“Why did I put all my money into this? Is this going to work? God, do you hear me? Where are the people? I’m so scared. How will I pay these people? Why did I do this? I can’t pay my rent, they are going to repossess my car. The year was 1992, July 8th-12th. All these questions were crowding my mind. I was a 22-year old wannabe… but what I wanted to be I didn’t know.” Relax, Tyler Perry — you’ve spoken to Movieline ! You’ve made it! All downhill from here. [ TylerPerry.com ]
There could be a new cold-blooded young buck waiting in the wings to play 007 if and when Daniel Craig is over his stint in the role. Heartthrob Robert Pattinson is eyeing the future post- Twilight and has dabbled recently with roles in Bel Ami (which didn’t do so spectacularly at the box office) and Cosmopolis which opens in the U.S. next month, but failed to whip up a frenzy in Canada where it opened last month. Still, the dashing actor packs some fan-base mojo and James Bond could be a place down the line and the actor has taken a peek. He told British paper The Sun that he’d like to play the character that the likes of Pierce Brosnan, Timothy Dalton, Roger Moore and Sean Connery have traversed before, though he said he’d have to wait until he’s in his 40s. “Yeah, I’d definitely like to go for Bond, but in more like 20 years,” said 26 year-old Pattinson. “There’d be nothing worse than, like, ‘let’s get a fresh-faced Bond.’ That would be the worst idea in the world. It would be ridiculous to reinvent it as some young posh kid.” He paid tribute to the current reigning Bond, noting, “After Daniel Craig, you have to have some baggage. I’d have to be tortured in the first few scenes. I’d have to do the first film with one arm or something.” Apparently, the actor is even looking to do a series of Bonds… But with two decades to go, Pattinson will have time to get into 007 shape, which he admitted is not quite up to par (though his loyal fans may disagree). “I’ve got to make up for 10 years of living like a degenerate. I’ve suddenly become conscious of being unhealthy,” he said. “You’ve spent every bit of free time since the age of 15 in a pub. And suddenly you’re like, ‘Oh God, I don’t want to be this grey ghost sitting there with a pot belly.’ I’ve got to get it together.” [Source: The Sun ]
Paul Verhoeven and Ed Neumeier’s dystopian action-adventure flick RoboCop (which I was too young to realize was a satire upon release) rolled off the assembly line before viral videos had been invented. Just imagine if these. . .marginally clever distractions had existed back in 1987. Heck, I’m sure we’d all be offering bids on lots in Delta City “for a dollar!” The forthcoming remake of RoboCop (here you can take a pause to sigh, wonder why you are surprised that there’s a RoboCop remake coming, then continue on) launched its fake corporate site recently, hawking the wares from Omni Corp. Omni Corp – called Omni Consumer Products in the original – is the privatized company contracted with cleaning up the streets of Detroit using whatever bloody, brutal means necessary. RoboCop’s most famous scene is the presentation of the robot ED-209 in the OCP board room, wherein a computer glitch makes swiss cheese out of a poor schnook named Mr. Kinney. The producers of the new RoboCop , who’d’ve had nerds with pitchforks at the studio gate if ED-209 wasn’t in the pic, have included a version in the new continuity and are wisely revealing him now so we won’t have to sit and wonder when it will happen during the film. (Oh, if only Rise of the Planet of the Apes had thought of this before Draco Malfoy nearly gaffed-up the film with is “madhouse” and “damned dirty” line readings.) The design of the new ED-209 looks like a sleeker, pointier version of the original – like ED Senior mated with a Lamborghini. The video itself is on par with what we have come to expect from fanboy movies’ viral vids, but only teases what RoboCop himself will look like. All said, whoever came up with the line “we’ve got the future under control” definitely earned their pay that day. Previously: New RoboCop Joel Kinnaman discussed the “gritty” reboot with Movieline . Follow Movieline on Twitter .
Paul Verhoeven and Ed Neumeier’s dystopian action-adventure flick RoboCop (which I was too young to realize was a satire upon release) rolled off the assembly line before viral videos had been invented. Just imagine if these. . .marginally clever distractions had existed back in 1987. Heck, I’m sure we’d all be offering bids on lots in Delta City “for a dollar!” The forthcoming remake of RoboCop (here you can take a pause to sigh, wonder why you are surprised that there’s a RoboCop remake coming, then continue on) launched its fake corporate site recently, hawking the wares from Omni Corp. Omni Corp – called Omni Consumer Products in the original – is the privatized company contracted with cleaning up the streets of Detroit using whatever bloody, brutal means necessary. RoboCop’s most famous scene is the presentation of the robot ED-209 in the OCP board room, wherein a computer glitch makes swiss cheese out of a poor schnook named Mr. Kinney. The producers of the new RoboCop , who’d’ve had nerds with pitchforks at the studio gate if ED-209 wasn’t in the pic, have included a version in the new continuity and are wisely revealing him now so we won’t have to sit and wonder when it will happen during the film. (Oh, if only Rise of the Planet of the Apes had thought of this before Draco Malfoy nearly gaffed-up the film with is “madhouse” and “damned dirty” line readings.) The design of the new ED-209 looks like a sleeker, pointier version of the original – like ED Senior mated with a Lamborghini. The video itself is on par with what we have come to expect from fanboy movies’ viral vids, but only teases what RoboCop himself will look like. All said, whoever came up with the line “we’ve got the future under control” definitely earned their pay that day. Previously: New RoboCop Joel Kinnaman discussed the “gritty” reboot with Movieline . Follow Movieline on Twitter .
