Quentin Tarantino Attacks Paparazzi at Sundance

At /Film we try not to post anything that would be considered celebrity gossip. Last week in one of my Sundance blogs I wrote about my unfortunate experience meeting Quentin Tarantino after a screening of Hell Ride. A reader who had read my posting just sent me this video showing Quentin Tarantino attacking a paparazzi with a video camera while in Park City.

I’m not a supporter of the paparazzi, but at the same time, I think Tarantino’s reaction was totally unnecessary. My mom always told me that two wrongs don’t make a right. He could have easily just walked away. And even sadder, Tarantino’s comment leads me to believe that he actually believed the guy was a Park City local with a video camera and not a paparazzi, yet still acted the way he did.

What a badass… /sarcasm

[flv:http://slashplay.com/tarantinopap.flv 470 264]

source: ekstrabladet

Hellraiser Remake Pushed Back to 2009


Dimension‘s remake of Clive Barker‘s original Hellraiser has been pushed back from its scheduled September 5, 2008 release to an undetermined date in 2009. According to Bloody Disgusting, the Weinstein Co. and Dimension were not popping bottles of Cristal over the script by French director team Alexander Bustillo and Julien Maury (Inside), though the duo are still attached to bring Pinhead the $60 million box office grosses he craves.

Unlike Halloween and Michael Myers, I think it’s fair to say that most people can recognize Pinhead, but far, far less have ever viewed a Hellraiser film. The character’s highest grossing theatrical flick was 1996’s Hellraiser: Bloodline, the fourth installment, which cha-chinged $16 million in ticket sales. I count eight total films total, though several have been designated, unsurprisingly, straight to DVD. Truth is, these movies are a little icky like the word “moist.”

There’s still no word on whether the actor better known as Pinhead, Doug Bradley, will be back. Bradley ties Robert Englund for playing the same horror character eight consecutive times in a film. Who’s going to stop him now? Johnny Depp?

Director Terry Gilliam is said to have his sights on Johnny Depp to finish a presumable portion of what remains of Heath Ledger‘s role in The Imaginarium of Doctor Parnassus. The news comes from Rupert Murdoch’s scandal-obsessed UK paper The Sun, complete with a quote from an unnamed studio source…

“There is a point in the film when Heath falls through a magic mirror,” says the anonymous source. “He could change into another character after that and that is where Johnny would come in. It’s a weird, fantasy, time-travel movie so Heath’s character could easily change appearance. It would be a poignant moment. Johnny’s not working at the moment so everyone is praying he will do it.”

Now, this sounds like it could be legit, as Gilliam and Depp previously collaborated on the infamous The Man Who Killed Don Quixote, a movie that was canceled mid-production due to an actor’s serious illness, as well as floods, a possible voodoo curse et al. And then there’s Gilliam’s Fear and Loathing in Las Vegas, which clearly marked a personal career highlight for Depp. And as you can see, Depp and Ledger are often shown wearing fedoras, sunglasses and artiste ‘staches in photos, so there’s a shared appearance and sensibility.

On one hand, Depp would be paying a nice tribute to Ledger if he goes for it and saving Gilliam yet another dashed vision on his record; on the other, if Depp’s not interested, this is a messed up way to create an obligation via the media, no matter the source.


Joining United Artists, the Weinstein Co. and Worldwide Pants in the “If we can do it, so can you” club, Marvel Studios and Lionsgate made interim deals today with the Writer’s Guild that allow their studios to return to business as normal.

We’re very excited about our summer releases Iron Man and The Incredible Hulk, and look forward to resuming work with writers on our future projects including Captain America, Thor, Ant-Man, and The Avengers,” said Marvel Studios Chairman David Maisel in a press release.

Wouldn’t it be dandy if Marvel took a cue from Troma’s Toxie and started releasing in-person statements via Ant-Man? And I guess The Avengers is top priority, for realz. Like a masked person’s secret identity, details of Marvel’s agreement were not disclosed, while Lionsgate’s is similar to UA and WWP. Furthering the cause, Lionsgate drew a rainbow with its finger, saying…

“The writers’ issue seems on its way to being solved, and Lionsgate felt it was an important time, particularly in view of our television series, to have our writer partners get back to work. We look forward to a broad industry agreement soon.”

Just as American Gladiators was putting a death grip on the nation’s feigning attention!

Description of First Indiana Jones IV Trailer?


Quicksand? Stairs coming out of walls right out of an M.C. Escher work? A box labeled Roswell? Shia cracking teacher jokes to Ford? Is this what we can expect from the first trailer for Indiana Jones and the Kingdom of the Crystal Skull that will be attached to The Spiderwick Chronicles on February 15th? The following description is from a spy over at AICN

The trailer starts off with the Paramount logo, then shows the idol from the start of RAIDERS.

