Summit Entertainment is in advanced talks to acquire world rights to The Beaver, with Mel Gibson starring for director Jodie Foster, reports Variety.
The dark comedy, written by Kyle Killen, centers on a depressed man who finds solace in wearing a beaver hand-puppet. In addition to helming, Foster will play the role of the man's wife.
Foster boarded the project and brought it to Gibson, with whom she co-starred in 1994's Maverick.
Shooting starts in late September in New York.
Wednesday, August 19, 2009
Lionsgate Wants More Dirty Dancing
Lionsgate is developing a remake of the 1987 classic Dirty Dancing from a new script by Julia Dahl (Uptown Girl), says Production Weekly.
The original, released in theaters by Vestron, starred Patrick Swayze and Jennifer Grey. It was made for just $6 million but went on to earn a massive $213.95 million worldwide.
A follow-up, titled Dirty Dancing: Havana Nights, was distributed by Lionsgate in 2004. Produced for $25 million, the movie earned just $27.7 million worldwide.
The original, released in theaters by Vestron, starred Patrick Swayze and Jennifer Grey. It was made for just $6 million but went on to earn a massive $213.95 million worldwide.
A follow-up, titled Dirty Dancing: Havana Nights, was distributed by Lionsgate in 2004. Produced for $25 million, the movie earned just $27.7 million worldwide.
Tuesday, August 18, 2009
Hancock director offers up sequel spoilers
Peter Berg, director of the superhero movie Hancock, has some ideas for a sequel if one ever comes to pass, and he shared his ideas with SCI FI Wire. (Spoilers ahead!)
At the end of last year's Hancock, it was revealed that Will Smith's superpowered character was actually an immortal god who became vulnerable only when in the presence of his goddess companion (Charlize Theron). Berg confirmed that a sequel would elaborate on the film's mythology.
"There might be another god out there," Berg said in an exclusive interview last month in Pasadena, Calif. "Might be another one."
If two gods render each other mortal, imagine what kind of wrench a third would throw into the mix. Also, imagine the casting to match up with Will Smith and Charlize Theron! In the mythology of Hancock, all the gods supposedly died out except for our heroes, so a third deity would tweak the mythos.
Berg also confirmed that the subplot of Jason Bateman's publicist character should pick up where it left off in Hancock, where he's starting his charity campaign.
Of course, Columbia Pictures would love another Will Smith blockbuster for the earliest possible summer position. Smith and Berg, however, are in no rush. "They like to fast-track it, but Will's busy, I'm pretty busy," Berg continued. "We're excited to do one, but we want the script to be right and the movie to be right. We don't feel a burning imperative to go right back into it."
At the end of last year's Hancock, it was revealed that Will Smith's superpowered character was actually an immortal god who became vulnerable only when in the presence of his goddess companion (Charlize Theron). Berg confirmed that a sequel would elaborate on the film's mythology.
"There might be another god out there," Berg said in an exclusive interview last month in Pasadena, Calif. "Might be another one."
If two gods render each other mortal, imagine what kind of wrench a third would throw into the mix. Also, imagine the casting to match up with Will Smith and Charlize Theron! In the mythology of Hancock, all the gods supposedly died out except for our heroes, so a third deity would tweak the mythos.
Berg also confirmed that the subplot of Jason Bateman's publicist character should pick up where it left off in Hancock, where he's starting his charity campaign.
Of course, Columbia Pictures would love another Will Smith blockbuster for the earliest possible summer position. Smith and Berg, however, are in no rush. "They like to fast-track it, but Will's busy, I'm pretty busy," Berg continued. "We're excited to do one, but we want the script to be right and the movie to be right. We don't feel a burning imperative to go right back into it."
'Time Traveler's Wife' Series Travels to ABC
ABC is teaming with "Friends" creator Marta Kauffman and Warner Bros. Television to adapt "The Time Traveler's Wife" as a weekly series.
The news follows this weekend's successful opening of the motion-picture version of "Time Traveler's." Starring Eric Bana and Rachel McAdams, the New Line movie grossed nearly $20 million in its first three days and served as successful counterprogramming to more male-dominated fare.
ABC's interest in the adaptation substantially pre-dates the movie, however. The network has been talking to Kauffman "for years" about bringing the project to the small screen, industry insiders said.
