Walking Dead’s name, should we expect a similar, never-ending story approach to the highly-popular AMC series. Well, one AMC executive seems to think so according to the Hollywood Reporter.

“We hope that zombies live forever and we’ve just begun to find out what the post-apocalyptic world is like,” said AMC Networks CEO Josh Sapan, “so that we’ll be sitting here at the Barclays conference in 2022 discussing the fact that Walking Dead is not over.”

I’m sure riding the Walking Dead gravy train is very appealing to AMC right now, and it will be interesting to see how Sapan will feel about the issue in as The Walking Dead does into its 12th season. In the meantime, the fourth season of The Walking Dead will begin shooting this summer for an October 2013 launch.

Source: Coming Soon

New Screenwriter Hired for ‘Ben 10’


Just a quick update this morning for anyone anxious to see a live-action movie on the big screen based on the Cartoon Network series, Ben 10. The film is under development by uber-producer Joel Silver, the man behind The Matrix, Sherlock Holmes and Lethal Weapon films, and up until recently, Albert Torres (Henry Poole is Here) was toiling on the script. Now, it’s being reported by The Hollywood Reporter that Ryan Engle (New Line’s upcoming adaptation of the video game Rampage) will be reworking the screenplay.

Do you remember Ben 10? If not, here’s the premise courtesy of Wikipedia:

Ben 10 centers around Ben Tennyson, a ten-year-old boy on a cross-country summer vacation, with his cousin Gwen and their grandfather Max. On their first night camping in their grandfather’s RV affectionately named the “Rust Bucket,” Ben finds an alien pod with a mysterious watch-like device named the Omnitrix. The device then permanently attaches itself to his wrist giving him the ability to transform into a variety of alien life-forms each with its own unique skills and powers. With his newfound super powers Ben has to learn the responsibilities of being a hero. During their vacation, the Tennysons are attacked by various enemies ranging from space aliens to supernatural entities.

Source: Comic Book Movie