In January, it was rumored that 20th Century Fox was developing a Predator reboot titled Predators with Robert Rodriguez and Troublemaker Studios in the producers chair. Rodriguez confirmed the rumors at a news conference today at Troublemarker Studios for the long-awaited reform of the Texas film incentive program.
IESB reports that Rodriguez gave a list of the many projects he has in development which he hopes to shoot in the state:
“I’m going to be able to shoot my upcoming Machete here, a sci-fi action film called Nervewrackers, a re-boot of the Predator series called Predators, and a couple of smaller movies called Sin City 2 and The Jetsons.”
Nervewrackers has an announced April 15th 2010 release date, and is likely to go into production next. Warner Bros is still hoping to have The Jetsons ready for 2012. Who knows when Rodriguez will find time to helm a Predators reboot.
The film is expected to follow a team of commandos who must face a mysterious race of vicious monsters. That’s right, multiple Predators… not just one. Rodriguez is at his best when it comes to the intergration of special effects into a story, and Predators might be a good arena for the filmmaker to play in. Lets just hope that Fox has hired someone good to write the script.
Friday, April 24, 2009
Thursday, April 23, 2009
Girl Talk Experimenting With Actual Songs For Next Album
Songs are what Gregg Gillis -- aka mash-up master Girl Talk -- is honing in on as he considers a new direction for the follow-up to 2008's lauded "Feed the Animals."
"I'm experimenting with different structures and different ideas," Gillis told Billboard.com during a conference call to advance his performance at this year's Bonnaroo Music and Arts Festival. "I'm interested in working on individual songs -- kind of in the style I've been doing, but with actual repetition as opposed to linear structure and stuff like that, some elements with a verse-and-chorus sort of structure as opposed to going through 50 minutes of change-ups the entire time. I want to evolve and keep refining."
That said, Gillis added that he's not pushing any sort of timetable for a next album.
"I'm constantly working on material," he said. "Every day I cut up music. I try not to be concerned with what will be on an album. I just try to come up with small ideas I introduce into the (live) set, and I'll eventually get to the point where I say, 'OK, here's this slightly new sound. I feel like there's some evolution.' I'm interested in putting out music, and it's always nice to give people music."
Although he's been courted by other labels in the wake of his "Feed the Animals" success, Gillis said he's planning to stay with Illegal Art. "I feel like we're a team, like they're a member of the band," he explained. "It would feel insane for me to go anywhere else." But he's not sure yet if he'll repeat the pay-what-you-want program he used for "Feed the Animals," saying that while it's a good interim step "it doesn't work for a long-term solution."
Gillis said there's a possibility he'd also consider some live releases from his shows, and after appearing at last weekend's Coachella Music and Arts Festival he's starting to plot out what he wants to do a Bonnaroo, which may well include music from other artists on the bill.
"I won't go out of my way to sample an artist because I'm playing (at the same festival) with them," noted Gillis, who also performed at the 2007 Bonnaroo festival. "In the case of (Bruce) Springsteen or the Beastie Boys or Al Green, people I've sampled before in the past, in that case I would love to include (their music). There's lots of ideas floating around...I want to be as diverse as possible."
This year's Bonnaroo takes place June 11-14.
"I'm experimenting with different structures and different ideas," Gillis told Billboard.com during a conference call to advance his performance at this year's Bonnaroo Music and Arts Festival. "I'm interested in working on individual songs -- kind of in the style I've been doing, but with actual repetition as opposed to linear structure and stuff like that, some elements with a verse-and-chorus sort of structure as opposed to going through 50 minutes of change-ups the entire time. I want to evolve and keep refining."
That said, Gillis added that he's not pushing any sort of timetable for a next album.
"I'm constantly working on material," he said. "Every day I cut up music. I try not to be concerned with what will be on an album. I just try to come up with small ideas I introduce into the (live) set, and I'll eventually get to the point where I say, 'OK, here's this slightly new sound. I feel like there's some evolution.' I'm interested in putting out music, and it's always nice to give people music."
