I am genuinely excited by the prospect of a new "Star Trek" film.
It's been a long time since I can say that's been true. I like the original series, and I have enjoyed sharing it with my son greatly, but before 2009's "Star Trek," the movie series had been limping along for a while, and I can't honestly say I was looking forward to any of them. I saw them out of the sense of obligation that comes from being a genre fan.
But the JJ Abrams film rekindled my belief in "Star Trek" as a franchise moving forward. The cast was just right, and the spirit of the storytelling struck me as a perfect match for the material. I've seen the first third of next summer's "Cowboys and Aliens," and I honestly feel like Kurtzman & Orci are in the second stage of their bigscreen career, where they're starting to craft some great popcorn films, movies that manage to mix a genuine love of genre with a respect for the importance of character and theme, things that are sadly lacking in the skill set of many mainstream filmmakers these days.
Kurtzman and Orci just spoke with Geoff Boucher about their plans for the sequel to "Star Trek," and they certainly say everything I would want the writers of that sequel to say. These two answers really give me confidence in the direction the film is headed right now:
I am genuinely excited by the prospect of a new "Star Trek" film.
When I interviewed the guys from "Jackass" in October, we had some great conversations, and Johnny Knoxville in particular was very open about the fact that they were actively planning to make a "Jackass 3.5" with all the material that they had shot but didn't use. He and Tremaine both indicated that they felt like some of the best material was intentionally held to make sure that "Jackass 3.5" wouldn't feel like leftovers, but would be a real movie just as much as any of the other releases in the series.
Today, Paramount finally made the news official with a press release about how they plan to handle the different stages of release for "Jackass 3.5," and it's worth a read, since it's a complicated process:
"Paramount Digital Entertainment in association with MTV, both part of Viacom Inc. (NYSE: VIA and VIA.B) announced today that it plans to add another original project to its popular digital programming line-up: JACKASS 3.5, which will premiere in March 2011.
The third installment of JACKASS from Paramount Pictures and MTV Films – JACKASS 3D – hit theaters on October 15, 2010 and has already grossed over $155 million at the worldwide box office. The film stars Johnny Knoxville and the boys and was produced by Dickhouse Production’s Jeff Tremaine and Spike Jonze, along with Knoxville. JACKASS 3.5, which was tailor-made for launch in digital media, will feature all new content, including never-before-seen stunts, pranks and other side-splitting antics by the JACKASS crew. New stunts and antics from JACKASS 3.5 will be released online weekly and then packaged together as a feature length film distributed digitally followed by other platforms including home video.
I think it's safe to say that Darren Aronofsky is one of my favorite working filmmakers. I truly believe he's getting better with every film, more confident, more limber as an artist. With his new film, "Black Swan," he's made a bold and original movie that will launch him to a new level of respect, a film that transcends genre, and I knew that when we sat down to talk, I wanted more than the typical five minutes you get at a junket.
The result is this expansive, relaxed conversation that took place at the W Hotel a few weekends ago. You'll see another one a little later in the week with Natalie Portman, but we wanted to kick the week off with Aronofsky himself.
I think "Pi" is a great debut film. It's brash, it's edgy, it's cheap, it has a voice, and it's hard to pin down. Basically, Aronofsky announced from the start that he didn't plan to chase the big obvious down-the-middle career, and his follow-up film "Requiem For A Dream" was a throw-down. It's one of the few films I've ever seen that I heartily recommend for any serious film fan, but which I will never watch again. It's just too much to take. It's overwhelming. I found my one theatrical viewing of the film to be a punishment almost beyond what I could take. It's incredibly skillful, and it made me reassess him.
Welcome to The Morning Read.
Last night, up to the moment I heard about Leslie Nielsen's death, I was totally focused on the early reactions to last night's first preview performance of the long-in-development musical "Spider-Man: Turn Off The Dark." Then this morning, it was Irvin Kershner's death that rocked me, so it's a late start getting back to the business of seeing what's going on out there. I'm jealous of anyone who goes to see this production in New York. I have a feeling it's something you'll want to be able to say you saw later, when it is the stuff of legend and myth. With an original score by Bono and the Edge, directed by Julie Taymor, and produced at a rumored cost of $65 million, which would make it the most expensive stage production of all time, this is a blockbuster by design, but by no means a sure thing.
For years now, it's seemed impossible to believe it would ever actually open. Even now, based on the reports that are emerging from the preview performance, it sounds like there are a number of fundamental issues they're still working out. The New York Times is probably the most authoritative source to weigh in so far, but there's also a handful of reviews up at AICN and there are message boards and industry blogs where more reactions are appearing. You can run a Google search on "Turn Off The Dark reviews" and more and more reactions are showing up from the 1900 people who were there. By and large, it sounds like last night was a glimpse at what they hope the show will be, and not the show itself. I'm not a big Taymor fan, but I've been curious. I think this show sounds like a collection of all of her worst tendencies, wrapped in some borrowed iconography. It doesn't sound to me like she's added any real insight to the archetypes or the specific character of Peter Parker, and I'm not sure the Cirque Du Soleil spectacle of it is enough to justify all of this energy.
"My ally is the Force, and a powerful ally it is. Life creates it, makes it grow. Its energy surrounds us and binds us. Luminous beings are we, not this crude matter. You must feel the Force around you; here, between you, me, the tree, the rock, everywhere, yes."
Irvin Kershner, director of "The Empire Strikes Back," has passed away at the age of 87.
I would be saddened to hear this at any point, but I just finished reading J.W. Rinzler's remarkable The Making Of "The Empire Strikes Back" last night, a distressing coincidence. I've always believed "Empire" to be the best film in the "Star Wars" series, and one of the finest examples of fantasy filmmaking of all time, but my regard for just what it was that Kershner brought to the table was increased exponentially by this read of the book.
