Archive for the ‘Pop Culture’ Category
As Matt Goldberg reports in Collider, “there’s no rest for a weary superhero. Chris Evans is out promoting Avengers: Age of Ultron, and very soon he’ll be suiting up again to start filming on Captain America: Civil War. Evans spoke to Esquire about his upcoming shooting schedule and says that filming on Civil War will go until about ‘August or September’, which is the usual shoot time for a major blockbuster film.
However, because he’s on a Marvel contract and Marvel has release dates for all of its Phase Three movies, Evans also knows that he’ll be needed for Avengers: Infinity War, which will be two films shot back to back. Evans tells Esquire that he thinks filming begins in either fall or winter 2016 and, ‘That’s going to be like nine months to shoot both movies back to back.’
The lengthy production schedule isn’t too much of a surprise, and I’m curious to see how many other MCU actors will have to adhere to it. So many actors are getting sucked into the MCU, so how many of them will be spending the larger part of a year working on these two movies? Evans doesn’t sound bummed by the prospect, and just accepts it as part of his working schedule. ‘You know, you plan around the Marvel responsibilities,’ says Evans. ‘You have to.’
Avengers: Infinity War – Part 1 will be released on May 4, 2018, and Avengers: Infinity War – Part 2 will open on May 3, 2019. Captain America: The Winter Soldier screenwriters Christopher Markus and Stephen McFeely will pen the script and Joe and Anthony Russo will direct.” [Upcoming Marvel titles now in development include, with release dates;]
- Avengers: Age of Ultron – May 1, 2015
- Ant-Man – July 17, 2015
- Captain America: Civil War – May 6, 2016
- Doctor Strange - November 6, 2016
- Guardians of the Galaxy 2 – May 5, 2017
- Spider-Man Reboot – July 28, 2017
- Thor: Ragnarok – November 3, 2017
- Avengers: Infinity War – Part 1 – May 4, 2018
- Black Panther – July 6, 2018
- Captain Marvel – November 2, 2018
- Avengers: Infinity War – Part 2 – May 3, 2019
- Inhumans – July 12, 2019
There are some times I wish I had a private jet I could simply go to the airport and use at will, and this is one of those times. Patrick Morganelli’s superb new opera, Hercules vs. Vampires, is playing at the LA Opera House tomorrow and Sunday, and that’s it. By clicking on the image above, you can go to the LA Opera’s site for the production, which features a snippet of video, and a section of the work, which sounds, as Morganelli intended, very much like something influenced by Ravel and Debussy – brilliantly performed.
Bava’s film, featuring the haunting image of a young Christopher Lee (on the screen above) is a masterwork of Italian 60s atmospheric fantasy. Morganelli’s score lifts both the narrative and the images to an entirely new level, and the reviews thus far have been raves. My good friend Dennis Coleman, who lives in Los Angeles, saw the production, and gave it very high marks – and I believe him. This is an inspired “mash-up” of cinema and classical music, performed by some of the brightest talents in the world of opera working today.
As the LA Opera’s web site notes, “buckle your seat belts for our most offbeat presentation ever! Hercules vs. Vampires combines opera and midcentury pop culture, synchronizing live music with cult fantasy film Hercules in the Haunted World, a 1961 sword-and-sandal epic starring bodybuilder Reg Park. When the actors projected on the silver screen open their mouths to speak, the audience will hear their lines sung by our cast of singers from the Domingo-Colburn-Stein Young Artist Program, accompanied by a 26-piece orchestra.
Directed by the great Italian filmmaker Mario Bava, the film itself is fantastic in every sense of the term, swaddled in glorious early-1960s Technicolor. Action-packed and wildly operatic in scope, the film follows Hercules on a heroic journey to rescue his beloved from a fiendish mastermind of terror (played onscreen by horror legend Christopher Lee). Fresh and full of fun, an atmospheric new operatic score by L.A.-based composer Patrick Morganelli provides the perfect accompaniment to Bava’s gorgeously gaudy world.”
As composer Morganelli told Michelle Lanz in The Frame, “one of the amazing things about Mario Bava was that because he was originally a cinematographer, he had an amazing sense of how to light a scene, how to frame it…when he stepped up to become a director he was really able to bring this visual sense to it. Specifically what we see in this particular film is he shot it in anamorphic widescreen, which of course looks spectacular for a low-budget film like that. The color composition of it, and in particular roughly a third of the film takes place in Hades. The scenes in Hades are beyond belief.
