The Toronto Star caught up with Eduardo Sánchez, who said that he and The Blair Witch Project co-creator Daniel Myrick are seriously thinking about making a sequel. Here's an excerpt from the article:
They're now at the point where they're ready to do a Blair Witch 3, once again sharing writing and directing. They'd pick up from where the original left off, pretending Blair Witch 2 never happened. The duo recently went on a drive through their original Blair Witch haunts, about a half hour from Sánchez's Maryland home, looking for inspiration.
They've worked up a treatment for a new story, which would involve original cast members Heather Donahue, Joshua Leonard and Michael C. Williams, albeit in smaller roles.
"We're at the step where we're about to pitch to Lionsgate, which owns the movie rights now. It's pretty much up to them. They can completely squash it or greenlight it."
Saturday, October 31, 2009
Roger Rabbit Sequel Being Written by the Original’s Screenwriters
Robert Zemeckis has been loosening us up for a Who Framed Roger Rabbit sequel for some months now, letting slip the odd reference here and there that he’s been keen to give the follow on a good crack. In April he said that he had a good idea for the second installment; on July 22nd he said he’d been discussing the film with Bob Hoskins; on July 23rd he told the Comic-Con audience that he could neither deny nor confirm any plans for a sequel.
Now he’s just come out and revealed that not only is he gunning for another run at the funny Bunny, but also that writing on the new screenplay already currently underway. Purist fans of the original will probably jump for joy at his revelation on who is wielding the pen, because it’s none other than the scribes of part one, Peter Seaman and Jeffrey Price.
I think that Zemeckis has now been sufficiently loose lipped that we can start to read between the lines a little. Let’s rake over some of his quotes after this break.
We all know that Zemeckis is the leading proponent of performance capture cinema, in terms of output if arguably not in terms of quality. Is he planning for Roger 2 to utilise these techniques? Here’s the salient quotage, pieced together from various interviews a line at a time:
I’ll tell you what is buzzing around in my head now that we have the ability -the digital tools, performance capture - I’m starting to think about Roger Rabbit.
The 2D characters from the original movie will remain 2D. They will not be dimensionalized. Not to say there wont be 3D.
I’m really committed to getting this art form [performance capture] off of the ground, but of course I would [shoot live action again] and I’m never going to say never to anything, but right now though I really want to make sure that we get this out there so that younger filmmakers have these absolutely breathtaking tools that they can use.
A picture is starting to take shape, don’t you think? A Roger Rabbit film that will use motion capture and 2D animation… or maybe motion capture to create the 2D animation? Wow. That’d be something a bit different from Zemeckis recent attempts to plough through the valley of the uncanny. Can’t imagine how he’d approach anything like the quality of work that animators would generate, however. I love mo-cap but it’s definitely not a replacement for animation.
MTV, who gathered the Seaman and Price information, are promising that they have more news to come and that they’re going to roll it over the next few days. Hit teases. I’ll be keeping an eye on their reports though, to see just how much more shading we can add to this sketch of Zemeckis’ plans.
Now he’s just come out and revealed that not only is he gunning for another run at the funny Bunny, but also that writing on the new screenplay already currently underway. Purist fans of the original will probably jump for joy at his revelation on who is wielding the pen, because it’s none other than the scribes of part one, Peter Seaman and Jeffrey Price.
I think that Zemeckis has now been sufficiently loose lipped that we can start to read between the lines a little. Let’s rake over some of his quotes after this break.
We all know that Zemeckis is the leading proponent of performance capture cinema, in terms of output if arguably not in terms of quality. Is he planning for Roger 2 to utilise these techniques? Here’s the salient quotage, pieced together from various interviews a line at a time:
I’ll tell you what is buzzing around in my head now that we have the ability -the digital tools, performance capture - I’m starting to think about Roger Rabbit.
The 2D characters from the original movie will remain 2D. They will not be dimensionalized. Not to say there wont be 3D.
I’m really committed to getting this art form [performance capture] off of the ground, but of course I would [shoot live action again] and I’m never going to say never to anything, but right now though I really want to make sure that we get this out there so that younger filmmakers have these absolutely breathtaking tools that they can use.
A picture is starting to take shape, don’t you think? A Roger Rabbit film that will use motion capture and 2D animation… or maybe motion capture to create the 2D animation? Wow. That’d be something a bit different from Zemeckis recent attempts to plough through the valley of the uncanny. Can’t imagine how he’d approach anything like the quality of work that animators would generate, however. I love mo-cap but it’s definitely not a replacement for animation.
MTV, who gathered the Seaman and Price information, are promising that they have more news to come and that they’re going to roll it over the next few days. Hit teases. I’ll be keeping an eye on their reports though, to see just how much more shading we can add to this sketch of Zemeckis’ plans.
Friday, October 30, 2009
David Spade: Chris Farley Would "Be Stoked" About DirecTV Commercial
David Spade says he is shocked by criticism he's received about a DirecTV commercial that features a scene from Tommy Boy of him and the late Chris Farley — whom he says would "be stoked" to be involved in the ad.
"Oh, my God if [Farley] was here, I guarantee he'd be stoked that this little movie is included," Spade tells People. "The movie is important to me, and I would hate to offend [anyone] because that's one of my favorite things I've ever done. So I would apologize to someone who took it that way."