Although he's been courted by other labels in the wake of his "Feed the Animals" success, Gillis said he's planning to stay with Illegal Art. "I feel like we're a team, like they're a member of the band," he explained. "It would feel insane for me to go anywhere else." But he's not sure yet if he'll repeat the pay-what-you-want program he used for "Feed the Animals," saying that while it's a good interim step "it doesn't work for a long-term solution."
Gillis said there's a possibility he'd also consider some live releases from his shows, and after appearing at last weekend's Coachella Music and Arts Festival he's starting to plot out what he wants to do a Bonnaroo, which may well include music from other artists on the bill.
"I won't go out of my way to sample an artist because I'm playing (at the same festival) with them," noted Gillis, who also performed at the 2007 Bonnaroo festival. "In the case of (Bruce) Springsteen or the Beastie Boys or Al Green, people I've sampled before in the past, in that case I would love to include (their music). There's lots of ideas floating around...I want to be as diverse as possible."
This year's Bonnaroo takes place June 11-14.
Experience Flash Forward on Lost Next Week
The Hollywood Reporter says that ABC will be launching a stealth promo campaign for new series "Flash Forward" during the 100th episode of "Lost" next week.
The trade says that the commercial breaks are "sure to raise a host of new ones with perplexing snippets that might direct viewers to a Web site."
Based on Robert J. Sawyer's sci-fi novel, David S. Goyer and "Star Trek" veteran Brannon Braga's "Flash Forward" stars Joseph Fiennes and chronicles the aftermath of a global event in which everyone in the world blacks out for 2 minutes, 17 seconds and has a mysterious vision of the future.
The trade says that the commercial breaks are "sure to raise a host of new ones with perplexing snippets that might direct viewers to a Web site."
Based on Robert J. Sawyer's sci-fi novel, David S. Goyer and "Star Trek" veteran Brannon Braga's "Flash Forward" stars Joseph Fiennes and chronicles the aftermath of a global event in which everyone in the world blacks out for 2 minutes, 17 seconds and has a mysterious vision of the future.
Shuler Donner on Magneto, Constantine 2
SCI FI Wire talked to X-Men Origins: Wolverine producer Lauren Shuler Donner about the possible Magneto film and asked whether Constantine 2 was still in the cards.
About Magneto, she said: "I don't know. We have a great script. Honestly, we have all been just so focused on getting 'Wolverine' out that we didn't take the time to sit down and explore 'What are the movies we're going to do next within the genre?' We will do that. We will do that. We all want to. 'Magneto' is a fantastic script, and hopefully we'll make it. I don't know."
She added that Constantine 2 is looking "very good. Thinking about it. Looking for a writer."
About Magneto, she said: "I don't know. We have a great script. Honestly, we have all been just so focused on getting 'Wolverine' out that we didn't take the time to sit down and explore 'What are the movies we're going to do next within the genre?' We will do that. We will do that. We all want to. 'Magneto' is a fantastic script, and hopefully we'll make it. I don't know."
She added that Constantine 2 is looking "very good. Thinking about it. Looking for a writer."
Frank Miller is Looking For a New Home For Sin City 2
A couple weeks ago IESB reported that The Weinstein Co had waited too long and lost the rights to a Sin City sequel. We never reported the story because Entertainment Weekly was quick to debunk the reports, quoting Weinstein Co. lawyer Bert Fields as saying: “TWC’s rights to produce sequels to Sin City remain intact as they always have been. Any suggestion to the contrary is complete hogwash.” But it now appears the intitial reports might have been true after all.
The Hollywood Reporter claims that the sequel rights to Sin City are being shopped around Hollywood by representatives of Frank Miller’s estat. Why would miller be shopping around the sequel rights if Dimension still has claim to the property? It is very possible that The Weinstein Co’s option of the property did lapse, as it is common to have development inactivity clause in a contract. But usually that term is mch longer than four years.
In a day and age when 3D films are all the rage (huge money-making potential), a sequel to a hybrid film like Sin City, which unofficially has 3D written all over it (Robert Rodriguez is a big supporter of the 3D movement), has the potential to makesome good money. If TWC did lose rights to Sin City 2, than it is a huge fuck up on their part. Sin City was one of the company’s few potential money-making franchises.