I stuck as close as I could to the story of the film. I didn’t want to start doing things that were going to not really make sense with the picture. The difficulty there is that in taking film dialogue and creating an operatic libretto out of it, you have not only artistic issues of how do you condense everything into fewer words, but artistically they have to be words that are singable when you put all that together and then try and match that up with the actual mouth movements of the screen — it was technically quite difficult.” But the results, it seems, are spectacular.
As the newspaper notes, “Stan Laurel and Oliver Hardy have inspired generations of comedians including Matt Lucas (“I always thought of them as friends”), John Cleese (“they’re wonderfully, wonderfully funny”), Steve Martin (“they are hard to top”), Steve Coogan (“they were geniuses of comedy”) and Stephen Fry (“a constant joy”). Laurel and Hardy will return to the big screen this summer to mark the 125th anniversary of Stan Laurel’s birth and cinemas across the UK will be showing a double bill of their classic 1933 feature length film Sons of the Desert and the short movie County Hospital. Martin Chilton celebrates this wonderful comic duo with a pick of 40 of their finest moments.”
In town for a lecture at Columbia University on April 16th, 2015, I was happy to have lunch with Bob Downey Sr. and his wife, Rosemary Rogers, at their apartment, with no real objective other than to have a good time and catch up. I’ve written extensively on Bob’s work in my book Film Talk, and have known him since the late 1960s, and always found him to be a totally stand up guy, a valued friend, and one of the most gifted and outrageous filmmakers of all time.
Recently, many of his key films were collected in a superb Criterion edition entitled Up All Night With Robert Downey Sr., including his landmark comedy Putney Swope. As Criterion notes, “Robert Downey Sr. emerged as one of the most irreverent filmmakers of the new American underground of the early sixties, taking no prisoners in his rough-and-tumble treatises on politics, race, and consumer culture.
In his most famous, the midnight-movie mainstay Putney Swope, an advertising agency is turned on its head when a militant African American man takes charge. Like Swope, Downey held nothing sacred. This selection of five of his most raucous and outlandish films, dating from 1964 to 1975, offers a unique mix of the hilariously abrasive and the intensely experimental.”
As Justin Kroll reports in Variety, “While Warner Bros. made a swift decision this week to hire Patty Jenkins as its new Wonder Woman director, industry insiders are still chattering about why original helmer Michelle MacLaren suddenly vanished from the project. The studio is declining to elaborate on the clichéd ‘creative differences’ joint statement that was issued when the two parted ways. But, according to multiple sources close to the project, the director’s vision for the movie was vastly different from the studio’s view.
MacLaren envisioned the DC Comics-based Wonder Woman movie as an epic origin tale in the vein of Braveheart, whereas Warner wanted a more character-driven story that was less heavy on action. Warner executives, these insiders said, became increasingly concerned about MacLaren directing a large-scale, action-packed production when her experience was limited to the small screen, where she made her name directing episodes of Game of Thrones, Breaking Bad and The Walking Dead.”
While Jenkins has directed episodes of The Killing and the excellent feature film Monster, somehow, I think this is a mistake. Wonder Woman needs the epic sweep MacLaren was going for, and as strong as Jenkins’ resumé is, Game of Thrones, Breaking Bad and The Walking Dead seem like excellent calling cards to me — we’ll have to see what happens, but I think I would have preferred MacLaren’s version.
As Scott Mendelson writes in Forbes, “The Hollywood Reporter is, uh, reporting that director Michelle MacLaren has left Wonder Woman. The usual ‘creative differences’ are being offered as the reason, and I’m sure there will be more details in the coming days. Her coming aboard the project was something of a big deal last December, as it would have been the first time that a female director had been handed the reins to a major comic book/superhero blockbuster title. And no, I’m not forgetting Lexi Alexander, who helmed the $30m R-rated Punisher: War Zone for Lionsgate back in 2008, but I think she’d be the first to tell you it’s not entirely the same thing. Nonetheless, as of moments ago, MacLaren has dropped out of the project, leaving its future, or at least its June 23rd, 2017 release date, in potential jeopardy [. . .]