The spot, which has been called tasteless and exploitative by viewers, features Farley's "fat guy in a little coat" routine from the 1995 comedy spliced with new footage of Spade promoting DirecTV. Farley died in 1997 of cardiac arrest due to a drug overdose.
"These commercials are cool. They're well done. They're clever," Spade adds. "And that they would include Tommy Boy in that company, I thought was very flattering."
Spade admits he probably wouldn't agree to the commercial if given the chance again because he doesn't "want anyone to get a whiff that I'm trying to get something off Chris."
"Oh, my God if [Farley] was here, I guarantee he'd be stoked that this little movie is included," Spade tells People. "The movie is important to me, and I would hate to offend [anyone] because that's one of my favorite things I've ever done. So I would apologize to someone who took it that way."
The spot, which has been called tasteless and exploitative by viewers, features Farley's "fat guy in a little coat" routine from the 1995 comedy spliced with new footage of Spade promoting DirecTV. Farley died in 1997 of cardiac arrest due to a drug overdose.
"These commercials are cool. They're well done. They're clever," Spade adds. "And that they would include Tommy Boy in that company, I thought was very flattering."
Spade admits he probably wouldn't agree to the commercial if given the chance again because he doesn't "want anyone to get a whiff that I'm trying to get something off Chris."
Fox Orders Sixth Season of American Dad
Fox has ordered a sixth season of "American Dad," the animated series featuring security-obsessed CIA agent and devoted family man Stan Smith (Seth MacFarlane). Recently honored with an Emmy nomination for Outstanding Animated Program, "American Dad" airs Sundays (9:30-10:00 PM ET/PT) on Fox.
The series continues to follow the twisted trials and tribulations of die-hard Republican and card-carrying NRA member Stan Smith and his hilariously odd family in Langley Falls, VA. Stan's not-so-smart wife Francine(Wendy Schaal) has an unfaltering loyalty that allows her to turn a blind eye toward Stan's unabashed arrogance. Stan constantly butts heads with his 18-year-old daughter Hayley (Rachael MacFarlane), who knows just how to push her father's buttons by being liberal in both her beliefs and in the number of hippie boyfriends she chooses to date. Hayley's 14-year-old brother is the geeky yet cocky Steve (Scott Grimes), a kid who seems to be on the constant verge of puberty but can't quite make sense of the opposite sex. The Smith household is rounded out by two rather unconventional members: Roger (Seth MacFarlane), the selfish and sarcastic space alien who lives in the attic and drinks like it's always happy hour, and Klaus (Dee Bradley Baker), an attention-starved goldfish with the brain of a German guy who is always willing to vocalize his opinions even if no one is listening.
"American Dad" is a 20th Century Fox Television production co-created by Seth MacFarlane, Mike Barker and Matt Weitzman. MacFarlane, Barker and Weitzman serve as executive producers alongside Rick Wiener and Kenny Schwartz.
The series continues to follow the twisted trials and tribulations of die-hard Republican and card-carrying NRA member Stan Smith and his hilariously odd family in Langley Falls, VA. Stan's not-so-smart wife Francine(Wendy Schaal) has an unfaltering loyalty that allows her to turn a blind eye toward Stan's unabashed arrogance. Stan constantly butts heads with his 18-year-old daughter Hayley (Rachael MacFarlane), who knows just how to push her father's buttons by being liberal in both her beliefs and in the number of hippie boyfriends she chooses to date. Hayley's 14-year-old brother is the geeky yet cocky Steve (Scott Grimes), a kid who seems to be on the constant verge of puberty but can't quite make sense of the opposite sex. The Smith household is rounded out by two rather unconventional members: Roger (Seth MacFarlane), the selfish and sarcastic space alien who lives in the attic and drinks like it's always happy hour, and Klaus (Dee Bradley Baker), an attention-starved goldfish with the brain of a German guy who is always willing to vocalize his opinions even if no one is listening.
"American Dad" is a 20th Century Fox Television production co-created by Seth MacFarlane, Mike Barker and Matt Weitzman. MacFarlane, Barker and Weitzman serve as executive producers alongside Rick Wiener and Kenny Schwartz.
It’s All True: Tom Hardy Negotiating To Be the New Mad Max in Fury Road, Charlize Theron to Co-Star
One week ago, Brendon told you that there were rumors that Bronson’s Thomas Hardy might become the new Mad Max for director George Miller, and that his female co-star could be Charlize Theron. Now thanks to a trade blog we know that it is indeed the case. We also know a few — a very few — other things about the upcoming and long-awaited fourth Max Max movie. They’re after the jump.
THR reports that Hardy and Theron are in negotiations to join the George Miller-penned Fury Road (or Mad Max: Fury Road, that point is unclear and very likely subject to change to the latter, so that audiences know what they’re in for), but with things at this stage that represents a pretty good set of odds that it will come to pass.
Fury Road appears to be no reboot, and no animated film, despite rumors. Hardy would be Max Rockatansky, the same Max played by Mel Gibson in the original three films. This story takes place “a short while” after the events of Mad Max Beyond Thunderdome. THR says a shoot “next summer in Australia” is currently slated. Does that mean a northern hemisphere summer, or a southern? They’re kinda different. No matter, though — those details will follow in short order.