Kauffman will write and executive produce.
ABC executives believe the complex plot of the original novel will work well in series form, since Kauffman will be able to explore the romantic relationship at the core of the story over the course of several seasons.
Individual episodes will likely feature self-contained storylines as well.
ABC has given Warner's TV a pilot commitment for "Time Traveler's." It's not yet clear whether Brad Pitt's Plan B banner, which produced the movie version with New Line, will be involved.
First published as a novel in 2003, "Time Traveler's" revolves around a man named Henry (played by Bana in the movie) with a genetic disorder that results in spontaneous time travel. He ends up falling in love and marrying Clare (McAdams), an artist who patiently endures his frequent disappearances.
The novel was the debut for author Audrey Niffenegger.
Kauffman's most recent effort for ABC was two years ago, when she teamed with Goldie Hawn to develop the nonfiction book "Leap! What Will We Do with the Rest of Our Lives?"
The news follows this weekend's successful opening of the motion-picture version of "Time Traveler's." Starring Eric Bana and Rachel McAdams, the New Line movie grossed nearly $20 million in its first three days and served as successful counterprogramming to more male-dominated fare.
ABC's interest in the adaptation substantially pre-dates the movie, however. The network has been talking to Kauffman "for years" about bringing the project to the small screen, industry insiders said.
Kauffman will write and executive produce.
ABC executives believe the complex plot of the original novel will work well in series form, since Kauffman will be able to explore the romantic relationship at the core of the story over the course of several seasons.
Individual episodes will likely feature self-contained storylines as well.
ABC has given Warner's TV a pilot commitment for "Time Traveler's." It's not yet clear whether Brad Pitt's Plan B banner, which produced the movie version with New Line, will be involved.
First published as a novel in 2003, "Time Traveler's" revolves around a man named Henry (played by Bana in the movie) with a genetic disorder that results in spontaneous time travel. He ends up falling in love and marrying Clare (McAdams), an artist who patiently endures his frequent disappearances.
The novel was the debut for author Audrey Niffenegger.
Kauffman's most recent effort for ABC was two years ago, when she teamed with Goldie Hawn to develop the nonfiction book "Leap! What Will We Do with the Rest of Our Lives?"
Robin Williams To Record His Happy Feet 2 Role In January
According to a new story on Sci-Fi wire, George Miller is currently recording voices for Happy Feet 2 with Robin Williams set to record his role in January. Possibly roles plural, in fact, as he had a few characters to take care of in the first film.
George Miller’s original Happy Feet is something of a “best kept secret”, really. I’m not promising you’ll like it but chances are, if you haven’t seen it then you very possibly don’t really know what it’s like at all. The trailer definitely suggests an entirely different animal than the film ultimately provides (well, not literally, both are positively stuffed with penguins) and there’s a last act surprise that divided audiences with the sharp polarity normally associated with Marmite.
If I drew up a shortlist of films from the last ten years that I’d really like to see get a sequel, however, Happy Feet would definitely be on it. And, no, that’s not because I want more of the same but because I can only imagine what kind of strange odyssey Miller could have in store for next time. His own Babe follow up, the misunderestimated Pig in the City, proved how just surprising his approach to serial franchises could be. That one was one heck of a curveball from left field.
Good then, that those rumors of a Happy Feet follow up were almost as persistent as those promises of a 4th Mad Max film. And it seems that both series are moving ahead, so good times for the Miller hardcore.
Williams will be flown out to Miller’s studios in Australia, which suggests the director will have a large degree of personal control of the film, or at least a friendly home base in which he can incubate it. Who knows what that weird egg will contain when it hatches. I’m hoping that the premise for Happy Feet 2 goes far beyond even my least logical, most hairbrained fantasy.
George Miller’s original Happy Feet is something of a “best kept secret”, really. I’m not promising you’ll like it but chances are, if you haven’t seen it then you very possibly don’t really know what it’s like at all. The trailer definitely suggests an entirely different animal than the film ultimately provides (well, not literally, both are positively stuffed with penguins) and there’s a last act surprise that divided audiences with the sharp polarity normally associated with Marmite.