As you recall, Marvel brought on Patti Jenkins (Monster) to helm Thor: The Dark World, but she and Marvel quickly parted ways and she was replaced by television director (Mad Men, Homicide: Life of the Street, Game of Thrones) Alan Taylor, who it should be noted did just fine with the fantasy sequel. Couple that with Catherine Hardwicke, who directed the first Twilight to blockbuster success only to part ways with the franchise and have the other four installments be directed by men, and Sam-Taylor Johnson, who directed Fifty Shades of Grey to $565m+ worldwide success only to leave the project, presumably over clashes with original author E.L. James, and we have what I would argue is a statistically improbable pattern of female directors either not making it to the finish line with high profile projects or not making it to the sequel when the finished film becomes a blockbuster.
The so-called glass ceiling for female directors helming major studio pictures is thick enough that an exception to the rule qualifies as news whenever it occurs. Without speculating about what said creative differences there might have been, one can hope that this doesn’t further the myth that female filmmakers can’t handle big-scale studio tent poles. For the sake of the project and for everything else involved in this now knotty situation, I can certainly hope that Warner Bros. doesn’t back down from its original intentions and find a female director as a replacement. Yes, it may be tokenism, and yes it may be about ‘the principle.’ But considering how hard it is for female filmmakers to get their foot in the door in comparison to their male peers, the worst thing that can happen for the perception of the project is for a male director to take over for MacLaren.
In the meantime, Michelle MacLaren is now available in case Marvel wants her for Captain Marvel. Otherwise, there are plenty of other talented female filmmakers who could use the gig and the profile boost. Beyond that, whatever ‘deep thoughts’ I might have about this will have to wait at least until we get a little more information. But come what may, this is frankly terrible news.”
As the festival’s official press release notes, “For the 17th year, the American Cinematheque brings film noir back to the big screen in Los Angeles! Co-presented with the Film Noir Foundation, our 17th annual Noir City festival offers three weeks of jaded gumshoes, femmes fatale and menacing heavies in gloriously gritty black-and-white.
These evenings shine a spotlight on some usual suspects as well as rarely screened gems, including the Foundation’s new 35mm restorations of THE GUILTY and WOMAN ON THE RUN, as well as new prints of THE UNDERWORLD STORY, NO ABRAS NUNCA ESA PUERTA and SI MUERO ANTES DE DESPERTAR (two classic Argentine noirs making their Los Angeles premieres!). Whether you’re a noir novice or a longtime aficionado of the postwar demimonde of crime and (occasionally) punishment, Noir City is well worth a visit.
This year’s astounding lineup salutes some true giants of the genre. Noir’s quintessential star, Humphrey Bogart, lights up the screen in DARK PASSAGE as a man on the run from a bum murder rap, and the actor’s spirit looms large in THIS LAST LONELY PLACE, the new neo-noir produced by the Bogart Estate; an interview with Stephen Bogart (son of Bogart and Bacall) and a cocktail reception featuring Bogart’s Gin complete the sensational evening (April 4). Barbara Stanwyck makes an equally formidable screen presence in WITNESS TO MURDER and JEOPARDY.
The works of crime novelist Cornell Woolrich were popular grist for some of the best of film noir, including THE CHASE and THE LEOPARD MAN. The latter was directed by the great Jacques Tourneur, whose CIRCLE OF DANGER and BERLIN EXPRESS are also Noir City highlights. Adding to the festivities are rare British and Argentine films, a proto-noir marathon and a closing-weekend Film Noir Party featuring dancing to Dean Mora’s Swingtet, martinis, casino games and other amusements fit for dangerous dames, gumshoes and gangsters!”
Show biz memoirs are usually “and then I did this” or “and then I met” or else redolent of both scandal and self-promotion, but despite the high octane material Jon Cryer has the ability to exploit, with the whole Two and A Half Men saga just a part of his many decades as an actor, Cryer’s So That Happened deals most effectively not with shock, but rather introspection – into his personal life, but more importantly, into the craft of comedy itself.
After his initial hits in films, Cryer wandered in the wilderness with a string of failed television pilots until he was considered within the industry to be almost “the kiss of death” for any new project, until, by a long and torturous route, he finally landed the gig on Two and a Half Men.