I’ll say it: I’m psyched about this. There is no reason to believe that what I enjoyed about the Mad Max films will be back in this installment. It’s been so long (25 years by the time this shoots!) and I wonder if Miller is still on point for this sort of effort. How can I not wonder? But goddamn, Tom Hardy was great in Bronson and RocknRolla and just about everything else he’s done. There’s plenty reason that Bronson should have worked as well as it did, but a large part of the film’s success is due to him. I would have loved to see Jeremy Renner in the driver’s seat for Fury Road, but I’m even more ready to see Hardy get the job.
THR reports that Hardy and Theron are in negotiations to join the George Miller-penned Fury Road (or Mad Max: Fury Road, that point is unclear and very likely subject to change to the latter, so that audiences know what they’re in for), but with things at this stage that represents a pretty good set of odds that it will come to pass.
Fury Road appears to be no reboot, and no animated film, despite rumors. Hardy would be Max Rockatansky, the same Max played by Mel Gibson in the original three films. This story takes place “a short while” after the events of Mad Max Beyond Thunderdome. THR says a shoot “next summer in Australia” is currently slated. Does that mean a northern hemisphere summer, or a southern? They’re kinda different. No matter, though — those details will follow in short order.
I’ll say it: I’m psyched about this. There is no reason to believe that what I enjoyed about the Mad Max films will be back in this installment. It’s been so long (25 years by the time this shoots!) and I wonder if Miller is still on point for this sort of effort. How can I not wonder? But goddamn, Tom Hardy was great in Bronson and RocknRolla and just about everything else he’s done. There’s plenty reason that Bronson should have worked as well as it did, but a large part of the film’s success is due to him. I would have loved to see Jeremy Renner in the driver’s seat for Fury Road, but I’m even more ready to see Hardy get the job.
Men in Black 3 Script in the Works by Tropic Thunder Writer Etan Cohen
We learned that Columbia was finally moving forward with a third Men in Black movie back in April, but at the time there was no script attached to the project. While there still isn’t much to report yet, we have learned that they’ve tapped the now-hot writer Etan Cohen (Tropic Thunder, Idiocracy) for the screenplay. There’s no word yet on Will Smith and Tommy Lee Jones’ involvement, but I can’t imagine they would bring the franchise back without featuring them in some capacity.
I’m also hoping that they’re able to bring Barry Sonnenfeld back to direct. He’s been working on the television end of things recently (we can thank him for Pushing Daisies gloriously candy-colored style), and I’m sure he’d like to get another feature under his belt to distance himself from the Robin Williams fiasco RV.
The studio is mum on what MiB3 may actually be about, but I do hope they avoid the usual pitfall of making the original young upstart a veteran who must then train more young blood. (I’m also saying this because I’m hoping we won’t get a chance to see Shia LaBeouf as a bumbling young agent.)
Cohen’s involvement with the film is a sign that it will probably be better than the disappointing Men in Black sequel. He’s a graduate of the Mike Judge school of comedy—having worked on Beavis and Butthead and King of the Hill, in addition to Idiocracy. In my book, that’s good people.
Strangely enough, I’m actually sort of excited for a third Men in Black film. I loved the original when it first came out (admittedly, haven’t revisited it in years), and I think the series deserves a better successor than what we got with the sequel. The concept is undoubtedly ripe for further exploration.
I’m also hoping that they’re able to bring Barry Sonnenfeld back to direct. He’s been working on the television end of things recently (we can thank him for Pushing Daisies gloriously candy-colored style), and I’m sure he’d like to get another feature under his belt to distance himself from the Robin Williams fiasco RV.
The studio is mum on what MiB3 may actually be about, but I do hope they avoid the usual pitfall of making the original young upstart a veteran who must then train more young blood. (I’m also saying this because I’m hoping we won’t get a chance to see Shia LaBeouf as a bumbling young agent.)
Cohen’s involvement with the film is a sign that it will probably be better than the disappointing Men in Black sequel. He’s a graduate of the Mike Judge school of comedy—having worked on Beavis and Butthead and King of the Hill, in addition to Idiocracy. In my book, that’s good people.
Strangely enough, I’m actually sort of excited for a third Men in Black film. I loved the original when it first came out (admittedly, haven’t revisited it in years), and I think the series deserves a better successor than what we got with the sequel. The concept is undoubtedly ripe for further exploration.
Thursday, October 29, 2009
Sin City 2 Actually Moving Forward, May Be Followed By Hard Boiled
Sin City 2 has been a project sitting on the horizon for several years. It has started to seem like one of those things that co-director Robert Rodriguez likes to keep on the table because he knows it gets fan attention, while not necessarily being a film he really plans to make.
Now producer Stephen L’Heureux says that Sin City 2 will go into production at the end of 2010, and that Frank Miller will follow it with a film version of Hard Boiled, the uber-detailed and hyper-violent comic written by Miller and drawn by Geoff Darrow.
Mania has the report. They offer the news that the sequel will be based on an original script by Miller, rather than drawing from any of the original comics material he produced a decade ago. He also explains that Miller is also currently scripting Hard Boiled, and that he’s attached to direct. “We’re still developing it,” L’Heureux says. “We got the project in turnaround from Warner Bros and Frank. It’s such a pleasure to work with someone like Frank Miller.” Let’s take one step at a time, eh? After The Spirit, Miller has some provin’ to do.
