A remake of Logan’s Run or, more properly, a new adaptation of William F. Noland and George Clayton Johnson‘s novel, has been in the works for a long time. Warner Bros. and Joel Silver are now moving ahead with a 3D take on the story, to be directed by Ridley Scott protege Carl Erik Rinsch.
Now WB and Silver are primed to hire a screenwriter: Alex Garland, who previously scripted 28 Days Later and Sunshine, among other films. Read More »
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In this week’s /Filmcast, David Chen, Devindra Hardawar, and Adam Quigley praise the directorial talents of the Duplass Brothers, decry the way the Hollywood system objectifies women, appreciate the low-budget directing talents of Vincenzo Natali, and fail to get excited for a Les Grossman film. Special guest Katey Rich joins us from Cinema Blend.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next week on Monday night at Slashfilm’s live page as we review Toy Story 3.
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If this news is true, it can be read, basically, as Warner Bros. and Joel Silver giving Terry Gilliam the finger. But that’s Hollywood, right? The studio and producer are reportedly fast-tracking a tentpole film based on Miguel Cervantes‘ massive novel Don Quixote. Read More »
Last week it was revealed that commercial director and Ridley Scott protege Carl Erik Rinsch is in talks to direct a remake of Logan’s Run for Warner Bros/Joel Silver. MTV got a chance to talk to Silver who was promoting Splice this week, and the mega-producer confirms that the upcoming remake is being developed as a 3D movie, and should be shot with 3D cameras.
“I’d like to make ‘Logan’s Run’ [in 3-D],” he said. “It’s a movie I’ve always been intrigued with, excited by. We’re writing a script now and that should be a big 3-D movie and it should be devised and shot in 3-D. I think if we can pull it together, then it would be.”
Silver says he would also like to shoot his in development adaptation of Lobo in 3D as well. Yeah, well isn’t that true of every movie in production these days? But much like Tron Legacy, Logan’s Run seems like a natural choice for a 3D presentation.
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Vincenzo Natali is hardly a new talent. He’s been on the scene for years, starting out as a storyboard artist (primarily in animation) then moving into the director’s chair with films like Cube and Cypher.
But Splice has brought him to a new level, in part because Joel Silver, Dark Castle and Warner Bros. picked up the film and will release it this summer. The question then, naturally turns to what Natali will make next. He’s been developing a film called Tunnels, but is also now talking about two other adaptations: the J.G. Ballard novel High Rise and the Swamp Thing stories by Alan Moore. Read More »
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Most of the deals to come out of Sundance have been fairly small, from a monetary perspective. There’s just not much cash in indies these days, so the glory days of massive buys at the fest seem to be gone for the time being.
And now along comes this reported deal for Vincenzo Natali‘s film Splice, which is all the more odd as the gene-warping creature feature certainly seemed like one of the more niche films at the fest. When the early films of David Cronenberg are regularly referenced by reviews that go on to insist that Splice gets more and more crazy, you don’t think of a massive summer release. But that’s what Joel Silver is reportedly planning. Read More »
Posted on Thursday, September 10th, 2009 by David Chen
We’ve recently received word that a couple of productions have hit some pretty major road bumps. First up, according to Variety, Warner Brothers has pulled out of the Masters of the Universe project. Universe has had a pretty troubled history all around: When a script review for Justin Marks Grayskull: Masters of the Universe script first hit the web over a year ago, there was much rejoicing. Peter even wrote about five reasons why Marks’ live action He-Man might be cool.
Shortly afterwards, we learned that the project was basically dead, before it was resurrected with Kung Fu Panda director John Stevenson at the helm, along with producer Joel Silver. Now, Variety says, it turns out that “Mattel and WB didn’t see eye to eye over the direction of the project and made a mutual decision to let the option lapse this month.” Mattel is expected to shop the property elsewhere with Stevenson still attached. If I had to guess though, I’d say they won’t have the easiest time of it; in this economy, studios want sure bets, and a big expensive action/adventure flick based on a moribund property with a fairly unproven director could be a huge risk. Box office wise, you could either end up with Transformers, or Land of the Lost, and I might even lean more towards the latter possibility in this case.
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Just last night I killed some time with the trade paperback of Alan Moore’s first issues on Swamp Thing. Despite some clunky, overwrought lines those stories remain a landmark for smart horror comics. The tone is just so perfect and nuanced despite the tidbits that fail. I’d love to see a Swamp Thing movie that worked, one that could be quiet and creepy and feel like elemental forces of the green were rumbling beneath the theater. Now Collider is reporting that Joel Silver is developing a Swamp Thing movie, with an eye for 3D. That probably dashes my hopes. Read his comments after the jump. Read More »
Let’s get past the 3D (you probably already know I’m a staunch supporter) and the CG (you’ve seen the trailer, I’m guessing and know how… um… odd it is) and actually think about some of the other elements of the Avatar Day footage for a moment. Just for a moment…
Perhaps the least unexpected element of the presentation is how well executed the action moments are. James Cameron is one of the masters of the running, jumping, chasing scene. Of the scenes previewed, a healthy half featured some kind of ‘action’ and all of these played like a dream. My particular high point was a confrontation between the Avatars of Jake Sulley and Dr. Grace Augustine, amongst others, and some of the indigenous wildlife of Pandora. The confrontation escalates smoothly and naturally, is staged with great flair but no needless flash and the typical Cameron grasp of kinetics, composition, camera movement and montage. When it ended, I felt genuinely cheated, wanted more badly, and felt that if this sequence was all I had seen, then I’d have been unreservedly sold on the picture.
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