The Hollywood Reporter claims that the sequel rights to Sin City are being shopped around Hollywood by representatives of Frank Miller’s estat. Why would miller be shopping around the sequel rights if Dimension still has claim to the property? It is very possible that The Weinstein Co’s option of the property did lapse, as it is common to have development inactivity clause in a contract. But usually that term is mch longer than four years.
In a day and age when 3D films are all the rage (huge money-making potential), a sequel to a hybrid film like Sin City, which unofficially has 3D written all over it (Robert Rodriguez is a big supporter of the 3D movement), has the potential to makesome good money. If TWC did lose rights to Sin City 2, than it is a huge fuck up on their part. Sin City was one of the company’s few potential money-making franchises.
New Live-Action Teenage Mutant Ninja Turtles Movie in 2011
Wow, I feel old. Tomorrow is the 25th birthday of the Teenage Mutant Ninja Turtles. To celebrate, a 25th Anniversary “Shell-ebration” is schedules in association with the Tribeca Film Festival. The World Financial Center Plaza will be transformed into a drive-in pizza party screening of the 1990 live-action film complete with glow-in-the-dark manhole covers, a turtle-green colored Empire State Building, an all-new Party Wagon replica, and an appearance by the turles themselves. Click here for details . But the bigger news is that The Mirage Group has officially announced that they will be making a new live-action film for 2011.
The new movie will be a Batman Begins-style reboot, showing the origins of the team of crime-fighting mutant turtles. Legendary Pictures will be producing the film, and co-creator Peter Laird is on board as executive producer. Laird says that the new movie “will remain true to the spirit of the original comic books. ” The movie might also use a new face replacement technology, which would allow the turtles to be much more expressive.
I’d love to see something more along the lines of the original gritty comic book (shown above), but I also understand that the marketplace for a ninja turtle film skews young, especially when merchandising comes into the equation. I was disappointed by the most recent computer animated TMNT film due to the kiddie tone and feel. I’m hoping that this new reboot will be treated as a comic book film rather than a kids movie.
The new movie will be a Batman Begins-style reboot, showing the origins of the team of crime-fighting mutant turtles. Legendary Pictures will be producing the film, and co-creator Peter Laird is on board as executive producer. Laird says that the new movie “will remain true to the spirit of the original comic books. ” The movie might also use a new face replacement technology, which would allow the turtles to be much more expressive.
I’d love to see something more along the lines of the original gritty comic book (shown above), but I also understand that the marketplace for a ninja turtle film skews young, especially when merchandising comes into the equation. I was disappointed by the most recent computer animated TMNT film due to the kiddie tone and feel. I’m hoping that this new reboot will be treated as a comic book film rather than a kids movie.
Tuesday, April 21, 2009
West to Direct Statham in Mechanic Remake
Simon West is in talks to direct Jason Statham in a reinvention of the 1972 Charles Bronson action classic The Mechanic, reports Production Weekly.
In the film, Bronson played Arthur Bishop, a mob hit man who operates in a world of his own an uncompromising world where conventional rules of morality don't apply and where one wrong move could cost him his life. He's always worked alone but, as age catches up with him, Bishop takes on a competent and ruthless apprentice (Jan-Michael Vincent) and teaches him everything he knows. Together they becomean unmatchable team of globetrotting killers until the pupil's ruthlessness puts him on a collision course with his teacher.
Michael Winner directed the original.
In the film, Bronson played Arthur Bishop, a mob hit man who operates in a world of his own an uncompromising world where conventional rules of morality don't apply and where one wrong move could cost him his life. He's always worked alone but, as age catches up with him, Bishop takes on a competent and ruthless apprentice (Jan-Michael Vincent) and teaches him everything he knows. Together they becomean unmatchable team of globetrotting killers until the pupil's ruthlessness puts him on a collision course with his teacher.
Michael Winner directed the original.
David O Russell To Direct Christian Bale in The Fighter
The Fighter has been struggling to make it to the big screen for the last two years, and is finally back on track with David O Russell at the helm. Christian Bale is now signed to play Dicky Eklund, a real life boxer-turned-trainer who rebounded after a run of drugs and crime. Dicky shepherded his half-brother “Irish” Micky Ward in a Rocky-like rise to world lightweight champion. Ward fought throughout the mid-’80s and ’90s, but he’s best remembered for three battles with Arturo Gotti, two of which went down as the greatest in the history of the sport. Ward lost each one.