Now, according to Mania Robert Rodriguez is planning to co-direct Sin City 2 with Frank Miller. But recent reports have suggested that the next priority for Rodriguez after Machete and Predators are done will actually be Spy Kids 4. Why? As Variety’s report on the Short Circuit remake recently said, franchises are a priority for Dimension right now and the studio has got a good hold on the director. The Weinsteins need cash flow and Spy Kids 4 is evidently seen as something that will generate it.
So, yeah, Sin City 2 may well be moving forward. But if the timeline places it as a go within 2010, don’t be too surprised if Miller directs alone while Rodriguez produces it and spends more of his time making Spy Kids 4 and Nervewrackers.
Now producer Stephen L’Heureux says that Sin City 2 will go into production at the end of 2010, and that Frank Miller will follow it with a film version of Hard Boiled, the uber-detailed and hyper-violent comic written by Miller and drawn by Geoff Darrow.
Mania has the report. They offer the news that the sequel will be based on an original script by Miller, rather than drawing from any of the original comics material he produced a decade ago. He also explains that Miller is also currently scripting Hard Boiled, and that he’s attached to direct. “We’re still developing it,” L’Heureux says. “We got the project in turnaround from Warner Bros and Frank. It’s such a pleasure to work with someone like Frank Miller.” Let’s take one step at a time, eh? After The Spirit, Miller has some provin’ to do.
Now, according to Mania Robert Rodriguez is planning to co-direct Sin City 2 with Frank Miller. But recent reports have suggested that the next priority for Rodriguez after Machete and Predators are done will actually be Spy Kids 4. Why? As Variety’s report on the Short Circuit remake recently said, franchises are a priority for Dimension right now and the studio has got a good hold on the director. The Weinsteins need cash flow and Spy Kids 4 is evidently seen as something that will generate it.
So, yeah, Sin City 2 may well be moving forward. But if the timeline places it as a go within 2010, don’t be too surprised if Miller directs alone while Rodriguez produces it and spends more of his time making Spy Kids 4 and Nervewrackers.
Scrubs Slated to Return Dec. 1
Scrubs will kick-off its ninth season Dec. 1 at 9/8c, Variety reports.
The writers of the ABC medical comedy also tweeted the show's return late Wednesday, urging followers: "Tell your friends!"
Scrubs' new season will see some major changes. This year, the focus will shift from Sacred Heart Hospital to medical school, where Christopher Turk (Donald Faison) and Dr. Cox (John C. McGinley) become teachers.
Faison and McGinley are the only cast members returning full time. Former headliners Zach Braff and Sarah Chalke will be making guest appearances.
The writers of the ABC medical comedy also tweeted the show's return late Wednesday, urging followers: "Tell your friends!"
Scrubs' new season will see some major changes. This year, the focus will shift from Sacred Heart Hospital to medical school, where Christopher Turk (Donald Faison) and Dr. Cox (John C. McGinley) become teachers.
Faison and McGinley are the only cast members returning full time. Former headliners Zach Braff and Sarah Chalke will be making guest appearances.
Chuck Spies Six More Episodes; Ailing Trauma Axed
NBC has ordered six additional episodes of Chuck and will cancel Trauma after its original 13-episode run, according to The Hollywood Reporter.
The pickup for Chuck — no Subway campaign needed this time — brings the spy dramedy's third-season order to 19 episodes. Chuck was slated to return in March after the Vancouver Olympics, but its expanded order, and Trauma's cancellation, could push up the show's premiere to January, the Reporter says. Calls to NBC were not immediately returned.
Trauma has become the third casualty of the fall season. The high-octane medical drama never pulled in the big numbers and was conspicuously absent in the Peacock's full-season order announcement last week for Mercy, Parks and Recreation and Community. Earlier this week, the network committed to airing three more episodes of Trauma. It will now end after wrapping up its 13-episode order.
Meanwhile, NBC is developing two new shows, including a legal drama with Idris Elba as executive producer, according to the Reporter. The as-yet-untitled series will follow a vigilante attorney who uses any means necessary to defend his clients. The network is also planning a drama about a crime-solving magician from NCIS scribe Dan Freeman, Variety reports. The series will focus on a magician who is recruited by a law-enforcement agency after he is forced to give up magic due to stage fright and agoraphobia.
The pickup for Chuck — no Subway campaign needed this time — brings the spy dramedy's third-season order to 19 episodes. Chuck was slated to return in March after the Vancouver Olympics, but its expanded order, and Trauma's cancellation, could push up the show's premiere to January, the Reporter says. Calls to NBC were not immediately returned.
Trauma has become the third casualty of the fall season. The high-octane medical drama never pulled in the big numbers and was conspicuously absent in the Peacock's full-season order announcement last week for Mercy, Parks and Recreation and Community. Earlier this week, the network committed to airing three more episodes of Trauma. It will now end after wrapping up its 13-episode order.
Meanwhile, NBC is developing two new shows, including a legal drama with Idris Elba as executive producer, according to the Reporter. The as-yet-untitled series will follow a vigilante attorney who uses any means necessary to defend his clients. The network is also planning a drama about a crime-solving magician from NCIS scribe Dan Freeman, Variety reports. The series will focus on a magician who is recruited by a law-enforcement agency after he is forced to give up magic due to stage fright and agoraphobia.
