Posts Tagged ‘Director’
Jon M. Chu has apparently become the go-to guy to replicate the most undeserved $ 300 million-plus grosses. The G.I. Joe sequel director is reportedly the frontrunner to direct a sequel to Now You See Me, the 2013 film in which the promise of Jesse Eisenberg and stage magic proved a weirdly huge draw, grossing over $ 350 million worldwide. Details on the new film aren’t yet available, but chances are it will again involve Jesse Eisenberg and stage magic. As it turns out, that’s probably enough.
In what’s being called the first time a mainland Chinese director has signed on for an English-language film at a US studio, House of Flying Daggers and The Flowers of War‘s Zhang Yimou is reportedly attached to direct The Parsifal Mosaic, an adaptation of one of Robert Ludlum’s many novels that have excitingly-meaningless names like that. Written between the now-famed Bourne Identity and, of course, The Aquitaine Progression, the story is a Ludlum of the highest order, a spy thriller filled with action, betrayals, and title word combinations that sound very intriguing indeed. Universal has long been working on adapting it, and Ron Howard was once attached to direct before he got more into reading the page-turners of Kipling. The plot involves a spy whose partner and lover is killed for being a KGB double-agent. The act sends him into retirement, but when he finds that his wife was never an agent and is still alive, the spy–oh fuck it, who even cares about the plot? I will see anything involving parsifal mosaics.
Paramount and producer-star Brad Pitt have found a new director to loosely sling around the neck of their World War Z sequel. According to The Hollywood Reporter, the film will be directed by Juan Antonio Bayona, the Spanish The Orphanage director who last helmed the Naomi Watts-Ewan McGregor tsunami drama The Impossible. A writer is still needed on the project, but now that Bayona is on board, he’ll be overseeing that process. What he will not have input on is whether or not they’re going to call this thing Z2. That’s a foregone conclusion, right?
Universal has already replaced Matt Damon and longtime director Paul Greengrass on their Bourne franchise, but still they’re is finding new ways to make sure the series becomes increasingly unrecognizable with each new chapter. According to Deadline, now series mainstay Tony Gilroy–who’s written every film and took over directing duties on the last one–is out as well. Now the story is coming from Invictus and Sherlock Holmes writer Anthony Peckham, while directing duties have been handed to a guy adept at driving a franchise after it’s replaced all its original parts: Fast/Furious Tokyo Drift through 6 director Justin Lin. A summer 2015 opening is rumored to be a target for the sequel, though the studio claims it doesn’t know when it will open, nor how they’re going to find more ways to make the franchise any less familiar from here on. Knowing Lin, probably by suddenly making Renner giant and bald.
In kind of disappointing news today, Coraline director Henry Selick is reportedly giving up the labors of stop-motion for the comforts of living actors, who will just move around however he wants for money. He’s signed to direct A Tale Dark & Grimm, a live-action adaptation of the children’s book of the same name from Adam Gidwitz. Selick will be the latest director to take on some fairy tale stuff in telling a new spin on Hansel and Gretel–one which sees the siblings exit their fairy tale and wander into some other Grimm works, encountering a variety of evil foes and even Satan himself. That doesn’t leave a lot of time for dressing up in leather and fighting witches, but surely they’ll find a way. Otherwise, what kind of shitty, primitive Hansel and Gretel movie is this?
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Now that he’s shown he can make unconvincingly rotted, willowy CGI flesh lurch around for vengeance, Mama director Andres Muschietti may be headed to the Mummy franchise. According to The Hollywood Reporter, the director is “circling a deal” to take over Universal’s planned reboot in the wake of Len Wiseman’s August departure. Plot details are being kept secret, but Prometheus‘s Jon Spaihts wrote the script, and it’s said it brings the action to modern times–because, well, I hope you can handle this but we’re going to hack the mummy.
As you’ve no doubt realized by now, the internet is totally flipping out over the news that Ben Affleck is officially not directing Stephen King’s The Stand anymore. Hey, calm down, everyone! It’s going to be alright, as Warner Bros. and CBS Films have already found someone new to take over the planned trilogy. Now Crazy Heart director Scott Cooper has reportedly entered talks to rewrite and direct the post-apocalyptic epic.
Cooper’s sophomore effort, the upcoming thriller Out of the Furnace, scored an impressive lineup that includes Christian Bale, Casey Affleck, Woody Harrelson, Forest Whitaker, Willem Dafoe, and Zoe Saldana, and it’s hoped he’ll be able to attract some similarly-big names for the swollen cast of The Stand. Sadly, Ben Affleck will not be available to play “The Rat Man,” as he’ll be busy playing The Bat Man. Had you heard that yet?
Warner Bros.’ long-gestating Twilight Zone movie is back in development now that they’ve realized the cruelest twist of fate would be to actually make this thing. The studio is reportedly in talks with style-over-substance expert Joseph Kosinski–director of TRON: Legacy and more recently Oblivion–to now take the director’s chair on their revival meant to, aptly, only serve as a hollow representation of the television series it’s based on. While the 1983 Twilight Zone movie was at least an anthology in the vein of its inspiration, the film is said to focus only on one story but “with elements from the Twilight Zone universe.” Only time will tell if they can keep such a lofty, purist promise.
She has a pretty rough reputation in Tinseltown, however Lindsay Lohan made a positive impression on director Paul Schrader.
While working on “The Canyons,” the “Mean Girls” starlet displayed some serious star quality that couldn’t be ignored.
Schrader told press, “Tardiness, unpredictability, tantrums, absences, neediness, psychodrama—yes, all that, but something more, that thing that keeps you watching someone on screen, that thing you can’t take your eyes off of, that magic, that mystery.”
He added, “[Marilyn] Monroe and Lohan exist in the space between actors and celebrities, people whose professional and personal performances are more or less indistinguishable. Entertainers understand the distinction. To be successful, a performer controls the balance between the professional and personal, that is, he or she makes it seem like the professional is personal. It is the lack of this control that gives performers like Monroe and Lohan (and others) their unique attraction…We call them ‘troubled,’ ‘tormented,’ ‘train wrecks’—but we can’t turn away.”