The project was originally set up under Darren Aronofsky, with Mark Wahlberg and Matt Damon attached to play the leads. The project stalled after Damon moved on and the writers strike hit, even with Brad Pitt offering up his services. When I last interviewed Aronofsky, he made hopeful comments about the project. But I could tell that The Wrestler probably filled his sports film ambitions, and that the filmmaker was ready to move on to other things. Mark Wahlberg has continued to train for the role despite the countless setbacks, and is still expected to star as “Irish” Micky Ward. Last I heard, 8 Mile scribe Scott Silver has been brought on board to rewrite the script.
Russell might seem like an odd choice to direct a sports film, considering his backgrounds of indie comedies and dramas (Spanking the Monkey, Flirting with Disaster, I Heart Huckabees). But some will note that his 1999 Gulf War film Three Kings is highly acclaimed for blending elements of action, drama and comedy. Paramount hopes to begin production in July, although the contracts are not yet signed.
The project was originally set up under Darren Aronofsky, with Mark Wahlberg and Matt Damon attached to play the leads. The project stalled after Damon moved on and the writers strike hit, even with Brad Pitt offering up his services. When I last interviewed Aronofsky, he made hopeful comments about the project. But I could tell that The Wrestler probably filled his sports film ambitions, and that the filmmaker was ready to move on to other things. Mark Wahlberg has continued to train for the role despite the countless setbacks, and is still expected to star as “Irish” Micky Ward. Last I heard, 8 Mile scribe Scott Silver has been brought on board to rewrite the script.
Russell might seem like an odd choice to direct a sports film, considering his backgrounds of indie comedies and dramas (Spanking the Monkey, Flirting with Disaster, I Heart Huckabees). But some will note that his 1999 Gulf War film Three Kings is highly acclaimed for blending elements of action, drama and comedy. Paramount hopes to begin production in July, although the contracts are not yet signed.
Demetri Martin Cast in Steven Soderbergh’s Moneyball
Demetri Martin is on a roll. First he landed the lead role in Ang Lee’s comedy Taking Woodstock, and now he has signed to star alongside Brad Pitt in Steven Soderbergh’s Moneyball. If it was announced next week that Martin had been cast in Scorsese’s next film, I wouldn’t be shocked at all (okay, maybe I would a little…)
Moneyball is an adaptation of the book by Michael Lewis (Moneyball: The Art to Winning an Unfair Game), which tells the story of ballplayer-turned-Oakland Athletics general manager Billy Beane (Pitt) who tried to create a competitive baseball team on a budget payroll. Martin will play a Harvard graduate named Paul De Podesta, who turned down jobs on Wall Street to use his statistical skills, a system known as “Earned Run Value,” to change baseball scouting tactics.
Columbia Pictures has also signed Oakland A’s team members David Justice and Scott Hatteberg to play themselves in the film. Schindler’s List and American Gangster scribe Steve Zaillian is doing a polish on the script, which was originally penned by Stan Chervin and Rachael Horovitz.
The plot description from the book:
Moneyball is a quest for something as elusive as the Holy Grail, something that money apparently can’t buy: the secret of success in baseball. The logical places to look would be the front offices of major league teams, and the dugouts, perhaps even in the minds of the players themselves. Lewis mines all these possibilities—his intimate and original portraits of big league ballplayers are alone worth the price of admission—but the real jackpot is a cache of numbers—numbers!—collected over the years by a strange brotherhood of amateur baseball enthusiasts: software engineers, statisticians, Wall Street analysts, lawyers and physics professors.
What these geek numbers show—no, prove—is that the traditional yardsticks of success for players and teams are fatally flawed. Even the box score misleads us by ignoring the crucial importance of the humble base-on-balls. This information has been around for years, and nobody inside Major League Baseball paid it any mind. And then came Billy Beane, General Manager of the Oakland Athletics.
