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Last week, I drove to Santa Monica to sit for interviews that may or may not be used on the DVD/Blu-ray release of "The Hunger Games," and part of the interview dealt with the contributions that Gary Ross made to the film.
One of the things that people overlook when talking about Ross leaving the film is that he didn't just direct it. Billy Ray was the first screenwriter on the film, and then Suzanne Collins sat down with Ross and the two of them did the final passes together. Ross has his fingerprints all over that first film, and in addition to helping decide what sort of choices they had to make in adapting it from page to screen, he also put together the cast. As much as anyone, he's got to be credited with helping Jennifer Lawrence define her interpretation of Katniss Everdeen, which seems to be the one thing even the film's strongest detractors agree works in this first film.
Now there's the official word that Gary Ross is off of "Catching Fire," and so the first topic of conversation becomes "Who do you hire to direct it?" More than that, though, I think there's an important question here for filmmakers who might get into the franchise business with Lionsgate/Summit in the future. Based on the way they've handled business on the "Twilight" series and the decision they've made to move forward without Ross on this series, why would anyone ever expect to direct more than one film in a successful franchise for them again?
It will be a colorful Lollapalooza this August as headliners include Red Hot Chili Peppers, Black Sabbath, the Black Keys and Jack White.
The line-up for the Aug. 3-5 festival, held at Chicago’s Grant Park, broke on the Lollapalooza website at midnight Central time.
The Black Keys are also headlining this year's Coachella, which will be held April 13-15 and April 20-22. Similarly, RHCP are headlining both Lollapalooza and June's Bonnaroo. They last headlined Lollapalooza in 2006. The Black Keys played Lollapalooza in 2010, but this is their first go-round as a headliner.
[More after the jump...]
With the way Hollywood churns through material these days, we thought it was worth taking a look at the various sources they're pulling from and discussing what they might make from these books, games, TV shows, or whatever else they use. For today's column, we're looking forward to 2013, when Tim Burton may be directing Jane Goldman's adaptation of "Miss Peregrine's Home For Peculiar Children."
This book by Ransom Riggs falls under the preposterously broad umbrella of "young adult fiction," but trying to shoehorn this into the same genre as "Twilight" or "The Hunger Games" seems ridiculous. This book was built around some real photos that Riggs collected over the years, a narrative that built upon these images, and which plays as a sort of melancholy fantasy about a young man who is launched into a creepy investigation upon the death of his beloved and eccentric grandfather.
When Jacob goes to the Welsh island where his grandfather once lived, trying to figure out how much of what he was told by the old man was invention and how much was true, he comes across the remains of an old house that apparently was an orphanage of sorts before a bomb destroyed it in WWII.
"Justified" just concluded its third season, and in addition to reviewing the finale, I interviewed showrunner Graham Yost about the many villains who paraded through Harlan this season, what he felt worked, what didn't, and what some of his initial thoughts are about season 4, all coming up just as soon as I have a taste for pig tongue...
The results are in for the first round of eliminations from Team Adam and Team Cee-Lo.
Will Jamar sail right through? Will this be the end of the road for Pip and his bow ties? Will fan non-favorite Erin walk like an Egyptian right off the show? How will Christina stab Tony Lucca in the back tonight?
Carson promises a big show and a great performance by Jessie J! So let's get to it...
Nuri Bile Ceylan's "Once Upon a Time in Anatolia," which opened Stateside in January and hit UK screens more recently, has been bringing critics to their knees since Cannes last year, but has has more of a slow-creep effect on me.
I saw it last May in unideal circumstances: the Cannes programmers, in their wisdom, had decided to press-screen this languorous 160-minute policier in a late-evening slot at the very tail-end of the festival. I stayed awake but not exactly absorbent: I was left with admiring impressions of the film's daring narrative style and staggering night-time cinematography, but almost immediately afterwards, was unable to recall a single thing that happened in it.
Returning to it recently, however, proved both rewarding and reassuring: there is something oddly evanescent about the way it reveals its mysteries, but one suspects that may be Ceylan's intent in a kind of long-night's-journey-into-day story that stretches and loops time in such a way that all incidents become less connectable the more we learn about them.
PHILADELPHIA -- Like anybody involved in a horror film, “Cabin in the Woods” star Fran Kranz doesn’t want any of his movie’s secrets spoiled before it goes wide to theaters on Friday. In a way, though, it’d be impossible to fully spoil the twists and turns of Joss Whedon and Drew Goddard’s thriller, which is as much a love letter to past cinema as it is a fulfilling way to reinvent it.
A quick review of tonight's "Cougar Town" coming up just as soon as I can control my gag reflex...