Five more movies with Daniel Craig.
That's the dream of the producers of the James Bond franchise, anyway, as revealed in a recent Michael Wilson interview with The People, a London-based newspaper. He's apparently very happy with the way "Skyfall" is coming together, and he's ready to start pinning down the star of the series for a truly epic eight total films as James Bond.
That means he'll do as many movies as the character as there were in the entire "Harry Potter" series. As someone who was thrilled by "Casino Royale" and who loves certain things about "Casino Royale Part 1 and a Half," it's exciting to think about what sort of narrative opportunity there is if they're now aware that they've got five movies to play with.
Let me ask something of EON now, though. If they're really going to do this, and Craig agrees, and they gear up for a mad dash through five films, which could take as long as eight to ten years to pull off, then please tell me that there will be some real continuity with real consequences for Bond.
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Five more movies with Daniel Craig.
Well, that was a surprise. After a breakneck week of SAG Awards nominations (important), critics groups honors (important) and Golden Globe nominations (least important), the race to Oscar ended up becoming even more convoluted than before.
"Homeland" just wrapped up its outstanding debut season, and I have a review of the season finale coming up just as soon as we're all out of paper towels...
Tonight we have a super-sized "Real Housewives of Atlanta," which you'd think means that something Very Exciting and Possibly Scandalous is going to happen, but not really. In short, Kim moves, Sheree dumps all over Phaedra, and Peter dumps all over Cynthia. So, business as usual in Atlanta!
Here at last are the final "Harry Potter" interviews I conducted during my recent trip to Orlando for the press day they held to celebrate the release of "Harry Potter and the Deathly Hallows Part 2" on Blu-ray.
If you didn't read my first few pieces, let me paint the picture of how these interviews were staged. We were actually in the park, in the section of Universal's Islands Of Adventure that is known as "The Wizarding World Of Harry Potter," and it's a remarkable recreation of the world that Jo Rowling and her film collaborators have created over the past decade. It is also wildly successful, so even on a regular day, the park is totally packed. The weekend we were there was part of a major Harry Potter event, though, so it was busier than normal.
That means that every single spot where we were supposed to do interviews was also occupied by about 10,000 screaming Harry Potter fans. I've never really done press in a fishbowl like that, and it's a disconcerting way to try to conduct what is already an exercise in forced and immediate intimacy. Conversations aren't meant to be a spectator sport, but on this particular day, that's exactly what it felt like.
Noomi Rapace is at a turning point.
I don't consider it the end-all be-all goal of actors to work in giant Hollywood movies, but that's often how it is treated. Think of the same basic cycle we see play out over and over again. Someone plays an interesting role in an international release and then suddenly they're in every movie released by Hollywood for about a year, and then if they don't have a hit, they're gone again, back to the world of foreign-language movies. It's treated like a major league/minor league situation, whether that's true or not, and it's brutal to watch some of these very accomplished actors get chewed up by the Hollywood machine.
"Sherlock Holmes - A Game Of Shadows" is the Hollywood debut of Rapace, who gained international attention playing Lisbeth Salander in the Swedish adaptations of the "Girl With The Dragon Tattoo" series. Her work in those films has earned her some staunch supporters, and even if I'm not among them, I was curious to see how she was used in the film. She's also in "Prometheus," the Ridley Scott "Alien" sidequel that's coming out next summer, so one could say she's getting a fair shot and then some.
After you watch this bizarre parody of "War Horse" from last night's "Saturday Night Live," a few observations.
In this special edition of Music Power Rankings, we look back at 2011 and highlight our top 10 stories and events. What strikes us as we ponder our choices in the Top 10 is that any way you look at it, this was a watershed year for the music industry in that the old, traditional way of business continues to morph into something new and those who can’t shift with the times or continue to cling to the old way of doing things will fall by the wayside. There’s understandable ongoing concern about how to monetize many of the new ways that music is consumed, but it felt like a little of the joy came back this year after a long, bleak period.
This is the last issue of MPR for a few weeks. We’ll be back in January. Happy Holidays!
1) Adele: She is the biggest success story of the year...of the last several years, actually. Her sophomore album, “21,” has never fallen out of the Billboard 200’s Top 10 and has sold more than 5 million copies in the U.S. She is on virtually every critics’ best-of-2012 list, and more importantly, she is not some producer’s puppet. She is proof that immense talent can appeal to the masses and the tastemakers alike. When she says she hurts from love’s scars, you believe her 100% and ache along with her.
2) Album sales rebound: Or at least they don’t drop. For the first time since 2004, album sales have increased over the previous year. There’s no way they’re ever going back to the pre-2000 high and the industry still feels like it’s in free-fall, but for the first time, it feels like maybe we’ve hit the bottom and, through various new business models and strategies, can go forward. (Final figures aren’t in, but through Sept. 31, sales were up 3.3% over 2010, according to Nielsen SoundScan.)
[More after the jump...]
Reality TV Roundup: 'Amazing Race' gets a winner, 'Survivor' goes with God and some 'Real Housewives' prepare to fight
Welcome to Reality TV Roundup -- a quick look at some of the reality TV-centric stories that have recently popped up across the fine, old Interwebs. Click away, my couch potato friends. But before you do...
SPOILER ALERT! SPOILER ALERT! SPOILER ALERT! One more time: SPOILER ALERT. If you watch "The X Factor," "Survivor," "Top Chef," "Project Accessory" or "America's Next Top Model," the latest elimination for each show is revealed in the text below. The hope is that, if you missed this week's program and would rather clear out your DVR than watch the episode, you can get a quick hit here. But don't come crying to me if you find out something you didn't want to know. You've been warned. Also note: lots of non-competition reality info lurks below, too.
The reality is that barring a massive LSD dose in the greater Los Angeles water supply, "The Smurfs” was unlikely to become one of the five animated films nominated for an Academy Award this year. However, the film’s disqualification does point to an interesting question: What does qualify as an animated film in today’s cinematic landscape?
Three of the qualifying submissions -- "The Adventures of Tintin," "Mars Needs Moms" and "Happy Feet Two" -- employed performance capture technology. The method is interesting to think about when one considers that “Avatar” was submitted and nominated as a live-action film. The industry at large seems, as yet, unsure of performance-capture’s place in the grander scheme. The AMPAS rule on it feels almost deliberately vague. It states that, “motion capture by itself is not an animation technique.” That doesn't clarify when or why it is. According to the Academy, “an animated feature film is defined as a motion picture with a running time of more than 40 minutes, in which movement and characters’ performances are created using a frame-by-frame technique.”