Anne McCaffrey‘s Dragonriders of Pern is a few different things. The book series is a work of sci-fi fantasy that holds up well; a promising franchise plan with enough raw story for several films and/or TV shows; and, thanks to the story’s many layered sci-fi concepts, one really difficult piece of work to adapt. After years of fruitless pitches by writers and producers trying to kickstart an adaptation, Warner Bros. finally optioned the books earlier this year. Now novelist Sarah Cornwell has been hired as the first Pern screenwriter. Read More »
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It’s like something out of a mad scientist movie: Universal is building its own brain trust like a Frankenstein’s monster version of the Pixar brain trust. We know that two key players in this team are Chris Morgan (Fast/Furious) and Alex Kurtzman (Star Trek), with Kurtzman writing and directing a new Mummy picture. Aaron Guzikowski (Prisoners) was recently confirmed to be on board to write a new Wolfman movie. Now Noah Hawley (Fargo TV series creator/writer) and Ed Solomon (Men in Black, Now You See Me) are confirmed as part of the group as well. We’ve got more details on the evolving Universal Monsters franchise plan below. Read More »
Posted on Wednesday, November 12th, 2014 by Angie Han
Video game adaptations tend to get a bad rap, but Sony is doing what it can to make sure Uncharted bucks that trend. The studio’s efforts now include bringing an Oscar winner on board. Mark Boal, the acclaimed screenwriter behind The Hurt Locker and Zero Dark Thirty, has signed to work on the screenplay. Even better is the reason he signed on: He’s actually a big fan of the game. Hit the jump for more on the Mark Boal Uncharted hiring, plus new Uncharted plot details.
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You can now see Christopher Nolan‘s Interstellar in theaters, but the movie was originally developed by Nolan’s brother Jonathan Nolan for director Steven Spielberg. In fact, I first reported on the project almost eight and a half years ago. As the story goes, Spielberg got the idea for the film after attending a Caltech workshop. There, physicist Kip S. Thorne, an expert on relativity known for his prolific contributions to the fields of gravitation physics and astrophysics, presented his controversial theories about wormholes. Jonathan Nolan was hired to develop the screenplay for Spielberg, which he originally hoped to direct after Lincoln. Of course, that didn’t happen. Christopher Nolan explained how he got involved during a press conference I attended in Beverly Hills:
[I] was talking to Jonah [Nolan] about the script he was working on with Steven Spielberg at the time. We’d bounce ideas off each other and it sounded incredibly exciting … I had the advantage of coming onto the project late and being able to look at what these guys [Jonah Nolan and Kip Thorne] had done. A lot of my contribution was ripping things out, because they put in more of these incredible mind blowing ideas that, I felt, I could absorb as an audience member. So I spent my time and my work on the script choosing the more emotive and tactile of these ideas to grab ahold of. … [Jonah] got very busy doing other things so I said, ‘Hey can I take this and combine it with some other ideas I’ve been working on’ — it was a bit more like him going ‘okay, take a shot, we’ll see what you do.’ So I showed him what I had done and he seemed reasonably happy with it.
The reason Christopher Nolan shares the screenwriting credit on the final film with Jonathan Nolan is because he reworked the original script with substantial changes. This left me wondering about the evolution of the project, and how different Steven Spielberg’s version of the film might have looked. Of course, we’ll never see Spielberg’s version but Jonathan Nolan’s 2008 draft of the screenplay has been floating around the tracking boards for some time. Investigating that draft gives us an opportunity to see how the story changed from when Jonathan Nolan was working on it under Spielberg to Christopher Nolan’s final film.
What are the biggest differences and changes? Find out the 15 biggest Interstellar script differences, after the jump.
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Posted on Wednesday, November 5th, 2014 by Angie Han
Get the latest updates on several sequels that are definitely happening, one that definitely is not, and one more that could really go either way. After the jump:
- Bond 24 gets a polish from Edge of Tomorrow writer
- Seriously, Michael Bay is not directing Transformers 5
- Elijah Wood will not be in the next (and last) Hobbit movie
- Don’t hold your breath for a Titanic sequel, says James Cameron
- Guillermo del Toro says Pacific Rim 2 will have a script by spring
- Bob Odenkirk describes Better Call Saul as “a total drama”
- Noomi Rapace drops some hints about Prometheus 2
- Could there be more Hunger Games movies after Mockingjay?
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Syfy has ordered a television miniseries adaptation of Arthur C. Clarke’s novel 3001: The Final Odyssey. The 2001: A Space Odyssey sequel will be adapted by screenwriter Stuart Beattie of Pirates of the Caribbean and Collateral fame. Beattie will also serve as executive producer alongside Ridley Scott and David W. Zucker (Numbers, The Good Wife). More details on the 3001 The Final Odyssey miniseries, after the jump.
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So far, it’s been nothing but good news on the Skull Island front. After the surprise announcement at Comic-Con, we found out that Jordan Vogt-Roberts will direct. Then we heard Tom Hiddleston will star. And now it’s more good news as Oscar-nominated screenwriter John Gatins has been brought on for a rewrite.
How is a rewrite good news? Well, besides the addition of a talented new team member, the original script by Max Borenstein was strong enough to attract the star, director, and a two year advance release date. Hopefully, things can only get better. Read more about the Skull Island script below. Read More »
“This script sucks.” Those three words are emblazoned across a new file screenwriter Max Landis has uploaded to his website. It’s a 436 page script for a movie version of Super Mario World. Yes, the first Super Nintendo entry in the Super Mario Bros. series. Landis uploaded the script as a joke. Just to make sure we’re all in on it, he wrote a few pages of preamble explaining himself.
In those first few pages, Landis explains he wrote the script at 19 and admits “this script sucks” for a ton of reasons. Most scripts equate to a minute per page. Who was going to make a seven hour Super Mario Bros. movie? Not Nintendo. They tried and failed to make a much shorter version in 1993. Landis was 8 at the time so he was very aware of that film.
Still the aspiring screenwriter pressed on and wrote a script where he made cardinal mistakes like describing every beat of every action scene, introducing too many tangential characters and typing out long sections of songs into the screenplay.
Basically, this was an epic time wasting exercise by a talented, possibly crazy, 19-year-old kid figuring out screenwriting. But at least he was writing…and writing…and writing. Below, check out the Max Landis Super Mario script and even see some concept art Landis had drawn for the film. Read More »
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