Tuesday, October 27, 2009
Steve Carr to Direct Short Circuit Remake
Dimension Films has signed Steve Carr (Paul Blart: Mall Cop) to direct Short Circuit, the remake of the 1986 sci-fi film, reports Variety.
Written by Dan Milano ("Robot Chicken"), the redo brings the iconic Johnny 5 into the 21st century. Built by the military to be a highly sophisticated weapon, Johnny 5 develops a conscience and personality after being hit by lightning. He befriends a lonely boy and his fractured family.
David Foster and Ryan E. Heppe of David Foster Productions will produce with John Hyde of Rehab Entertainment. Jason Taragan, who partners with Carr in Rumpus Entertainment, will be executive producer.
Written by Dan Milano ("Robot Chicken"), the redo brings the iconic Johnny 5 into the 21st century. Built by the military to be a highly sophisticated weapon, Johnny 5 develops a conscience and personality after being hit by lightning. He befriends a lonely boy and his fractured family.
David Foster and Ryan E. Heppe of David Foster Productions will produce with John Hyde of Rehab Entertainment. Jason Taragan, who partners with Carr in Rumpus Entertainment, will be executive producer.
Monday, October 26, 2009
NBA, referees agree to two-year deal, ending lockout
The regular referees made the call. They're coming back to work.
The referees union and the NBA agreed on a two-year contract Friday, ending a lockout of more than a month and saving the league from using replacements when the regular season starts.
The officials voted to ratify the deal that was reached earlier this week. No details of the vote were provided, nor were terms of the agreement.
"We are pleased to reach this agreement," NBA commissioner David Stern said in a statement. "The negotiations extended further than either side had hoped, but when our regular season tips off on Tuesday we'll have the best referees in the world officiating our games."
The referees union didn't comment.
The 57 referees were set to begin a three-day training camp Saturday and be ready when the regular season starts Tuesday night. The league used replacement officials during exhibition play.
The referees' contracts have usually been for five years, but the NBA consented to a two-year deal at the request of the union, which hoped it could renegotiate sooner with the economy hopefully in better shape.
The sides agreed on a salary structure that would give the refs a slight raise in the second year, but they remained apart on proposed changes to the referees' pension and severance packages, as well as a plan to develop younger officials by having them work in NBA games.
The contract between the league and the National Basketball Referees Association expired Sept. 1, and the league announced on Sept. 18 that it was locking out the officials, saying they had rejected its final contract offer.
The NBA decided to go with replacements late last month after the referees rejected a deal the league said its negotiators had already agreed to.
That raised the possibility of the league starting the season with backup officials for the first time since 1995. But progress was made in a meeting this week at league headquarters that included Stern, who rejoined the talks this week at the request of the referees.
He previously had withdrawn from negotiations after the referees' lead negotiator Lamell McMorris criticized the commissioner's behavior.
"It was always our intention to make a deal and our hope. I thought that perhaps the rhetoric had gotten a little bit too heated and it would be better for me to withdraw," Stern said earlier Friday during a conference call.
"But it was requested by the other side that I return and that they were coming in to make a deal and they asked me to be there, and I thought I owed them out of my respect to them to honor that request."
The league used a roster of 62 replacements, mostly from the NBA Development League and WNBA, during the lockout. Stern said the backups "responded very well" and predicted that many would referee NBA games again.
Replacement officials were criticized for calling too many fouls, though the amount decreased later in the exhibition season, which ended Friday night.
"As the preseason went on, they were better," Houston coach Rick Adelman said. "I don't think they were arrogant, or anything like that. They gave the explanations, and they were doing the best they could.
"The first couple (games) were just foul after foul and call after call, and there was no rhythm to the games," Adelman added. "After that, I thought it settled down fairly well. They just called things differently than the normal officials. They're pretty much going by the book."
The referees union and the NBA agreed on a two-year contract Friday, ending a lockout of more than a month and saving the league from using replacements when the regular season starts.
The officials voted to ratify the deal that was reached earlier this week. No details of the vote were provided, nor were terms of the agreement.
"We are pleased to reach this agreement," NBA commissioner David Stern said in a statement. "The negotiations extended further than either side had hoped, but when our regular season tips off on Tuesday we'll have the best referees in the world officiating our games."
The referees union didn't comment.
The 57 referees were set to begin a three-day training camp Saturday and be ready when the regular season starts Tuesday night. The league used replacement officials during exhibition play.
The referees' contracts have usually been for five years, but the NBA consented to a two-year deal at the request of the union, which hoped it could renegotiate sooner with the economy hopefully in better shape.
The sides agreed on a salary structure that would give the refs a slight raise in the second year, but they remained apart on proposed changes to the referees' pension and severance packages, as well as a plan to develop younger officials by having them work in NBA games.
The contract between the league and the National Basketball Referees Association expired Sept. 1, and the league announced on Sept. 18 that it was locking out the officials, saying they had rejected its final contract offer.
The NBA decided to go with replacements late last month after the referees rejected a deal the league said its negotiators had already agreed to.
That raised the possibility of the league starting the season with backup officials for the first time since 1995. But progress was made in a meeting this week at league headquarters that included Stern, who rejoined the talks this week at the request of the referees.