If I drew up a shortlist of films from the last ten years that I’d really like to see get a sequel, however, Happy Feet would definitely be on it. And, no, that’s not because I want more of the same but because I can only imagine what kind of strange odyssey Miller could have in store for next time. His own Babe follow up, the misunderestimated Pig in the City, proved how just surprising his approach to serial franchises could be. That one was one heck of a curveball from left field.
Good then, that those rumors of a Happy Feet follow up were almost as persistent as those promises of a 4th Mad Max film. And it seems that both series are moving ahead, so good times for the Miller hardcore.
Williams will be flown out to Miller’s studios in Australia, which suggests the director will have a large degree of personal control of the film, or at least a friendly home base in which he can incubate it. Who knows what that weird egg will contain when it hatches. I’m hoping that the premise for Happy Feet 2 goes far beyond even my least logical, most hairbrained fantasy.
Neill Blomkamp Wants Sharlto Copley To Return For District 9 Sequel
Editor’s Note: Director Neill Blomkamp also told EW, “I would do anything to go back to the world of District 9 again. Or District 10.”
Promoting District 9 last week, Neill Blomkamp gave an interview to Fangoria Radio and the key quotes are now up on the main Fangoria site. Besides doing their duties as gorehounds and asking the director if he’d like to make a straight-up horror film (he said he would!) they also discussed the inevitable: a sequel to his surprise-success alien apartheid satire.
I’d love to make a sequel, because it’s so creatively rewarding to me; there’s just something about [the story]. It’s my background mixed with the science fiction that I loved.
As is well documented, District 9 is already a sequel of sorts, to Blomkamp’s short film Alive in Joburg. I don’t think we need to hope too hard he doesn’t just run himself into a rut of similar hand-held, pseudo documentary alien pictures. He must be all too aware of the need to branch out and surprise us (again) next time.
If - or more accurately, I feel, when - a District 9 follow-up does gets the flag however, we can definitely expect breakout star (breakout star in the geekosphere, anyhow) Sharlto Copley to make a return appearance:
I’d really like to go back to the world of District 9—which, without Sharlto’s character, would be a very different kind of movie. So I think automatically the two of us will be reunited again, should the public decide that this film is something they want to see and it’s successful.
I think the last two clauses have been quite clearly settled in the intervening days. If this isn’t a success then I don’t know what it. I’m curious as to how many punters think that Peter Jackson directed the film, though. I certainly still meet people who think Guillermo del Toro directed The Orphanage or Steven Spielberg directed Gremlins.
Blomkamp’s intended next picture is not the sequel, but something still rooted in the same genre:
I’ve actually got an idea now for the next film I want to do, which is [another] science fiction movie.
And that’s it? What a tease. Sure bet he’s not talking Halo, though.
Promoting District 9 last week, Neill Blomkamp gave an interview to Fangoria Radio and the key quotes are now up on the main Fangoria site. Besides doing their duties as gorehounds and asking the director if he’d like to make a straight-up horror film (he said he would!) they also discussed the inevitable: a sequel to his surprise-success alien apartheid satire.
I’d love to make a sequel, because it’s so creatively rewarding to me; there’s just something about [the story]. It’s my background mixed with the science fiction that I loved.
As is well documented, District 9 is already a sequel of sorts, to Blomkamp’s short film Alive in Joburg. I don’t think we need to hope too hard he doesn’t just run himself into a rut of similar hand-held, pseudo documentary alien pictures. He must be all too aware of the need to branch out and surprise us (again) next time.
If - or more accurately, I feel, when - a District 9 follow-up does gets the flag however, we can definitely expect breakout star (breakout star in the geekosphere, anyhow) Sharlto Copley to make a return appearance:
I’d really like to go back to the world of District 9—which, without Sharlto’s character, would be a very different kind of movie. So I think automatically the two of us will be reunited again, should the public decide that this film is something they want to see and it’s successful.
I think the last two clauses have been quite clearly settled in the intervening days. If this isn’t a success then I don’t know what it. I’m curious as to how many punters think that Peter Jackson directed the film, though. I certainly still meet people who think Guillermo del Toro directed The Orphanage or Steven Spielberg directed Gremlins.