But his major discovery was that, for some reason, his mere presence on a set seems out of place for audiences, who are almost waiting for some misfortune to befall him, and when he registers confusion, disbelief, or irritation, the result is amusement, as if his very being is perpetually alien.
He also discusses the mechanics of building a joke; how the auditioning process in Hollywood has become completely corrupted by the fact that one has sign an agreement merely to audition for a part, with no assurance of getting it; how the entertainment industry is so mercurial that success can vanish literally overnight; and how his oldest friends sadly fell away when fame finally came to him.
Sad, ruminative, literate and deeply analytical, this book is a real surprise, and offers some genuine insight into why the entertainment world is so stratified today, into the superstar brackets and nothing else, as the middle class of movies, music, books and other media are shuffled off into VOD oblivion.
For Cryer, it’s a craft, but it’s also job, and you have to hit your marks and perform, no matter what. So That Happened is about the triumph of professionalism. As Cryer notes, “you can’t do television shows caring whether or not the network picks you up. You can only do them enjoying the work, because if you’re always on pins and needles about whether you’ll be picked up, you’ll lose your mind. I learned that the hard way.”
According to Steve Knopper in The Wall Street Journal, roughly 230 cars were destroyed during the making of the latest, wildly successful film in the Fast and Furious franchise, Furious 7. Interesting, at least to me, that the series got its name from a Roger Corman film in 1955 – see Corman’s explanation of how Universal got him to agree to the use of that title for their series by clicking here – but no matter how you slice it, this is one franchise that goes through a heck of lot of cars to achieve the mind-blowing effects you see on the screen.
As Knopper writes, “not long after stuntpeople for Vin Diesel, Michelle Rodriguez and the rest of the Furious 7 crew filmed their usual death-defying car chases on a twisty mountain road west of Colorado Springs, Colo., Richard Jansen received a call. Somebody from the movie had seen his ‘we buy junk cars’ highway sign, and wondered if the owner of Bonnie’s Car Crushers could haul away 20 or 30 vehicles smashed beyond repair, including several black Mercedes-Benzes, a Ford Crown Victoria and a Mitsubishi Montero. ‘Sure,’ Mr. Jansen said.
Then Mr. Jansen and his crew, based in nearby Penrose, spent several days loading the cars onto a semitrailer truck to haul them away. Filmmakers insisted he shred or crush them all, to prevent anyone from fixing one up and getting hurt in a damaged movie car. So today, a large, black, scrap-metal Benz cube once driven in a Furious 7 car chase exists somewhere in the world. ‘It was kind of unusual, to see some relatively late-model Mercedes-Benzes, all crunched up and good for nothing,’ Mr. Jansen says.
How cars are built and prepped for action movies has been well documented: The process involves mechanics, roll cages, drag tires and fuel cells. But after the movie ends, what happens to the cars that parachute out of planes, plunge off cliffs and get run over by tanks? ‘It’s pretty easy,’ says Dennis McCarthy, picture car coordinator for the Fast and the Furious franchise, whose latest installment, Furious 7, premiere[d] in theaters this week. The film crew has to follow a specific protocol, documenting every step for both accounting and liability reasons, he says. ‘We have to account for every single car destroyed in each film.’
Fast and Furious filmmakers wreck hundreds of cars every movie—more than 230 alone for Furious 7. For 2013’s Fast & Furious 6, when a tank bursts out of a military transport and flattens numerous cars on a highway in Tenerife Island, Spain, Mr. McCarthy’s people made deals with local junkyards and used-car lots. ‘We’d wreck 25 cars a day, they’d come out at night, scoop ‘em up and bring us 25 more,’ he says. ‘It was a round-the-clock process, with multiple tow trucks and car carriers’ . . .
After filming the Furious 7 mountain-highway chase on Colorado’s Monarch Pass, the car crew stowed its crashed cars in the parking lot of the small nearby Monarch Ski Resort. Mr. Jansen had two days to remove them so the resort could prepare for its opening season. ‘We probably destroyed 40-plus vehicles just shooting that sequence,’ Mr. McCarthy says.”
About the Author
Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him email@example.com or his website, wheelerwinstondixon.com
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