He previously had withdrawn from negotiations after the referees' lead negotiator Lamell McMorris criticized the commissioner's behavior.
"It was always our intention to make a deal and our hope. I thought that perhaps the rhetoric had gotten a little bit too heated and it would be better for me to withdraw," Stern said earlier Friday during a conference call.
"But it was requested by the other side that I return and that they were coming in to make a deal and they asked me to be there, and I thought I owed them out of my respect to them to honor that request."
The league used a roster of 62 replacements, mostly from the NBA Development League and WNBA, during the lockout. Stern said the backups "responded very well" and predicted that many would referee NBA games again.
Replacement officials were criticized for calling too many fouls, though the amount decreased later in the exhibition season, which ended Friday night.
"As the preseason went on, they were better," Houston coach Rick Adelman said. "I don't think they were arrogant, or anything like that. They gave the explanations, and they were doing the best they could.
"The first couple (games) were just foul after foul and call after call, and there was no rhythm to the games," Adelman added. "After that, I thought it settled down fairly well. They just called things differently than the normal officials. They're pretty much going by the book."
Former Kings guard Bobby Jackson retires after 12 seasons
Bobby Jackson is retiring from the NBA.
The 12-year veteran guard, who spent six seasons with Sacramento, made the announcement Friday night before the Kings' preseason finale against the Utah Jazz.
Jackson averaged 9.7 points per game in his career. He was the league's Sixth Man of the Year in 2002-03 with averages of 15.2 points, 3.7 rebounds and 3.1 assists.
The former University of Minnesota star played for Sacramento last season but was not re-signed in the offseason.
"It's a tough day for me because I'm retiring from professionally playing the game I love," he said. "But it's also a happy day because I'm retiring on my own terms."
Jackson will work with the Kings as an ambassador, promoting the team in local appearances and handling some scouting.
The 12-year veteran guard, who spent six seasons with Sacramento, made the announcement Friday night before the Kings' preseason finale against the Utah Jazz.
Jackson averaged 9.7 points per game in his career. He was the league's Sixth Man of the Year in 2002-03 with averages of 15.2 points, 3.7 rebounds and 3.1 assists.
The former University of Minnesota star played for Sacramento last season but was not re-signed in the offseason.
"It's a tough day for me because I'm retiring from professionally playing the game I love," he said. "But it's also a happy day because I'm retiring on my own terms."
Jackson will work with the Kings as an ambassador, promoting the team in local appearances and handling some scouting.
Mitchell Hurwitz Discusses His Plans For The Arrested Development Movie
Saturday saw not one but two separate special events with Mitchell Hurwitz take place in Austin, Texas and luckily I had remote ears attending both. The first was a panel discussion called “The Art of Storytelling,” also featuring Ron Howard and Steve Zaillian, and the second was the clearly-titled “Conversation With Mitchell Hurwitz.” Both saw some talk of the upcoming Arrested Development film.
Hurwitz explained the origins of the TV show’s style like this: Ron Howard approached him and asked for something in a verite style, but they soon curbed their enthusiasm for explicitly mockumentary language to avoid comparison with the BBC’s version of The Office, which was just taking off as Devlopment was in development.
For the film, Hurwitz is apparently tempted to change the style completely, but Howard wants it to remain the same. Even if that does end up being the case, Hurwitz did promise that the film would be more “polished”.
The major justification given for the camera and editing styles was that watching comedy isn’t about camera angles and fancy shots. That rationale doesn’t add up with me… why wouldn’t they use a more ‘invisible’ style, then? It’s impossible for me to forget the presence of the camera when watching Arrested Development.
Hurwitz said he is finding the writing of the film easier than with a 22 minute episode because he has a natural inclination and skill to delve deep into detail.
Over at the other event, Hurwitz confirmed that he would not only be writing but will also be directing the feature film himself. The only major plot information he could be pushed for was that the film would be set, to a large extent, in prison. Now, that confuses me a little (and bear in mind that I’m not a hardcore Arrested Development fan by any means) but I thought all of the prison plotlines were tied up at the end of the second season?
Hurwitz explained the origins of the TV show’s style like this: Ron Howard approached him and asked for something in a verite style, but they soon curbed their enthusiasm for explicitly mockumentary language to avoid comparison with the BBC’s version of The Office, which was just taking off as Devlopment was in development.
For the film, Hurwitz is apparently tempted to change the style completely, but Howard wants it to remain the same. Even if that does end up being the case, Hurwitz did promise that the film would be more “polished”.
The major justification given for the camera and editing styles was that watching comedy isn’t about camera angles and fancy shots. That rationale doesn’t add up with me… why wouldn’t they use a more ‘invisible’ style, then? It’s impossible for me to forget the presence of the camera when watching Arrested Development.
Hurwitz said he is finding the writing of the film easier than with a 22 minute episode because he has a natural inclination and skill to delve deep into detail.
Over at the other event, Hurwitz confirmed that he would not only be writing but will also be directing the feature film himself. The only major plot information he could be pushed for was that the film would be set, to a large extent, in prison. Now, that confuses me a little (and bear in mind that I’m not a hardcore Arrested Development fan by any means) but I thought all of the prison plotlines were tied up at the end of the second season?
Sunday, October 25, 2009
Paranormal Activity Scares Its Way to #1!
