What was he thinking?
That is the one question I'm going to want answered with Shia LaBeouf finally makes some sort of comment on the bizarre story that's been unfolding today. If you haven't been following it, the day began with people linking to a short film that originally played at the Cannes Film Festival this past May. I guess no one who was at Cannes is a Daniel Clowes fan, though, because there was nary a whisper afterwards about any sort of issues that there might be with the film that Shia made.
Now, though, thanks to the fact that plagiarism is nearly impossible to get away with in the age of the Internet, in less than 24 hours, LaBeouf has had to lock the film behind a password because the connection was instantly made between his film, "HowardCantour.com," and a comic by Clowes, best known as the creator of "Ghost World," called "Justin M. Damiano." I really like Clowes, but I'm no authority on his work. Still, when BuzzFeed ran the short film past Clowes today, they did it because they were surprised he wasn't credited on the film. What seemed like an odd oversight at first became something more when Clowes replied.
What was he thinking?
"Sandman" is heading to theaters with Joseph Gordon-Levitt producing, directing and starring in the film, and with David Goyer co-producing, in a story that was first reported in November and then seemingly confirmed according to a report just published, and if that actually happens, it's going to be a really interesting ending to a long and difficult development process for Neil Gaiman's landmark comic series.
The first time I met Neil Gaiman was to discuss his work writing the English-language script for "Princess Mononoke," but most of our conversation was about "Sandman" and the long, ugly string of near-misses that happened on the film. When I was at Ain't It Cool, I wrote a piece about Bill Farmer's adaptation that was in development at that point, and I consider it a bullet dodged that the studio didn't end up making it. That piece got Neil's attention, and he told me how skeptical he was that anyone was going to be able to crack it as a movie.
One of the things that made "21 Jump Street" such a pleasant surprise as a movie was the way everyone bet against it the moment it was announced. After all, it's not like the show was a beloved classic. Under the creative guidance of Chris Miller and Phil Lord, though, it became something much stranger and funnier than anyone could have guessed.
Now they've got to beat the sequel curse. Comedies especially seem to have a terrible time with sequels, and I think part of that is because we laugh at things that we don't see coming. Surprise is certainly part of the equation when it comes to what makes audiences laugh, and with a sequel, that gets exponentially harder, especially if you bring back things from the first film that worked. The script for "22 Jump Street," though, is a very clever riff on sequels in much the same way that the first film was a riff on the idea of rebooting old TV shows, and you can hear a little bit of that from Nick Offerman in the first red-band trailer for the film, which just went up this morning.
Here's something I like about Richard Armitage: I don't get any sense that he has any interest in or illusions about being a movie star.
Instead, like most of the people Peter Jackson casts in his "Lord Of The Rings" films, Armitage strikes me as a character actor who doesn't mind vanishing into the make-up he wears as Thorin Oakenshield. My kids are huge fans of both of the "Hobbit" movies so far, and if they ended up in the same elevator with Armitage, they'd never know it was him. The transformation is that complete.
This is my second time chatting with him about the series, and what struck me this time is how much Thorin is already teetering on losing his battle with the rising darkness within him. Unlike Bilbo, who is battling the influence of the One Ring that he found, Thorin's darkness is completely generated from within. There is a madness that seems to set in around the vast mountains of money waiting for him in Erebor, and the closer Thorin gets to fulfilling what he sees as his destiny, the more he seems willing to do anything to anyone to make it happen.
It seems weird to me to think that "Avengers: Age Of Ultron" is getting ready to shoot, but of course it is. After all, they plan to be in theaters for the summer of 2015, and if they shoot this spring, they'll have about a year of post-production to bring the gargantuan production to life.
And trust me… this one's going to make the first film look like "Stranger Than Paradise" by comparison.
As we enter this home stretch, there will be some big announcements coming about cast, and I'm curious to see how well the film protects some of its biggest secrets. Bleeding Cool reported a rumor today that Rhodey (Don Cheadle) will play a part in the film, and HitFix can confirm that Col. Rhodes, aka War Machine, has a key role in the conflict with Ultron that is the main focus of the sequel.
There have been several reviews for "The Hobbit: The Desolation of Smaug" that criticize the film because they feel like Martin Freeman's Bilbo Baggins gets lost in the film.