Words comes across the screen and say, “He found the Ark…”

Then clips from TEMPLE OF DOOM as it says, “He survived the Temple…”

Then clips of the third movie and, “He saved the Grail.”

Then it shows a clip of a car pulling up and Indiana being thrown from the car. Then it says, “On May 22nd… he is back,” and it shows him picking up his hat and the silhouette of Indiana Jones. Cue theme song.

Some really fast action scenes follow, and the highlight is a car chase scene in the warehouse where RAIDERS ends. One quick shot shows a box that is labled “Roswell”. The trailer shows Cate Blanchett with dark hair ordering around troops.

The teaser then shows what looks to be a huge Mayan temple where the actors fall through quicksand, and the temple opens up and they start running down a long staircase where the stairs are coming out from the walls.

After some more quick action scenes, the trailer ends with Shia Labeouf standing at the bottom of stairs and looking up to Harrison Ford. Shia says, “I thought you said you were a teacher?!?!”

After two quick scenes where Indiana is punching a guy, it cuts back to Harrison and he replies, “Part time!”

I wasn’t expecting much, but I was more than surprised and pleased with what I saw.

If this is not what the trailer plays like, it’s a bit of hilarious guessing. If it is legit, sounds playful, a little cornball and just enough to set fans’ anticipation a fire.

Twenty-three days into the month of January, Michael Moore is getting proactive about his New Year’s resolution: he wants one screen in every multiplex in America reserved for foreign films and documentaries. So, how’s your newly implemented exercise regime going so far, everybody? Here’s Moore…

“People want to see documentaries, but there’s a disconnect between that desire and the exhibitors out there,” Moore tells the Hollywood Reporter. “We’re not asking for charity. …This could be on the 15th screen of a multiplex that would otherwise have the sixth showing of the new Harry Potter movie. Some of these films make $200 or $300 per screen.”

If you’re saying to yourself, “Well Michael, I’d like to see that too, and I’d also like to see my college loans turn into Ferraris,” you should know that Moore says he’s spoken to board members of the Academy of Motion Picture Arts and Sciences as well as unnamed documentary directors, industry publicists and marketers in hopes of setting his resolution in motion. His next step is to sit down with the heads of theater chains to get down to what a QT character might call brass tax. No word on whether he’ll sit down with a video camera on his shoulder, but I’d say one of his trusty hats is a lock for a cameo.

And hey, if the theater chains’ top suits won’t give him one screen per cineplex, he says Mondays, which draw reliably weak box office, are ideal common ground. Who else sees Mark Cuban getting involved in this shortly, because I’m getting visions like The Dead Zone? Moore’s ultimate goal is to see foreign films and documentaries unleashed from the “art house ghetto” and into the glorious pits of suburbia, where Diablo Cody once wrote the script to Juno inside a Starbucks nestled inside a Target (or so she says, I’ll go ahead and save you the comment, thanks).

Now, I think Moore’s mission is commendable. My mom needs something to do on Monday nights besides calling me up to fuss over election coverage and personally I don’t give a damn what Hollywood Elsewhere spews, Americans are more open to indie films and foreign films than ever. Unfortunately (but semi-fortunately), the torrent boom plays a huge part in this, but I’ll save that aspect for another post that is a longtime coming. But, yes, the distribution is out-of-whack, too. If Sicko, Moore’s doc about the health-care crisis in America, can gross $25 million, his ideas on documentary and indie distribbing deserve to be heard and pondered. Imagine Tony Kaye’s Lake of Fire playing five miles away from you next Monday.

There is nothing like walking out of a movie into the night and hitting an aloof stride on the parking lot with a wedgie in your ideologies. To adjust or not to adjust. That is the question we need more of.


If anyone remains unsure, Heath Ledger‘s filming and voice work on The Dark Knight were completed before his unfortunate death yesterday (click here for latest updates). However, it would seem that the status of his last film, The Imaginarium of Doctor Parnassus, which marked his second collaboration with director Terry Gilliam following 2005’s The Brothers Grimm, is in jeopardy. Variety reports that the film had recently finished up its London leg of the shoot and had moved on to Vancouver to continue filming before the incident stunned the world. Producers of the $30 million indie film have not yet issued a statement regarding how Ledger’s death will impact production. Whether the role will be recast and whether the film can even proceed are not known.