The ComingSoon.net Box Office Report has been updated with studio estimates for the weekend.
With weeks of viral marketing and a promotional campaign driven by social networks like Twitter and Facebook behind it, Oren Eli's Paranormal Activity (Paramount) expanded into just under 2,000 theaters on Friday and successfully took the box office with an estimated $22 million and an astounding cumulative gross of $62.5 million after less than a month in theaters. It's surely going to be considered one of the memorable phenomena of 2009, having cost less than $15,000 to produce, the rights sold to Paramount for roughly $300,000 and then being distributed by one of the most unique and unconventional methods we've seen in some time. The L.A. Times is even reporting that Paramount has the option to make a sequel, which you can read about here.
Unfortunately, the success of Peli's surprise hit also signified the first major hurdle in the seemingly unstoppable success of the "Saw" franchise, as the sixth installment Saw VI (Lionsgate) finally fell victim to the laws of diminishing returns, opening with just $14.8 million, less than half the opening of the previous four installments. It was the lowest opening for the annual franchise which kicked off in 2004 with the original movie opening with $18.3 million, at the time a huge success considering the film only cost a million to make. Certainly the success of Saw, which premiered at the Sundance Film Festival that year, has paved the way for low-budget horror films like Paranormal Activity, which was first seen at the smaller Slamdance Film Festival in 2008.
As far as the rest of the box office, Spike Jonze's Where the Wild Things Are (Warner Bros.) tanked in its second weekend, dropping 56% to third place with $14.4 million and a ten-day total of $54 million, while The Gerard Butler-Jamie Foxx thriller Law Abiding Citizen (Overture Films) is starting to catch up in their respective second weekends, dropping just 40% to make $12.7 million in its second weekend and $40.3 million total.
The hit situational comedy Couples Retreat (Universal) took fifth place with $11.1 million and $78.2 million total.
As far as the two new movies for younger people, the animated adventure Astro Boy (Summit) opened in sixth place with $7 million, while Paul Weitz's young adult fantasy Cirque du Freak: The Vampire's Assistant (Universal) settled for eighth place, grossing just $6.3 million in its first weekend, averaging roughly $2,300 per site in 2,754 theaters.
In between the two new movies, Screen Gems' remake of The Stepfather dropped to seventh place with $6.5 million, a modest 44% drop from its opening week, and $20.3 million total.
The Top 10 was rounded out by Sony's dual hit comedies, the animated Cloudy with a Chance of Meatballs with $5.6 million, bringing its total to $115.2 million, and the R-rated Zombieland, which added $4.3 million to its total take of $67.3 million.
The Top 10 grossed roughly $105 million down 9% from the same weekend last year when Disney's HIgh School Musical 3 topped the box office with over $40 million, followed by the previous "Saw" installment Saw V with $30 million.
Opening in 11th place, Mira Nair's biopic Amelia (Fox Searchlight) starring Hilary Swank as the legendary aviator, took in $4 million in 818 theaters, averaging nearly $5,000 per site, the second best average in the Top 12 after Paranormal Activity.
Lars von Trier's controversial Antichrist opened with $73.5 thousand in 6 theaters in New York and L.A., averaging $12.2k per site, while Katherine Dieckman's Motherhood, starring Uma Thurman, only grossed $58 thousand in 48 theaters.
With weeks of viral marketing and a promotional campaign driven by social networks like Twitter and Facebook behind it, Oren Eli's Paranormal Activity (Paramount) expanded into just under 2,000 theaters on Friday and successfully took the box office with an estimated $22 million and an astounding cumulative gross of $62.5 million after less than a month in theaters. It's surely going to be considered one of the memorable phenomena of 2009, having cost less than $15,000 to produce, the rights sold to Paramount for roughly $300,000 and then being distributed by one of the most unique and unconventional methods we've seen in some time. The L.A. Times is even reporting that Paramount has the option to make a sequel, which you can read about here.
Unfortunately, the success of Peli's surprise hit also signified the first major hurdle in the seemingly unstoppable success of the "Saw" franchise, as the sixth installment Saw VI (Lionsgate) finally fell victim to the laws of diminishing returns, opening with just $14.8 million, less than half the opening of the previous four installments. It was the lowest opening for the annual franchise which kicked off in 2004 with the original movie opening with $18.3 million, at the time a huge success considering the film only cost a million to make. Certainly the success of Saw, which premiered at the Sundance Film Festival that year, has paved the way for low-budget horror films like Paranormal Activity, which was first seen at the smaller Slamdance Film Festival in 2008.
As far as the rest of the box office, Spike Jonze's Where the Wild Things Are (Warner Bros.) tanked in its second weekend, dropping 56% to third place with $14.4 million and a ten-day total of $54 million, while The Gerard Butler-Jamie Foxx thriller Law Abiding Citizen (Overture Films) is starting to catch up in their respective second weekends, dropping just 40% to make $12.7 million in its second weekend and $40.3 million total.
The hit situational comedy Couples Retreat (Universal) took fifth place with $11.1 million and $78.2 million total.
As far as the two new movies for younger people, the animated adventure Astro Boy (Summit) opened in sixth place with $7 million, while Paul Weitz's young adult fantasy Cirque du Freak: The Vampire's Assistant (Universal) settled for eighth place, grossing just $6.3 million in its first weekend, averaging roughly $2,300 per site in 2,754 theaters.