Blomkamp’s intended next picture is not the sequel, but something still rooted in the same genre:
I’ve actually got an idea now for the next film I want to do, which is [another] science fiction movie.
And that’s it? What a tease. Sure bet he’s not talking Halo, though.
Monday, August 17, 2009
Ratings: Viewers Go Mad for Mad Men
All the buzz surrounding the third-season premiere of Mad Men has apparently paid off: The critically acclaimed AMC series drew its biggest audience ever.
Sunday's episode was watched by 2.8 million viewers, a 33 percent increase from last season's premiere, according to The Hollywood Reporter. When factoring in repeat airings, nearly 4 million viewers saw the premiere, a 29 percent bump from the cumulative total a year ago.
The show's numbers increased most dramatically among adults 18-49. That demo accounted for 1.2 million of the total viewers, a 71 percent jump from a year ago.
Looks like business is good at Sterling Cooper.
Sunday's episode was watched by 2.8 million viewers, a 33 percent increase from last season's premiere, according to The Hollywood Reporter. When factoring in repeat airings, nearly 4 million viewers saw the premiere, a 29 percent bump from the cumulative total a year ago.
The show's numbers increased most dramatically among adults 18-49. That demo accounted for 1.2 million of the total viewers, a 71 percent jump from a year ago.
Looks like business is good at Sterling Cooper.
Warner Bros To Remake Brewster’s Millions
Last month on the /Filmcast, Eric Vespe, better known as Quint from Ain’t It Cool News, mentioned that he is surprised that Hollywood hasn’t tried to remake Brewster’s Millions yet — especially since it’s such a perfect high concept comedy premise, the kind Hollywood loves. Either someone in Hollywood was listening (doubtful, but you never know) or Quint was able to accurately predict what Hollywood would do next, because Warner Bros has hired a screenwriting team to write a new take on the story.
Michael Diliberti and Matthew Sullivan have been hired to adapt a new film based on the 1902 George Barr novel, which has gone on to be adapted for stage and screen almost a dozen times. The 1985 comedy directed by Walter Hill and starring Richard Pryor and John Candy was one of my favorite movies to watch as a kid. It’s definitely not a great film, but its a lot of fun. The story followed a poor minor league baseball player who inherits $300 million from an unknown rich relative. But only under the stipulation that he waste all $30 million in 30 days, with no assets to show for it, without revealing to anyone, including his closest friends, the stipulations of the $300 deal. Watch a clip from the movie embedded below. The original novel, which involved a slightly different storyline, with a lot smaller money figures, is available for free on Google Books.
The screenwriting team doesn’t have any prior produced writing credits, but garnered some good buzz with a spec called Comic-Con. The buddy comedy tells the story of two friends who devise a plan and execute a heist at Comic-Con in order to save their beloved neighborhood comic shop from the danger of an evil corporate takeover.
Michael Diliberti and Matthew Sullivan have been hired to adapt a new film based on the 1902 George Barr novel, which has gone on to be adapted for stage and screen almost a dozen times. The 1985 comedy directed by Walter Hill and starring Richard Pryor and John Candy was one of my favorite movies to watch as a kid. It’s definitely not a great film, but its a lot of fun. The story followed a poor minor league baseball player who inherits $300 million from an unknown rich relative. But only under the stipulation that he waste all $30 million in 30 days, with no assets to show for it, without revealing to anyone, including his closest friends, the stipulations of the $300 deal. Watch a clip from the movie embedded below. The original novel, which involved a slightly different storyline, with a lot smaller money figures, is available for free on Google Books.
The screenwriting team doesn’t have any prior produced writing credits, but garnered some good buzz with a spec called Comic-Con. The buddy comedy tells the story of two friends who devise a plan and execute a heist at Comic-Con in order to save their beloved neighborhood comic shop from the danger of an evil corporate takeover.
The Sequel You’ve Been Waiting For: White Chicks 2!
OK, strictly speaking, I don’t know if a sequel to White Chicks is actually the worst idea of the day, because I’ve never seen White Chicks. And, if things go well, I may never. (Which is a closed-minded attitude I rarely take, but life’s too short, and there are too many other good movies, to see White Chicks.) THR reports that Marlon and Shawn Wayans will return as FBI agents who pose as white women. Keenan Ivory Wayans will direct, and all three Wayanses are writing.