Kershner had already been making films for 30 years by the time he crossed paths with Luke Skywaker, Darth Vader, and the rest, and he was a fascinating choice for Lucas. I honestly believe that if Lucas had chosen anyone else for the job, things would have turned out very differently for Lucasfilm and fandom in general. Understanding how he ended up in that director's chair in the first place goes a long way towards appreciating just how important a part of that process he really was.
“Cowboys and Aliens” was shooting a good distance away from Santa Fe. As we sat on the bus for over an hour, parked in a large field and waited for another bus to take us to the set itself, I looked up at the giant desert sky and reflected on other set visits I’d been to, and how often they were not like this one.
According to breaking reports, Leslie Nielsen has passed away in Florida, where he was hospitalized for pneumonia. The veteran character actor and funnyman was 84 years old, and his death brings to a close one of the great reinventions in modern film.
Here's a short interview with his nephew, confirming the details.
One of the reasons I'm glad I grew up in an era where the theatrical experience was still the main way to see a film is because of the memories I have of certain films when they played originally. Seeing "Airplane!" in a movie theater in 1980 was one of those great audience moments for me. People don't react to comedies like that anymore, and part of it is that Zucker-Abrahams-Zucker changed the way film comedy worked, and their style of shotgun-blast silliness has been so thoroughly absorbed by the mainstream that it doesn't have the same impact. "Airplane!" blindsided the audience, and it was amazing to sit in that theater and ride those waves of laughter. I must have seen it theatrically at least a half-dozen times while it was out.
It was a particularly brilliant move on the part of the filmmakers to cast Leslie Nielsen as Dr. Rumack in the film. Nielsen was at that point a regular guest star on every TV show in production, and seemed to be settling into that career the way so many older actors do. He was appearing in films like "Day of the Animals" and "Viva Knievel!" and "The Poseidon Adventure," but this is a guy who had already played something like 80 speaking roles by that point, and who had been a leading man during the 50s.
At the 2009 Sundance Film Festival, I made sure I was in the audience for the secret screening that turned out to be "The Girlfriend Experience." When the 2010 festival's secret screening rolled around, I wasn't interested. I heard the description of "Exit Through The Gift Shop" from someone and I opted for something else instead.
It's taken me eleven months to make up for this mistake.
The film begins as the story of Thierry Guetta, a boutique owner who loved to record everything with video cameras as a hobby. He did that aimlessly for a while until he encountered a street artist named Invader and became interested in his work. I get it. I love Invader's work. And honestly, I think my attitude to street art comes down to execution. You get points for doing anything well, and there's a lot of street art that I think is dazzling, amazing, a transformation of a mundane space into something exceptional. I've been involved in my share of late-night adrenaline-fueled adventures, and "Exit Through The Gift Shop" does a lovely job up front of capturing that feeling, the seductive nature of being involved in something like this.
As the main character, Thierry, starts to get more involved in what Invader is doing, he meets Shepard Fairey. And here's the thing… I don't know how much of this is real and how much of this is a put-on, but the material about Fairey is all captured before his Obama image made him infamous. They deal with his Andre the Giant picture, the ubiquitous "Obey" that was everywhere in Los Angeles, and it's really interesting to see this thing that I just continued part of the texture of my city explained and humanized.
It has become almost impossible to avoid Lena Dunham at this point, and her first film "Tiny Furniture" is only hitting theaters today. How does an independent filmmaker in her mid-20s go from a micro-budget comedy that seems, on the surface, like a hundred other mumblecore movies from the last half-dozen years and end up making an HBO series produced by Judd Apatow before it's even been released?
That's not all she's done, of course. Scott Rudin also hired her to adapt Dash and Lily's Book of Dares. So that's Rudin and Apatow both obviously impressed by "Tiny Furniture." That seems like pretty strong endorsement. And when you're talking about a very tiny film, sometimes that sort of endorsement can work against the movie by the time you see it. I missed it at this year's SXSW, but the buzz has really only kicked in over the last few months. At this point, Dunham's everywhere, and now people have a chance to see her film and get their introduction to her.
And, yes, I apologize for using that dreaded "m" word in the opening paragraph, but that's certainly the label that is easiest to apply to the general school of filmmaking that Dunham belongs to. All that really means when most people use it is a certain sort of low-fi aesthetic and the basic subject matter of young people struggling to figure out their place in things. Dunham stars in her film as Aura, a girl who has just graduated and who returns home so she can figure out her next step in life.
When I was first falling in love with horror movies, my main supplier was Dr. Paul Bearer on WTOG, Channel 44, in St. Petersburg. When they started rotating Hammer films into the line-up in the mid-'70s, I remember thinking how much crazier they were than the '50s films or the classic Universal monster movies. "The Gorgon.' "I, Monster." "The Curse Of Frankenstein." "Dracula, Prince Of Darkness." "Frankenstein Must Be Destroyed." "Brides of Dracula." "Curse of The Werewolf." I vividly remember each of those films when they screened, and I remember the impact they had on me as I gradually pieced together Hammer as an entity.
Forry Ackerman's Famous Monsters was a great source for learning about the great British horror studios, and I was smitten with the occasional glimpses I'd get in the magazine of the wild poster art for those films. I love British quads, which we don't really have an equivalent to in our own poster system, and I love painted posters of all types. Having not grown up in England, though, my exposure to the Hammer posters has been limited, which is one of the reasons I was delighted when the new book The Art Of Hammer showed up at my house.
The other reason is because the book more than lives up to its potential, and is overstuffed with amazing images and great artwork.