In between the two new movies, Screen Gems' remake of The Stepfather dropped to seventh place with $6.5 million, a modest 44% drop from its opening week, and $20.3 million total.
The Top 10 was rounded out by Sony's dual hit comedies, the animated Cloudy with a Chance of Meatballs with $5.6 million, bringing its total to $115.2 million, and the R-rated Zombieland, which added $4.3 million to its total take of $67.3 million.
The Top 10 grossed roughly $105 million down 9% from the same weekend last year when Disney's HIgh School Musical 3 topped the box office with over $40 million, followed by the previous "Saw" installment Saw V with $30 million.
Opening in 11th place, Mira Nair's biopic Amelia (Fox Searchlight) starring Hilary Swank as the legendary aviator, took in $4 million in 818 theaters, averaging nearly $5,000 per site, the second best average in the Top 12 after Paranormal Activity.
Lars von Trier's controversial Antichrist opened with $73.5 thousand in 6 theaters in New York and L.A., averaging $12.2k per site, while Katherine Dieckman's Motherhood, starring Uma Thurman, only grossed $58 thousand in 48 theaters.
Pre-Production Starting on Mad Max 4
Just a few days after it was reported that Charlize Theron and Tom Hardy are in the running to star in George Miller's fourth Mad Max movie, The Daily Telegraph says that work on the film will start immediately and that filming will take place in Sydney and Outback NSW.
The newspaper says that a lot of the work will be done at Redfern's CarriageWorks and there will also be 30 weeks of filming in Broken Hill. It is estimated the whole project will take two-and-a-half years to complete.
Miller said: "The production agreements have been a long time in the making and Premier Rees and his team have worked like Trojans to ensure this substantial investment comes into this country. Not only does it help fuel the local economy but it means many talented people get a chance to practice their craft and lift their skills."
CarriageWorks will be used for the development work for the film, as well as Miller's Happy Feet 2.
Filming is expected to start next year.
The newspaper says that a lot of the work will be done at Redfern's CarriageWorks and there will also be 30 weeks of filming in Broken Hill. It is estimated the whole project will take two-and-a-half years to complete.
Miller said: "The production agreements have been a long time in the making and Premier Rees and his team have worked like Trojans to ensure this substantial investment comes into this country. Not only does it help fuel the local economy but it means many talented people get a chance to practice their craft and lift their skills."
CarriageWorks will be used for the development work for the film, as well as Miller's Happy Feet 2.
Filming is expected to start next year.
Sylvester Stallone Plans to Follow Rambo 5 With Rocky 7 in 2010
After Sylvester Stallone wraps his fifth Rambo, apparently a curious creature feature and now officially given the go ahead to start shooting in the spring, it looks like Stallone is looking to once again revive his other iconic turn/cash cow. It seemed like a minor miracle to me that Rocky 6 was so well received and so going for a seventh roll of the dice seems at first like a gamble too far, but Stallone’s feeling quite philosophical:
When I was 21 years old and at drama school. My teacher said to me, ‘If you ever put your head out there, thousands of people will try to cut it off, but that’s exactly what you need to do as an artist.’ “I know it’s ludicrous and everyone would laugh. I would laugh about it. But I also know that I’d be successful if I can make this a film about becoming older, not about boxing but about myself.
Do you know what, I think he’s right, actually. Rock on Rocky 7.
He was reportedly speaking to Tele 5 in Germany, since which quotes have spread like wild fire across the web. I sourced my quotes from Teen Say.
Here’s just a touch more of what he said:
Even my wife says, ‘Don’t do it. You’re embarrassing the kids’. But I told her, ‘If I don’t try I’ll be a really unhappy man.’ You have to do it. Artists like me have to go through the dark over and over again.
Perhaps a leap into the true darkness of a non-franchise film would be good. Actually, that could include The Expendables, which still seems to be set pretty safely in Stallone’s 80s-brewed comfort zone, so maybe dabbling in a new genre would be necessary. Okay, basically, I’m wanting Stallone to do his long promised Edgar Allan Poe film. Am I alone in that?
When I was 21 years old and at drama school. My teacher said to me, ‘If you ever put your head out there, thousands of people will try to cut it off, but that’s exactly what you need to do as an artist.’ “I know it’s ludicrous and everyone would laugh. I would laugh about it. But I also know that I’d be successful if I can make this a film about becoming older, not about boxing but about myself.
Do you know what, I think he’s right, actually. Rock on Rocky 7.
He was reportedly speaking to Tele 5 in Germany, since which quotes have spread like wild fire across the web. I sourced my quotes from Teen Say.
Here’s just a touch more of what he said:
Even my wife says, ‘Don’t do it. You’re embarrassing the kids’. But I told her, ‘If I don’t try I’ll be a really unhappy man.’ You have to do it. Artists like me have to go through the dark over and over again.
Perhaps a leap into the true darkness of a non-franchise film would be good. Actually, that could include The Expendables, which still seems to be set pretty safely in Stallone’s 80s-brewed comfort zone, so maybe dabbling in a new genre would be necessary. Okay, basically, I’m wanting Stallone to do his long promised Edgar Allan Poe film. Am I alone in that?
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