Astoundingly, the first film did over $100m worldwide — $70m domestic and $42 foreign, according to Box Office Mojo. That’s an insane amount of money for a film I don’t think I’ve ever heard anyone talk about. THR is cagey about the plot of the new film. The trade uses that fantastic line “the logline for the new entry is being kept under wraps,” but perhaps this will break out as a Gremlins 2 sort of sequel. Weirder things have happened, and the old energy that powered In Living Color could still be dormant somewhere. (How I hate seeing the people responsible for that anarchic show going down the road of terrible comedy.)
The original film followed two disguise-happy FBI siblings who start off tracking drug dealers who package their product in ice cream boxes. They blow that case and are given one last chance to redeem themselves with the FBI by protecting a pair of Hilton-like heiresses from a kidnapping plot. When the girls are in a car accident, the agents disguise themselves as their charges and live brief lives as two wealthy white girls. Just researching and writing out that synopsis almost makes me want to see the film, because the role-reversal comedy opportunities of living out the lives of two wealthy white women are pretty obvious. Oh, who am I kidding? There are still Bunuel movies I haven’t seen, and I’ll let him tackle class comedy for me.
Astoundingly, the first film did over $100m worldwide — $70m domestic and $42 foreign, according to Box Office Mojo. That’s an insane amount of money for a film I don’t think I’ve ever heard anyone talk about. THR is cagey about the plot of the new film. The trade uses that fantastic line “the logline for the new entry is being kept under wraps,” but perhaps this will break out as a Gremlins 2 sort of sequel. Weirder things have happened, and the old energy that powered In Living Color could still be dormant somewhere. (How I hate seeing the people responsible for that anarchic show going down the road of terrible comedy.)
The original film followed two disguise-happy FBI siblings who start off tracking drug dealers who package their product in ice cream boxes. They blow that case and are given one last chance to redeem themselves with the FBI by protecting a pair of Hilton-like heiresses from a kidnapping plot. When the girls are in a car accident, the agents disguise themselves as their charges and live brief lives as two wealthy white girls. Just researching and writing out that synopsis almost makes me want to see the film, because the role-reversal comedy opportunities of living out the lives of two wealthy white women are pretty obvious. Oh, who am I kidding? There are still Bunuel movies I haven’t seen, and I’ll let him tackle class comedy for me.
Sunday, August 16, 2009
District 9 Hovers Above the Box Office
The ComingSoon.net Box Office Report has been updated with studio estimates for the weekend.
It can be difficult for any movie to do big business once August hits, let alone grossing over $35 million in a single weekend can. It's even harder when a movie isn't a franchise sequel, has no bankable stars and is helmed by an unknown director. And yet, that's exactly what happened this weekend as Neill Blomkamp's sci-fi epic District 9 (Sony), starring Sharlto Copley, made with a production budget of just $30 million, dominated the box office with an opening weekend of roughly $37 million in 3,049 theaters, averaging an impressive $12 thousand per site. The combination of buzz from the movie's unique viral marketing department, solid reviews and the direct involvement of master filmmaker Peter Jackson certainly helped convinced people to go out to the theaters to see it.
Dropping 59% to second place in its second weekend, Stephen Sommers' action movie G.I. Joe: The Rise of Cobra (Paramount) added another $22.5 million to bring its total to $98.8 million after ten days.
Also opening this weekend, Eric Bana and Rachel McAdams starred in Robert (Flightplan Schwenke's adaptation of the Book Club favorite The Time Traveler's Wife (New Line/WB). It took third place with $19.2 million in just under 3,000 theaters.
The Meryl Streep-Amy Adams cookbook biopic Julie & Julia (Sony) grossed roughly $12.4 million in its second weekend, off 38% from last weekend as it dropped to fourth place.
Taking fifth place, Jerry Bruckheimer's 3D animated animal action adventure G-Force (Disney) edged closer to $100 million with another $6.9 million over the weekend.
Jeremy Piven starred in the long-delayed Gary Sanchez Productions comedy The Goods: Live Hard, Sell Hard (Paramount Vantage), which brought in a disappointing $5.3 million as it debuted in 1,838 theaters.
