Posted on Monday, May 20th, 2013 by Angie Han
Progress on David Fincher‘s 20,000 Leagues Under the Sea has been pretty slow going. He’s been set to direct since before his last film (The Girl With the Dragon Tattoo) even opened, but Disney’s been hemming and hawing about what it wants to do.
As of today, it looks like they’re still not quite ready to move forward. The Jules Verne adaptation has been stalled yet again, which means we likely won’t see it until 2015 at the earliest. Find out what the holdup is after the jump.
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Briefly: David Fincher‘s 20,000 Leagues Under the Sea hasn’t yet been given the green light by Disney, but if that ever happens, Australia is waiting with open arms to welcome the production. The country has offered Disney $22.5m to shoot the film there — that’s a flat payment to bring the production down under. It’s the biggest incentive ever offered by Australia, and even bigger than the offer originally reported as likely to be on the table.
Deadline reports that the green light remains elusive while Fincher and his crew put together a cast for the film. Reportedly, if a good cast comes together, the film will be able to move forward. Having that tax incentive from Australia can’t hurt, and with this news getting out don’t be surprised to hear casting for the film in the next week or so.
Before Veronica Mars could try to kickstart anything, David Fincher and Goon comic book creator, writer/artist Eric Powell, used the service to raise money to take a step or two forward with a proposed CG animated version of Powell’s comic. Goon has struggled forward as a project for a few years, with early test footage appearing at Comic Con years back, and Clancy Brown and Paul Giamatti long attached to voice major characters.
They’re still attached, said Powell when asked recently about the status of the project. ”Everyone who was originally attached is still attached,” he said.
The Kickstarter campaign to raise money to produce a rough early version of the full feature was a success, and now Fincher, Powell, and Blur Studios are working to make the next stage of Goon‘s big-screen evolution a reality. Check out footage of Powell talking about the movie below. Read More »
Last night I attended a screening of the first two episodes of House of Cards, followed by a conversation with David Fincher. I had already watched the entire series on Netflix, but it was great to see the show on a huge screen. Unlike other shows I’ve seen in special theater broadcasts, House of Cards felt more like a movie in the large format. Elvis Mitchell hosted the conversation at LACMA as part of Film Independent. While I usually like Mitchell’s Q & A’s, this one was a bit subpar as Mitchell tried to focus on his interpretations of characters and moments in the series, and Fincher wasn’t willing to consider those ideas as his own. But I did learn 11 interesting tidbits about Fincher and the series. Read them now after the jump.
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Posted on Monday, February 25th, 2013 by Angie Han
Despite the oft-repeated observation that the Oscars are the Super Bowl of movies, only the actual Super Bowl has managed to turn its commercial breaks into an event as big as the game itself. But the Academy Awards telecast is still a prime spot for brands wanting to make an impression, and some companies went to extra mile to tailor their promos specifically for the Oscars’ movie-loving audience.
Samsung‘s new promo for their Galaxy Note prominently featured Tim Burton mulling over a (fake) project about a unicorn apocalypse, while their competitors over at Apple name-checked David Fincher, Indiana Jones, and Back to the Future to promote the iPad. Meanwhile, the geniuses working for Kraft brought back the “Pardon me” Grey Poupon campaign of the ’80s, only with a more blockbuster-friendly spin. Hit the jump to watch them all.
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Posted on Friday, February 15th, 2013 by Angie Han
David Fincher has been attached to 20,000 Leagues Under the Sea for almost three years now, but Disney’s been waffling on whether or not it actually wants to move forward with the project. Last we heard in October, the studio had decided only to give itself more time to decide.
But now Fincher’s not the only one eager to get things going. The Australian government is offering Disney an eight-figure rebate to shoot Down Under. If all goes well, the project could enter pre-production this year. However, it may do so without previously rumored star Brad Pitt. Contrary to some reports, he is not set to star, or at least not yet. Hit the jump to keep reading.
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Posted on Thursday, February 14th, 2013 by Angie Han
David Fincher hasn’t quite settled on his next film yet, but in the meantime he’s keeping busy with other types of projects. He directed the first two episodes of Netflix’s original series House of Cards, and produced the Halo 4 commercial we saw last fall. His latest non-cinematic effort is the music video for “Suit & Tie,” the latest pop single by his The Social Network star Justin Timberlake. Watch it after the jump.
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At the end of last week I got into a twitter debate with producer Dana Brunetti (The Social Network, 21, Fifty Shades of Grey). Dana, executive producer on the new David Fincher-produced/directed tv series House of Cards starring Kevin Spacey, began tweeting about how he didn’t understand how some people didn’t get Netflix’s decision to release the entire season onto their streaming service all at once.
I understand it, and I get why Netflix thinks this is the way things should be. Netflix has ton of television programing available, and their users binge watch seasons in the matter of days. They have the stats to prove this. Why change whats been working for them? Why not challenge the status quo of releasing an episode a week with an original series?
I’m all about challenging the way things are done… but does it make sense?
So I responded to Dana and our back and fourth debate has now been chronicled by Mentorless and other sites. I thought it might be worth exploring further in a format that allowed me more than 140 characters.
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