Another impressive name has joined Muhammed Ali and Joe Frazier for Ang Lee’s latest film. A few months back, we reported that the multiple Oscar winner is prepping a 3D film based around some of the classic boxing matches of the Sixties and Seventies. Very little was revealed beyond that. Now a screenwriter has been added, and he gave up a few more details.
Peter Morgan, the Oscar-nominated writer of The Queen, Frost/Nixon, The Last King of Scotland and Rush, will write the film for Lee. Read his quotes below. Read More »
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He went from Westeros to the Nine Realms and now Game of Thrones and Thor: The Dark World director Alan Taylor is going past Judgement Day. He’s just signed on to direct the new, rebooted fifth Terminator film, which is set for a June 26, 2015 release. He reportedly beat out Ang Lee, Rian Johnson and Denis Villeneuve. Read More »
After you win an Oscar for Best Director, the world is your oyster. There’s no better time to make an out-of-the-box passion project. After winning for Brokeback Mountain, Ang Lee made two smaller, niche films. He then made Life of Pi, won another Oscar, and it seems he’s going to follow that with something even more surprising.
Deadline has learned Lee’s next project could be a 3D narrative that centers on classic boxing matches of the Sixties and Seventies such as the epic battles between Muhammed Ali and Joe Frazier. Read More »
Skyfall was a smash, and naturally EON Productions, MGM and Sony want to get a new James Bond film rolling with all due speed. All the companies involved want to get their money’s worth out of Daniel Craig while they’ve got him. The Bond machine doesn’t move quickly, however, and it’s no easy task to choose the path for the new installment of a franchise that is 50 years old and almost two dozen films along.
Since Sam Mendes won’t return to make the 24th Bond film (title TBD) who might do the job? EON is talking to a variety of people now, and some of the names are being reported. Ang Lee, Tom Hooper, David Yates, Nicolas Winding Refn, and Shane Black are all “in the mix” as possible directors. That doesn’t mean that any of them will be the person who next brings Bond to life, but it gives us something to think about.
Update: Everyone may have spoken too soon. Deadline reports that Sam Mendes is in talks to return to direct Bond 24. More below.
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Not long ago, an announcement hit that Ang Lee, this years Best Director Oscar winner, would make his television debut as the director of the pilot for Tyrant. The show, housed at FX, is about “an unassuming American family drawn into the workings of a turbulent Middle Eastern nation.”
The show is likely still going forward, but Lee has announced that he won’t be part of it after all. He has pulled out of directing the pilot, citing a need to take some time off. Read More »
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Posted on Friday, April 5th, 2013 by Angie Han
The Hulk has been notoriously tricky to get right on the big screen, but thanks to his enduring popularity as a character plenty of people have tried. One man, concept artist Benton Jew, has even made the attempt three times.
Jew first worked on bids for Jonathan Hensleigh‘s unmade 1997 Hulk film and Ang Lee‘s 2003 Hulk, before getting hired in 2007 as a storyboard artist on Louis Leterrier‘s The Incredible Hulk. The illustrator recently took to his blog to share his work from those experiences, including mock-ups of Lee’s original choice Billy Crudup as Bruce Banner. Check ’em out after the jump!
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Posted on Friday, March 15th, 2013 by Angie Han
Biblical epics seem to be all the rage these days, but one director that won’t be jumping on that bandwagon is Steven Spielberg. The filmmaker has been linked to Warner Bros.’ Moses biopic Gods and Kings since about 2011, but has finally decided to move on. The studio is thinking big for his replacement, however, and has made moves toward Ang Lee as a possible new director. Read more after the jump.
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The film and TV businesses have melded and merged in a way that would have been unfathomable a decade or two ago. Directors and actors regularly bounce between films and television in a way that implicitly argues that the divisions between the two are technical at best.
Once, the notion that someone would do a TV pilot after winning the Best Director Oscar would have seemed crazy. But Ang Lee has just been announced as the director and executive producer of the pilot for the FX show Tyrant. The project was developed by Homeland exec producer Howard Gordon, and Gideon Raff, who created Homeland‘s inspiration, the Israeli show Hatufim (Prisoners of War).
The show will follow the life of “an unassuming American family drawn into the workings of a turbulent Middle Eastern nation.” More info is below, via the press release. Read More »
On Sunday Ang Lee took the Best Director Oscar for Life of Pi, which also won three other awards, making it the big Oscar winner this year. But what of the more than 400 visual effects employees who spent Sunday protesting business practices that make VFX work a losing proposition for many artists?
The Oscar wins come, ironically, at a very difficult time for one of the companies most directly responsible for the movie’s success: Rhythm & Hues, the effects house that filed for Chapter 11 bankruptcy protection just a week ago. Lee didn’t mention the company by name in his speech, or thank the artists who brought his film to life.
That bankruptcy highlights a big issue in Hollywood: films are ever-more dependent upon digital effects, but often treats the process of their creation like the work of a sweatshop. (See the Tumblr Before VFX for many examples of familiar scenes without their effects.) Claudio Miranda won the Best Cinematography Oscar for Life of Pi, but much of what we see in the film is the work of CG artists. Many of the film’s waves, skies, and animals, including the tiger Richard Parker, are digital. Miranda may have broadly overseen the creation of effects, but he didn’t point a camera at some of the film’s signature elements.
The men who oversaw creation of those digital elements did get honored, but also took a heavy backhand from the Oscar producers. Just as Life of Pi VFX Supervisor Bill Westenhofer was trying to bring up the trouble Rhythm & Hues faces as part of his award acceptance speech, he was rushed off the Oscar stage with the theme from Jaws. His mic was even cut off. That moment was an ugly metaphor for exactly what the VFX industry is angry about: the people who create the elements big-budget movies rely on for success get no voice, and no respect.
(If you see Facebook and Twitter icons going green this week, that’s in support of VFX artists.)
So what’s happening in the visual effects segment of the movie industry, and what was the protest about? After the break we’ll break down the issues facing effects companies, and explain the reason that imposition of the Jaws theme was so ironically ugly.
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