Billy paid attention to those numbers —with the second lowest payroll in baseball at his disposal he had to—and this book records his astonishing experiment in finding and fielding a team that nobody else wanted. Moneyball is a roller coaster ride: before the 2002 season opens, Oakland must relinquish its three most prominent (and expensive) players, is written off by just about everyone, and then comes roaring back to challenge the American League record for consecutive wins.
In a narrative full of fabulous characters and brilliant excursions into the unexpected, Michael Lewis shows us how and why the new baseball knowledge works. He also sets up a sly and hilarious morality tale: Big Money, like Goliath, is always supposed to win…how can we not cheer for David?
Moneyball is an adaptation of the book by Michael Lewis (Moneyball: The Art to Winning an Unfair Game), which tells the story of ballplayer-turned-Oakland Athletics general manager Billy Beane (Pitt) who tried to create a competitive baseball team on a budget payroll. Martin will play a Harvard graduate named Paul De Podesta, who turned down jobs on Wall Street to use his statistical skills, a system known as “Earned Run Value,” to change baseball scouting tactics.
Columbia Pictures has also signed Oakland A’s team members David Justice and Scott Hatteberg to play themselves in the film. Schindler’s List and American Gangster scribe Steve Zaillian is doing a polish on the script, which was originally penned by Stan Chervin and Rachael Horovitz.
The plot description from the book:
Moneyball is a quest for something as elusive as the Holy Grail, something that money apparently can’t buy: the secret of success in baseball. The logical places to look would be the front offices of major league teams, and the dugouts, perhaps even in the minds of the players themselves. Lewis mines all these possibilities—his intimate and original portraits of big league ballplayers are alone worth the price of admission—but the real jackpot is a cache of numbers—numbers!—collected over the years by a strange brotherhood of amateur baseball enthusiasts: software engineers, statisticians, Wall Street analysts, lawyers and physics professors.
What these geek numbers show—no, prove—is that the traditional yardsticks of success for players and teams are fatally flawed. Even the box score misleads us by ignoring the crucial importance of the humble base-on-balls. This information has been around for years, and nobody inside Major League Baseball paid it any mind. And then came Billy Beane, General Manager of the Oakland Athletics.
Billy paid attention to those numbers —with the second lowest payroll in baseball at his disposal he had to—and this book records his astonishing experiment in finding and fielding a team that nobody else wanted. Moneyball is a roller coaster ride: before the 2002 season opens, Oakland must relinquish its three most prominent (and expensive) players, is written off by just about everyone, and then comes roaring back to challenge the American League record for consecutive wins.
In a narrative full of fabulous characters and brilliant excursions into the unexpected, Michael Lewis shows us how and why the new baseball knowledge works. He also sets up a sly and hilarious morality tale: Big Money, like Goliath, is always supposed to win…how can we not cheer for David?
SCI FI Channel in Business with Will Smith
The SCI FI Channel is teaming with Will Smith for a new crime procedural, says The Hollywood Reporter.
The network has ordered "Unfinished Business," a drama about an ex-cop who starts seeing flashes of memories from the recently deceased. The visions compel him to help wronged souls resolve their unfinished business.
The network plans to air "Business" as a two-hour movie that will also serve as a potential series pilot.
"Business" is being produced through Overbrook Entertainment, with Smith, James Lassiter and Ken Stovitz executive producing. Emmy-nominated scribe Sally Robinson ("Iron Jawed Angels") will write the pilot, and Emmy winner Mikael Salomon ("Band of Brothers") is attached to direct. Both also will serve as executive producers.
The network has ordered "Unfinished Business," a drama about an ex-cop who starts seeing flashes of memories from the recently deceased. The visions compel him to help wronged souls resolve their unfinished business.
The network plans to air "Business" as a two-hour movie that will also serve as a potential series pilot.
"Business" is being produced through Overbrook Entertainment, with Smith, James Lassiter and Ken Stovitz executive producing. Emmy-nominated scribe Sally Robinson ("Iron Jawed Angels") will write the pilot, and Emmy winner Mikael Salomon ("Band of Brothers") is attached to direct. Both also will serve as executive producers.
Monday, April 20, 2009
Weekly Ratings: 4/13 – 4/17
Monday Ratings: Is Heroes Coming Back to Life?
