The director of Dark City is ready to take a trip to the darkest city: Hell. Alex Proyas, who also directed I, Robot and Knowing, has signed on to direct Paradise Lost, a film based on the epic 17th century poem by John Milton. It’ll be produced by Legendary Pictures who has a production and financing deal with Warner Brothers. The screenplay was written by Stuart Hazeldine based on an original draft by Byron Willinger and Philip de Blasi. Polishes were also provided by Lawrence Kasdan and Ryan Condal.
The actual poem Paradise Lost tells several different stories dealing with God’s relationship to men, most famously Satan’s temptation of Adam and Eve and their expulsion from the Garden of Eden. Reportedly, though, this version of the film will focus on “the story of the epic war in heaven between archangels Michael and Lucifer, and will be crafted as an action vehicle that will include aerial warfare, possibly shot in 3D.” Can religion and 3D action mix? Hit the jump to read more about it. Read More »
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In early 2010, it was discovered that Sam Worthington was in talks to star in Alex Proyas’ long gestating Dracula origin story, fittingly titled Dracula: Year Zero. Now we have confirmation of this casting, and have also learned that the film plans to be shot in June 2011. To learn more about what’s planned for the production, hit the break. Read More »
Casting is underway for the next theatrical iteration of The Crow, and the actor chosen will face the still-daunting task of walking in the late Brandon Lee‘s Goth-approved footsteps. Last month, I reported on an update of the script written by Blade director Stephen Norrington, and today brings an update from producer Ryan Kavanaugh (Brothers, Nine). So, what guy will be chosen—re: a female Crow is not being considered—to reprise the role of an undead rock musician who wreaks havoc on mortal goons? Let us know what you think of Kavanaugh’s comments and leave your own below.
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We’ve known that Blade director, Stephen Norrington, was scribing a theatrical remake of 1994’s The Crow for almost a year now by following all the milky Goth tears. And now, according to an unidentified source via Mania, Norrington has finally submitted his script to Relativity Media (The Wolf Man, A Serious Man), where it has been “very well received.”
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Despite its flaws, Alex Proyas’ Knowing ended up being a fascinating film, with a cool sci-fi bent and some interesting ideas about faith. I was so taken aback by the film and its audacious ending that I held an impromptu /Filmcast, where we all tried to make sense of what the movie was all supposed to mean (and determine whether or not the film was actually any good).
/Filmcast listener Ned wrote in a detailed response to that podcast episode, in which he relates various elements of the film to Biblical prophecy. I don’t think I would make all the connections that he made, but I found his e-mail pretty thought-provoking nonetheless (especially from a Christian standpoint, as faith plays a huge part in the film). I’m republishing the e-mail here in its entirety, with his permission. If you ever have any interesting and in-depth interpretations of recent/classic films that you want to share, always feel free to e-mail me at slashfilmcast(AT)gmail(DOT)com. Who knows? Maybe it’ll end up on the site one day.
For obvious reasons, everything after the jump and the comments should be considered a SPOILER-FILLED zone. Continue at your own risk.
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Posted on Thursday, March 26th, 2009 by David Chen
In this bonus episode of the /Filmcast, Dave Chen, Peter Sciretta, and Adam Quigley discuss their thoughts on Alex Proyas’s ambitious new science fiction film, Knowing. Spoilers abound in this meandering, barely-coherent discussion! Special guest Russ Fischer joins us from CHUD. As always, if you have any feedback, feel free to e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993.
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Last week, we asked /Film readers to provide questions for a special question and answer blog with director Alex Proyas (Dark City, The Crow, I, Robot, Knowing). We sent Alex the submissions, and he has personally picked nine of the questions to respond to. Read the answers below.
1. TerrenceV: “Mr. Proyas when you are developing the visual style of your films with the various camera angles, framings, and lighting do you storyboard heavily with your cinematographer so that you reach your vision, or do you find that you improvise more? Are your visual choices pretty instinctual?”
I do storyboard, but not with my DP – these days I usually throw away the boards on the set and go for something more spontaneous. My choices are in fact based mostly on instinct – but every scene in a movie is different and requires a different approach so some are more structured than others.
2. JordanFRAV: “Alex, in one of your last posts, you spoke about the influence the film and the William Blatty novel ‘The Exorcist’ had on you as an aspiring film-maker, I was just wondering if you had considered creating a ‘supernatural horror’ or a film in the ‘horror’ genre in the foreseeable future?”
Yes I’d like to do a horror movie as many of my films have elements of “horror” in them. I’m working on a script based on a Heinlein story, THE UNPLEASANT PROFESSION OF JONATHAN HOAG, which I see as a horror movie.
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You probably know Alex Proyas as the director of films like The Crow, Dark City, Garage Days, I Robot and Knowing. For the last couple weeks, the filmmaker has been guest blogging for /Film. But this week Proyas will be answering questions from /Film readers. Want to ask Alex a question? Leave your question in the comments below. We’ll be collecting questions until midnight tonight, and later this week, Alex will answer some of the better and most interesting questions from the comments!
Editor’s Note: You probably know Alex Proyas as the director of films like The Crow, Dark City, Garage Days, I Robot and Knowing, but for the next week and a half the filmmaker has agreed to become a guest blogger on /Film. I asked Alex to blog about some of his influences, and you can now read the resulting blog post below.
I was too young to see The Exorcist in its first run at the theaters, but I remember reading the novel and being scared to death. Many years later when I was able to see the film, its impact was no less potent. I love thrillers with a spiritual aspect… simply because it centers around a danger out of human control. Sell the initial concept (brilliantly achieved by BLATTY), and you have the potential to create some of the most thrilling moments possible. Forget about the scary beats and cheap jumps which sustain most modern thrillers and horrors – I like a film that prolongs tension for so long that even a quick scene cut to a girl lying in bed with special effects makeup scares the hell out of you.
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