Seeing that Ledger was the film’s largest star, with a sizable lead on co-stars Christopher Plummer and Tom Waits in terms of name recognition, this is detrimental. His casting was pivotal to the financing of the project. As most of us know, Gilliam’s films and almost-films have a long history of unfortunate events, budget issues and creative conflicts that put his latest films’ box office prospects on shaky ground. This was all painfully exemplified in the 2002 documentary Lost in La Mancha, which chronicled the downward spiral of Gilliam’s never completed $35 million The Man Who Killed Don Quixote with Johnny Depp in the lead. The final nail in that film’s coffin was the illness of star Jean Rochefort.

Doctor Parnassus follows an ancient traveling theater company “which arrives in modern London with a magical mirror that can transport its audience into fantastical realms of the imagination.” Plummer plays the title doctor, while Ledger’s role is that of an outsider who must fend off the devil in order to rescue the doc’s daughter, played by Lily Cole.

The trade also reports that Ledger was gearing up for his directorial debut, an adaptation of the 1983 Walter Tevis novel The Queen’s Gambit, about a female chess prodigy, rumored to star Juno phenom Ellen Page.

Spoiler Photos for The X Files 2 Hit the Web!


Unless July’s X Files sequel (still untitled) ends up being the franchise’s equivalent to Waxwork, I’d say the following photo contains a detrimental spoiler. If /Film was the government or Matt Drudge, we might unleash the sirens and Code Red alerts right now. Am I glad I saw them? Not really. Actually, no way! Are they cool? Sure, but I have a distinct “is that it?” comedown. JoBlo had one helluva spy who snapped some photos from the set. As for the photo below, that’s the film’s director and franchise creator, Chris Carter, on the right in blue. As for what’s on the left, if you head for the jump you’ll have no further questions.

Source Link: JoBlo

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Recently while on Google Chat with Peter, I predicted that Paul Thomas Anderson would follow-up There Will Be Blood with an intensely signature sci-fi undertaking. You can look at the guy in interviews and gleam all of the sick projects dancing in his eyes and hiding in the best smirk in the business; he looks like he’s ready to do some serious Kubrickian-level genre trail blazing. When journalists have quoted him recently, relating his own gnawing, towering ambition and fighting spirit to that of Daniel Plainview’s, they often seem taken aback as if this were a bad or maniacal confession. Screw that. It’s cause for excitement. When you’ve got the touch, you don’t deny it. You say, “yeah, I relate to that [smirk].” There is a little dose of crazy behind all great works (sometimes a lot), and with Oscars definitely coming his way, he’ll need some Plainview to punch through the expectations and torrential glitz.

So, like I said, I thought epic sci-fi would be in order, but apparently it’s spookier. He oft refers to There Will Be Blood as a horror film, but word today over at Bloody Disgusting is that PTA’s pining for some genre horror, like, on The Exorcist or Halloween tip. They say to expect an official announcement of some kind in the coming months. Yeah, that’s all I got. Now, maybe you’re feeling ripped off, like you just went to a palm reader, handed her your wallet with a red bicycle photo in it and she told you you had a red bicycle. But based on what I’m hearing off the record and a lil’ gut intuition, I’m willing to put chips on the table that PTA’s next film is horror or sci-fi and not an ensemble drama. Any director who takes an Oscar and goes off to make a movie to scare all of us up a tree deserves to have his towering ambition erected into a tower made of 80 floors of whatever he finds awesome. I’ll help build it. PTA horror, can you dig it?!

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Let’s hope this isn’t a sign of things to come in regards to the Academy Awards for Paul Thomas Anderson‘s There Will Be Blood: Jonny Greenwood‘s feted instrumental soundtrack for the film, seen as a shoe-in for Best Original Score, has been officially disqualified. The reason? The score contains preexisting music. Red Carpet District reports that Greenwood’s score contains “35 minutes of original recordings and roughly 46 minutes of pre-existing work (including selections from the works of Arvo Pärt, as well as pieces in the public domain, such as Johannes Brahms’ “Concerto in D Major”).  Peripheral augmentation to the score included sporadic but minimal useage (15 minutes) of the artist’s 2006 composition “Popcorn Superhet Receiver.”

While I downloaded the soundtrack and admire it, I admit that the above details regarding source material eluded me. Rules are rules; even though I’m sure some die-hard Radiohead and PTA fans can’t be talked into coming down from their anger trees right now. What’s more surprising is the supreme suddenness of the Academy’s announcement, with Greenwood learning the decision via an official letter on January 17th, and the studio, Paramount Vantage, two days later. In comparison, Paramount Vantage says they learned that the soundtrack for their Into the Wild was also ineligible (due to  predominant use of songs) much further in advance. And it sounds as if the studio would have appealed the TWBB decision if they had the proper time.

Right when the impossibly important category starts to attract the attention and interest of a younger demographic, poof! Maybe it’s time to reinstate the “Adaptation and Song Scores” category, which has been off the ballots since 1984?

    Source Link: Variety /LAT