8 pm/ET
Dancing with the Stars averaged 19.12 million total viewers over its 90-minute run, dipping just a bit from last Monday's dance-off. House placed second in the hour with 11.84 mil, down 9 percent. Both of CBS' sitcoms — Big Bang Theory (10.13 mil) and How I Met Your Mother (9.56 mil) — saw small gains, while Chuck spied an audience of 6.22 mil, its best tally in six weeks.
9 pm
Two and a Half Men, with 14.8 million viewers, was up a hair, while lead-out Rules of Engagement (11.57 mil) engaged an additional 5 percent. Saget's Suburbia (10.7 mil) settled down some, dropping 12 percent from its debut. While 24 held steady at 10.83 mil, Heroes (6.8 mil) experienced a small power surge, reversing its weeks-old series of all-time lows by climbing 12 percent.
10 pm
CSI: Miami staked out an audience of13.33 million, while Castle (7.6 mil, down 18 percent) and Medium (7.58 mil, up 6 percent) duked it out for also-ran honors.
Tuesday Ratings: Did Tori Spell Big Gains for 90210?
8 pm/ET
American Idol's night at the movies played to a crowd of 23.48 million total viewers, up 7 percent week-to-week. A not-new NCIS followed with 13.37 mil. The Biggest Loser (9.04 mil) sank its teeth into third, gaining 13 percent. A pair of According to Jims averaged 4.48 mil. Reaper dipped 230K, to 2.05 mil.
9 pm
Dancing with the Stars' results show won the hour with 14.76 million viewers, up 320K. A repeat of The Mentalist claimed second with 12.1 mil, followed by Fringe (11.5 mil, down 500 thou). Did the return of Donna Martin "graduate" 90210's numbers? The answer: At 2.13 mil, the CW series enjoyed its largest audience since Feb. 10.
10 pm
Without a Trace was tops with 13.17 million viewers. Opposite an SVU repeat, ABC's Cupid (6.6 mil, up 380K) technically took second, though by the end of the hour Stabler & Co. actually had the bigger audience.
Other ratings mentions:
• On Friday, Prison Break returned to an audience of 3.38 mil, plunging 32 percent from its winter finale.
• NBC's Kings, in its first Saturday-night showcase, delivered 2.41 mil, down 33 percent from its most recent Sunday outing.
8 pm/ET
Dancing with the Stars averaged 19.12 million total viewers over its 90-minute run, dipping just a bit from last Monday's dance-off. House placed second in the hour with 11.84 mil, down 9 percent. Both of CBS' sitcoms — Big Bang Theory (10.13 mil) and How I Met Your Mother (9.56 mil) — saw small gains, while Chuck spied an audience of 6.22 mil, its best tally in six weeks.
9 pm
Two and a Half Men, with 14.8 million viewers, was up a hair, while lead-out Rules of Engagement (11.57 mil) engaged an additional 5 percent. Saget's Suburbia (10.7 mil) settled down some, dropping 12 percent from its debut. While 24 held steady at 10.83 mil, Heroes (6.8 mil) experienced a small power surge, reversing its weeks-old series of all-time lows by climbing 12 percent.
10 pm
CSI: Miami staked out an audience of13.33 million, while Castle (7.6 mil, down 18 percent) and Medium (7.58 mil, up 6 percent) duked it out for also-ran honors.
Tuesday Ratings: Did Tori Spell Big Gains for 90210?
8 pm/ET
American Idol's night at the movies played to a crowd of 23.48 million total viewers, up 7 percent week-to-week. A not-new NCIS followed with 13.37 mil. The Biggest Loser (9.04 mil) sank its teeth into third, gaining 13 percent. A pair of According to Jims averaged 4.48 mil. Reaper dipped 230K, to 2.05 mil.
9 pm
Dancing with the Stars' results show won the hour with 14.76 million viewers, up 320K. A repeat of The Mentalist claimed second with 12.1 mil, followed by Fringe (11.5 mil, down 500 thou). Did the return of Donna Martin "graduate" 90210's numbers? The answer: At 2.13 mil, the CW series enjoyed its largest audience since Feb. 10.