The sixth installment of Warner Bros.' hit franchise Harry Potter and the Half-Blood Prince dropped to seventh place with $5.2 million and a five-week gross of $284 million.
In eighth place, the Sony comedy The Ugly Truth, pitting Katherine Heigl against Gerard Butler, took in $4.5 million to bring its total to $77.5 million.
Hayao Miyazaki's latest animated fantasy Ponyo (Disney) was released into 927 theaters on Friday, the widest release for a Miyazaki film in the United States, helping it take ninth place with $3.5 million.
Marc Webb's (500) Days of Summer (Fox Searchlight) rounded out the Top 10 with $3 million, having grossed just under $18 million to date.
Opening outside the top 10, Summit's musical Bandslam (Summit), starring Vanessa Hudgens, bombed with just $2.3 million in 2,121 theaters, a pitiful average of roughly a thousand per site.
The Top 10 grossed roughly $119 million, up 12% from the same weekend last year when Ben Stiller's war comedy Tropic Thunder topped the box office with $25.8 million.
In limited release, the Ashton Kutcher indie Spread (Anchor Bay) opened in 91 theaters, grossing just $117 thousand, while Davis Guggenheim's rock doc It Might Get Loud grossed an estimated $101 thousand opening in just 7 theaters.
It can be difficult for any movie to do big business once August hits, let alone grossing over $35 million in a single weekend can. It's even harder when a movie isn't a franchise sequel, has no bankable stars and is helmed by an unknown director. And yet, that's exactly what happened this weekend as Neill Blomkamp's sci-fi epic District 9 (Sony), starring Sharlto Copley, made with a production budget of just $30 million, dominated the box office with an opening weekend of roughly $37 million in 3,049 theaters, averaging an impressive $12 thousand per site. The combination of buzz from the movie's unique viral marketing department, solid reviews and the direct involvement of master filmmaker Peter Jackson certainly helped convinced people to go out to the theaters to see it.
Dropping 59% to second place in its second weekend, Stephen Sommers' action movie G.I. Joe: The Rise of Cobra (Paramount) added another $22.5 million to bring its total to $98.8 million after ten days.
Also opening this weekend, Eric Bana and Rachel McAdams starred in Robert (Flightplan Schwenke's adaptation of the Book Club favorite The Time Traveler's Wife (New Line/WB). It took third place with $19.2 million in just under 3,000 theaters.
The Meryl Streep-Amy Adams cookbook biopic Julie & Julia (Sony) grossed roughly $12.4 million in its second weekend, off 38% from last weekend as it dropped to fourth place.
Taking fifth place, Jerry Bruckheimer's 3D animated animal action adventure G-Force (Disney) edged closer to $100 million with another $6.9 million over the weekend.
Jeremy Piven starred in the long-delayed Gary Sanchez Productions comedy The Goods: Live Hard, Sell Hard (Paramount Vantage), which brought in a disappointing $5.3 million as it debuted in 1,838 theaters.
The sixth installment of Warner Bros.' hit franchise Harry Potter and the Half-Blood Prince dropped to seventh place with $5.2 million and a five-week gross of $284 million.
In eighth place, the Sony comedy The Ugly Truth, pitting Katherine Heigl against Gerard Butler, took in $4.5 million to bring its total to $77.5 million.
Hayao Miyazaki's latest animated fantasy Ponyo (Disney) was released into 927 theaters on Friday, the widest release for a Miyazaki film in the United States, helping it take ninth place with $3.5 million.
Marc Webb's (500) Days of Summer (Fox Searchlight) rounded out the Top 10 with $3 million, having grossed just under $18 million to date.
Opening outside the top 10, Summit's musical Bandslam (Summit), starring Vanessa Hudgens, bombed with just $2.3 million in 2,121 theaters, a pitiful average of roughly a thousand per site.
The Top 10 grossed roughly $119 million, up 12% from the same weekend last year when Ben Stiller's war comedy Tropic Thunder topped the box office with $25.8 million.
In limited release, the Ashton Kutcher indie Spread (Anchor Bay) opened in 91 theaters, grossing just $117 thousand, while Davis Guggenheim's rock doc It Might Get Loud grossed an estimated $101 thousand opening in just 7 theaters.
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