While I'm not sure I agree, I can see why that would frustrate. After all, Bilbo is the Hobbit that the title refers to, and ultimately, this is him telling the story of his adventures in book form. It definitely makes the structure of the film tricker, because there are so many things that happen in these films that Bilbo is not present to witness that you have to wonder when he finally heard all of these details and how he remembered all of them so vividly to write them down.
What I like about Freeman's take on Bilbo is that it really isn't what I expected. After all, when Freeman played Arthur Dent in "The Hitchhiker's Guide To The Galaxy," he played him as the complaining, vaguely incompetent Arthur that we all know and love. With Bilbo, though, there's a very different character emerging over the course of the films than what I expected.
One of the characters who gets a fair amount of attention in "The Desolation Of Smaug," this middle chapter of Peter Jackson's "The Hobbit" trilogy, is Bard, played by Luke Evans. I moderated a WonderCon panel with Evans for the film "Immortals," and when I walked into the room, he immediately remembered me. I had been warned that he wasn't feeling great, but he certainly held it together while we were talking.
Evans should be pleased with the way Bard's part was expanded for these films. Ultimately, he's there to complete one action, and that won't happen until the third film. Everything he does here is about laying the groundwork so when that moment finally happens, it is an emotional payoff for the audience?
Do they succeed at making us care about him? I think Evans helps a lot. Many of the roles we've seen Evans play before have had that same sense of swagger that he has when you meet him in person, a playful confidence that defines him. Not Bard, though. This is a guy who has had to accept that he has a certain role in life, and while he yearns for some sort of redemption for his family's name, he has accepted that it will never happen. Instead, he does a million small kindnesses for the people of Lake-town, hoping each one chips away at the humiliation he wears like a blanket, wrapped around him at all times.
Evangeline Lilly should have been huge coming out of "Lost." I'm still trying to wrap my head around how Hollywood dropped the ball with this one. From the start of the show to the bitter end, Lilly was one of the people whose work kept me coming back week after week.
Her character is sure to be polarizing among Tolkien fanatics. Tauriel seems to me to fit well into the world that Peter Jackson has spent five movies now building onscreen, and I like that she represents a wilder, darker sort of elf than we've seen in the films so far. We discussed that and the physicality of the role she's playing, and what became evident is that she is having the time of her life.
And why not? She's playing a strong character who ends up front and center for a big chunk of this film. What I'm curious to see is how fans react to a character who was invented completely by the filmmakers. This something that hasn't really happened before with these films. On "Lord Of The Rings," Jackson had to make hard decisions about what material did or didn't make it into the final films, and he had to cut whole characters and plot lines. Even so, he ended up with something like a ten hour final film when all is said and done. This time around, he's gone the opposite way, expanding instead of condensing, and there's quite a bit of time and attention paid to the way Tauriel fits uneasily into her place in things as part of the kingdom of the Wood-elves.
People sometimes assume that the only way we can sit down to do interviews with people is if we publish glowing praise of them, but that's ridiculous. Some of the best conversations are when there's some push and pull going on.
I had already published my review of "Saving Mr. Banks" before I attended the press day, and I wrote in that piece about my questions about some of the choices made in the way the film portrayed the relationship between Walt Disney and P.L. Travers. When I went into each of the interviews, I wanted to discuss that with the cast, since they're playing real people and they've had access to materials that we haven't.
For example, in the closing moments of "Saving Mr. Banks," as the credits play, you'll hear actual excerpts of the recordings that were made of all of the story meetings that were held with Travers during her time in Los Angeles, and speaking just as a writer who has been through my fair share of brutal notes sessions, just that excerpt made me break into a sweat.
One thing's for sure: if they ever make another adaptation of "Starship Troopers," there is no way they can make excuses for not using the jump suits that Robert Heinlein wrote about in that book.
Doug Liman's trippy new film "Edge Of Tomorrow" looks like "Groundhog Day" with a body count, and one thing I will always love about Tom Cruise is that he does not sneer at genre. He has built a career out of working with giant directors on giant mainstream films, and if he wanted, he could easily avoid ever having to deal CGI aliens or greenscreen stunts or any of that. He could do Oscar-bait drama every year forever and make the studios perfectly happy.
Cruise loves this stuff, though. He loves the physicality of this kind of storytelling, where action is as important as anything else, and he seems to genuinely enjoy world-building. If "Edge Of Tomorrow" works, it will work because we buy into the stakes and because there is a compelling sense of urgency as Cruise finds himself repeating the same day over and over, each time learning something new, putting all of these journeys together until he can find a way to defeat the alien menace that threatens the Earth.