10 pm
Without a Trace was tops with 13.17 million viewers. Opposite an SVU repeat, ABC's Cupid (6.6 mil, up 380K) technically took second, though by the end of the hour Stabler & Co. actually had the bigger audience.
Other ratings mentions:
• On Friday, Prison Break returned to an audience of 3.38 mil, plunging 32 percent from its winter finale.
• NBC's Kings, in its first Saturday-night showcase, delivered 2.41 mil, down 33 percent from its most recent Sunday outing.
17 Again Easily Tops the Box Office
The ComingSoon.net Box Office Report has been updated with studio estimates for the weekend.
New Line/Warner Bros.' 17 Again took over the box office with an estimated $24.1 million from 3,255 theaters. Starring Zac Efron, Leslie Mann, Thomas Lennon, Michelle Trachtenberg and Matthew Perry, the comedy averaged $7,393 per location. In the film, Efron and Perry play a middle-aged loser whose marriage has fallen apart and whose kids don't respect him, and he's been wondering if he made the right decision by marrying his then girlfriend Scarlett (Mann) right out of school. After being forced to crash with his high school friend Ned (Lennon), Mike is magically transformed back to the age of 17 and gets to go back to high school and make different decisions the second time around.
Universal Pictures' new thriller State of Play, starring Russell Crowe, Ben Affleck, Rachel McAdams, Robin Wright Penn, Jason Bateman, Jeff Daniels and Helen Mirren, opened in second place with $14.1 million from 2,803 theaters. Directed by Kevin Macdonald, the movie averaged $5,030 per site and was made for about $60 million.
DreamWorks Animation's Monsters vs. Aliens held on to the third spot, making another $12.9 milion in its fourth weekend for a total of $162.7 million. Produced for $175 million, the 3D animated film is the biggest movie of the year so far.
Following closely in fourth was Hannah Montana The Movie, which added $12.7 million in its second weekend, bringing its total to $56.1 million.
Universal's Fast & Furious rounded out the top five with $12.3 million. Made for about $85 million, the fourth film in the franchise has earned $136.7 million after three weeks.
Mark Neveldine and Brian Taylor's sequel Crank: High Voltage, starring Jason Statham, opened to $6.5 million in 2,223 theaters. The first film debuted with $10.5 million in 2006 and ended up with $28 million.
Warner Bros. Pictures' Observe and Report dropped 63.2% in its second weekend to make $4.1 million for a total of $18.7 million, while Dragonball: Evolution dropped an even bigger 66.9% its second weekend. The latter earned just $1.6 million for a total of $7.8 million.
New Line/Warner Bros.' 17 Again took over the box office with an estimated $24.1 million from 3,255 theaters. Starring Zac Efron, Leslie Mann, Thomas Lennon, Michelle Trachtenberg and Matthew Perry, the comedy averaged $7,393 per location. In the film, Efron and Perry play a middle-aged loser whose marriage has fallen apart and whose kids don't respect him, and he's been wondering if he made the right decision by marrying his then girlfriend Scarlett (Mann) right out of school. After being forced to crash with his high school friend Ned (Lennon), Mike is magically transformed back to the age of 17 and gets to go back to high school and make different decisions the second time around.
Universal Pictures' new thriller State of Play, starring Russell Crowe, Ben Affleck, Rachel McAdams, Robin Wright Penn, Jason Bateman, Jeff Daniels and Helen Mirren, opened in second place with $14.1 million from 2,803 theaters. Directed by Kevin Macdonald, the movie averaged $5,030 per site and was made for about $60 million.
DreamWorks Animation's Monsters vs. Aliens held on to the third spot, making another $12.9 milion in its fourth weekend for a total of $162.7 million. Produced for $175 million, the 3D animated film is the biggest movie of the year so far.
Following closely in fourth was Hannah Montana The Movie, which added $12.7 million in its second weekend, bringing its total to $56.1 million.
Universal's Fast & Furious rounded out the top five with $12.3 million. Made for about $85 million, the fourth film in the franchise has earned $136.7 million after three weeks.
Mark Neveldine and Brian Taylor's sequel Crank: High Voltage, starring Jason Statham, opened to $6.5 million in 2,223 theaters. The first film debuted with $10.5 million in 2006 and ended up with $28 million.