Hello! Remember me? Oh. Well, anyway, the world’s longest coffee break has ended, and as I nestle back into my Movieline work station, I hope you don’t mind me asking: What did I miss? No, really: What did I miss? Let’s talk about the last 38 days in movie culture, assuming “movie culture” still exists and isn’t off playing golf with a typewriter and a couple eight-track tapes in some Scottsdale retirement community. For the record, this is not an invitation to fill me in on the details of Tom Cruise’s “divorce” or Lindsay Lohan’s latest bout of “exhaustion,” but rather a helpful space where we can all discuss the good stuff that’s worth catching up with. Assume June in particular didn’t even happen for me and that I’m not going to see The Amazing Spider-Man no matter how highly anyone recommends it. What else is there? I mean, 4-D movie theaters ? Already ? It’s like another world out there.
The adaptation process is always a tricky one, but Oliver Stone had to make some especially tough choices in editing his big-screen version of Don Winslow’s Savages – and as a result, scenes with Uma Thurman , one of his cast’s biggest names, were left on the cutting room floor. Paring down the book to tell the tale of two Southern California weed growers ( Taylor Kitsch, Aaron Johnson ) going commando to get their kidnapped girlfriend ( Blake Lively ) back from the Mexican cartel, Stone (who adapted Winslow’s novel with Shane Salerno and the author) had to leave certain material out; at a rambling two-plus hour run time, it’s already crowded with languid scenes and a deep line-up of characters. Thurman joined the cast last year and shot scenes playing the Laguna Beach-dwelling mother of Lively’s rich hippie girl O (short for Ophelia). The character, a frequently absent multiple divorcee, is mentioned in the final cut but ultimately was snipped out in the name of ruthless editing. (There goes that Pulp Fiction Travolta reunion.) “Oh we cut a lot; the book is one hundred and twenty scenes. I think we only in a movie have 30 scenes to play,” Stone told journalists in Los Angeles of the sections of the novel whittled down and excised in the adaptation process. “We had to make decisions in script, we made decisions in the editing, we had to consolidate so much and there’s so many things different in the movie than the book, you have to read the book to understand that.” “We have some good deleted scenes that you’ll see one day that are fun, but they had to go,” he continued. Also apparently left on the cutting room floor are scenes of Benicio del Toro as cartel thug Lado at home with his family, including Mia Maestro as his wife – humanizing relationships that del Toro’s Lado mentions but aren’t seen in the film. So perhaps an eventual Savages extended cut/DVD/Blu-ray release will insert Thurman’s scenes back in; Lively says their scenes together help explain why O is the pot-smoking, perhaps reckless free spirit that she is. “Her mom is off with her eight different husbands,” she said. “It’s a shame that you will miss that, in the movie. It was really beautiful stuff with Uma Thurman, and I think it really told a lot more of how a girl could end up this way. She’s the modern girl. Divorces are so much more common now than they were. Love is very untraditional, and these are three people who don’t have a family, creating a family within each other.” Savages is in theaters today. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Cool Hunting met with filmmaker David Lynch at the swanky Chateau Marmont to discuss his design collaboration on a limited edition bottle of Dom Pérignon ( really ), only to discover that his favorite creative muse is the City of Brotherly Love: “I always say my greatest inspiration came from the city of Philadelphia, Pennsylvania. So many reasons, the mood of the place, the architecture, what I saw and heard and felt. It was very magical, but laced with a deep tormenting fear and sickness. And I ate many steak sandwiches there.” [ Cool Hunting via MCN ]
Topics ranging from film finance, pitching, marketing, video on demand and micro-budget filmmaking are set for the American Film Market, taking place October 31 – November 7 in Santa Monica. AFM attendees from over 70 countries will take part in the AFM Conference Series, which takes place 9:15 – 12:45 daily from November 2 – 6. The AFM Conference Series launched in 2011 and sold out in its first year with more than 700 attendees at each event. “AFM is attended by industry leaders from more than 70 countries so the AFM Conference Series has a tremendous pool of experts and innovators to draw from.” said Jonathan Wolf, executive vice president of the Independent Film & Television Alliance and managing director of the AFM. “This makes the AFM Conference Series unique and invaluable.” Details on the events follow: The 2012 AFM Conference Series follows with information provided by AFM : Finance Conference, Friday, November 2 Leading CEOs, filmmakers, financiers and studio executives converge to explore the state of independent film financing, emerging trends, where the money is, new opportunities and incentives, and what the future holds. Pitch Conference, Saturday, November 3 A good pitch can get a bad film made and a bad pitch can leave a terrific project languishing on the shelf. Pitching is part art (it’s creative), part science (needs to follow a tight script) and part salesmanship. Conference attendees will first learn the essential rules and tools of pitching from the experts. Then, volunteers from the audience (you?) will pitch a panel of Hollywood decision makers. They will give unvarnished feedback on each pitch – saying what worked, what didn’t, and why. Warning: This session is not for the weak. Marketing Conference, Sunday, November 4 Connecting with and engaging the audience in authentic, creative ways is critical. Word-of-mouth and friend recommendations can make or break the box office results. The gurus behind the most successful and innovative new media marketing campaigns discuss reinventing the marketing wheel, explore how the consumer can be the most effective marketing tool and reveal how to win over the broadest possible audience. Video-On-Demand Conference, Monday, November 5 Video-On-Demand is a growing revenue stream for filmmakers and content providers. Like the excitement of a gold rush, many hope for a future when all films are available worldwide and every film finds an audience. Producers, distributors and platforms will come together to disclose who is making money, how they are doing it and what the future holds – separating fact from fiction. Micro-Budget Conference, Tuesday, November 6 New and unconventional financing, marketing and distribution resources are proving very successful for Micro-Budget films. Producers and distributors will reveal how to find the money, making the most of budgets, what distributors are looking for, reaching your audience and how these new tools are redefining the film business. The 2012 AFM Conference Series will be held at the Fairmont Miramar Hotel (101 Wilshire Boulevard, Santa Monica). For additional information, visit their website .