Warner Bros. Pictures' Observe and Report dropped 63.2% in its second weekend to make $4.1 million for a total of $18.7 million, while Dragonball: Evolution dropped an even bigger 66.9% its second weekend. The latter earned just $1.6 million for a total of $7.8 million.
Sunday, April 19, 2009
SAG and AMPTP Finally Reach Tentative Agreement
The Screen Actors Guild and the Alliance of Motion Picture and Television Producers have finally reached a tentative agreement on a TV/theatrical deal. The official statement:
The Alliance of Motion Picture and Television Producers and Screen Actors Guild today announced that the parties have reached tentative agreement on successor agreements to the Producer-Screen Actors Guild Codified Basic Agreement.
Details of the agreement covering television programs and motion pictures will not be disclosed prior to review by the SAG national board of directors this Sunday, April 19, at a previously scheduled board meeting via videoconference in Los Angeles and New York.
Screen Actors Guild will present the tentative agreement to the Screen Actors Guild board of directors for approval and referral to the membership for ratification.
The Alliance of Motion Picture and Television Producers and Screen Actors Guild today announced that the parties have reached tentative agreement on successor agreements to the Producer-Screen Actors Guild Codified Basic Agreement.
Details of the agreement covering television programs and motion pictures will not be disclosed prior to review by the SAG national board of directors this Sunday, April 19, at a previously scheduled board meeting via videoconference in Los Angeles and New York.
Screen Actors Guild will present the tentative agreement to the Screen Actors Guild board of directors for approval and referral to the membership for ratification.
CBS Picks Up Amazing Race for 15th Season
CBS has ordered the 15th edition of the six-time Emmy Award-winning reality series "The Amazing Race," hosted by Phil Keoghan, for broadcast during the 2009-2010 season.
Keoghan is currently on a 40-day, 3,500 mile bike ride across America PhilRidesAcrossAmerica.com, which ends in New York City on May 9, the day before the season finale of "The Amazing Race" 14 on Sunday, May 10 (8:00-9:00 PM, ET/PT).
Casting is already underway for the 15th edition. Keoghan will be appearing at open casting calls throughout his ride with upcoming stops in Chicago (April 24), Pittsburgh (May 1) and New York (May 8). Applications are also available at CBS.com.
Jerry Bruckheimer, Bertram van Munster and Jonathan Littman are the executive producers for Jerry Bruckheimer Television and Earthview Inc., in association with ABC Television Studio and Amazing Race Productions. "The Amazing Race" was created by Bertram van Munster and Elise Doganieri.
Keoghan is currently on a 40-day, 3,500 mile bike ride across America PhilRidesAcrossAmerica.com, which ends in New York City on May 9, the day before the season finale of "The Amazing Race" 14 on Sunday, May 10 (8:00-9:00 PM, ET/PT).
Casting is already underway for the 15th edition. Keoghan will be appearing at open casting calls throughout his ride with upcoming stops in Chicago (April 24), Pittsburgh (May 1) and New York (May 8). Applications are also available at CBS.com.
Jerry Bruckheimer, Bertram van Munster and Jonathan Littman are the executive producers for Jerry Bruckheimer Television and Earthview Inc., in association with ABC Television Studio and Amazing Race Productions. "The Amazing Race" was created by Bertram van Munster and Elise Doganieri.
Spiliotopoulos Writing Wanted Sequel
Evan Spiliotopoulos, co-writer of Pooh's Heffalump Movie and its DVD Halloween spin-off, has been hired to write Universal's action sequel Wanted 2, based on a story by Chris Morgan.
Like the original 2008 film, the in-development sequel is based on the comic series created by Mark Millar and J.G. Jones.
Marc E. Platt and Jim Lemley are producing with Timur Bekmambetov, who directed the first film and is attached to helm the sequel.
Morgan co-wrote the first film with Michael Brandt and Derek Haas.
Like the original 2008 film, the in-development sequel is based on the comic series created by Mark Millar and J.G. Jones.
Marc E. Platt and Jim Lemley are producing with Timur Bekmambetov, who directed the first film and is attached to helm the sequel.
Morgan co-wrote the first film with Michael Brandt and Derek Haas.
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