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Following Joel Schumacher’s 1997 franchise killer Batman & Robin, Warner Bros. launched several attempts to reboot the Dark Knight prior to Christopher Nolan’s successful resurrection of the series with Batman Begins.
In August 2000, while Darren Aronofsky and Frank Miller were devloping an adaptation of Miller’s Batman: Year One, the studio enlisted director Boaz Yakin (Remember the Titans) to work alongside Paul Dini and Alan Burnett on a live-action adaptation of the animated series Batman Beyond, and now Yakin has shared some details on the ultimately aborted project during an interview with IGN.
“I had just made Remember the Titans and my inclination is to always go off a trend: make an independent film after I make a studio film. I spoke to my agent, and he said, ‘I think you need to do another studio movie before you do that.’ I was just basically like, ‘Well, if I’m »
- Gary Collinson
The Weinstein Company (TWC) will release Quentin Tarantino's "The Hateful Eight" in 70mm on Christmas day followed by an exclusive two-week roadshow opening in 70mm in select theaters nationwide, the company announced today. Following this two-week period, the film will open nationally with a theatrical digital release on January 8, 2016, while it continues to be shown in 70mm. Read More: Quentin Tarantino Blasts Digital Projection at Cannes This will mark the widest 70mm release in over 20 years, according to TWC. In 2012, TWC distributed Paul Thomas Anderson's "The Master" in 70mm. The format, known for its wide-scope and high-resolution image quality, captures nearly twice the landscape of 35mm and digital styles. Tarantino, along with Christopher Nolan, J.J. Abrams and other top directors recently urged the major Hollywood studios to negotiate a deal with Kodak to continue production of 70mm and other film formats. "Our long relationship with Quentin »
- Paula Bernstein
Earlier in the week it was revealed that Warner Bros. is planning a big Hall H panel at Comic-Con for Batman v Superman: Dawn of Justice and Suicide Squad, along with Wonder Woman and Justice League Part One, and now the studio has revealed its television line-up for San Diego, and there’s plenty more for DC fans to get excited about – and even if you’re not a superhero fan, there’s still plenty on offer! Here’s the full line-up, via Comic Book…
Special Sneak Peek Pilot Screenings
Wednesday, July 8
6:00–10:00 p.m. The first time is always the best time. Comic-Con and Warner Bros. Television proudly continue our annual Preview Night tradition, with exclusive world premiere screenings of the pilot episodes of four of the most highly anticipated series of the 2015–16 television season — Supergirl, Blindspot, Containment and Lucifer — as well as a brand-new episode of Teen Titans Go! »
- Gary Collinson
We look at the films that slipped through Hollywood's net, from biblical epics to a time travelling Gladiator sequel...
This article contains a spoiler for Gladiator.
If you're one of those frustrated over the quality of many of the blockbusters that make it to the inside of a multiplex, then ponder the following. For each of these were supposed to be major projects, that for one reason or another, stalled on their way to the big screen. Some still may make it. But for many others, the journey is over. Here are the big blockbusters that never were...
The late Michael Crichton scored another residential on the bestseller list with his impressive thriller, Airframe. It was published in 1996, just after films of Crichton works such as Jurassic Park, Rising Sun, Disclosure and the immortal Congo had proven to be hits of various sizes.
So: a hit book, another techno thriller, »
Warner Bros. Television will have a strong presence at this year's San Diego Comic-Con. In addition to screening the Lucifer pilot, Wbtv will have panels for iZombie, Supernatural, the aforementioned fallen angel series, and many more shows.
Press Release: "Burbank, Calif. (June 10, 2015) — Good luck keeping your popsicles and ice cream from melting with the amount of heat that Warner Bros. Television Group (Wbtvg) is bringing to Comic-Con International: San Diego. The Studio returns to the world’s leading pop-culture convention in 2015 with 18 series, including 13 returning fan-favorite shows and five programs making their much-anticipated Comic-Con debut. Following an at-capacity event last year, Warner Bros. Television and DC Entertainment are once again joining forces for another epic Saturday night event in Hall on July 11, featuring super heroes, Super-Villains, screenings and special appearances from returning favorites Arrow, The Flash and Gotham, plus highly anticipated series Supergirl and DC’s Legends of Tomorrow.
- Derek Anderson
Warner Bros. Television is bringing a cavalcade of shows to San Diego Comic-Con in 2015, with 13 returning series and five freshman entries being featured at this year’s event, including a Saturday night lineup featuring DC Entertainment properties “Arrow,” “The Flash,” “Gotham” and upcoming series “DC’s Legends of Tomorrow,” “Supergirl” and digital series “Vixen.”
Other Comic-Con mainstays including “The Big Bang Theory,” “Supernatural,” “The Vampire Diaries” and “Person of Interest” will be on hand, in addition to premiere screenings of upcoming Wbtv series including “Blindspot,” “Containment” and “Lucifer.” Comic-Con runs from July 9-12 at the San Diego Convention Center.
See Wbtv’s full Comic-Con lineup below:
Friday, July 10
10:00–11:00 a.m. The Big Bang Theory (Season 9 Premieres September 21, Mondays 8/7c on CBS): The Big Bang Theory writers are returning to San Diego, to once again solve the comedy equation and take you behind the scenes of TV’s #1 comedy! »
- Laura Prudom
Among the series returning to the pop culture extravaganza are Arrow, The Flash, The Originals, Gotham, Person of Interest, The Big Bang Theory, The 100, iZombie and more. Additionally, newbies DC’s Legends of Tomorrow, Containment, Lucifer and Blindspot will make their first trek to the event.
Check out Wbtv’s full lineup below*:
Wednesday, July 8
Preview Night features the world premiere screenings of the pilot episodes for CBS’ Supergirl, »
Grammy nominated producer and composer Tom Holkenborg aka Junkie Xl is launching a new YouTube tutorial series “Studio Time with Junkie Xl.” The series will give aspiring composers, producers, and musicians a rare glimpse into the inner workings of a Hollywood composer.
The tutorial topics will range from technical advice, such as string and drum arrangements, to programming tips and advice on how to channel your musical influences. “Studio Time with Junkie Xl” launches today (Tuesday, May 26) at youtube.com/junkiexlofficial.
In addition to music, teaching has always been one of Holkenborg’s passions. He was an associate professor at Artez, the Dutch music conservatorium where he developed and taught a four year music program based on all of the elements of his career. His latest teaching endeavor is an online video series that will allow him to reach a broad audience directly from his home studio and share his knowledge of composing. »
- Michelle McCue
Following yesterday's ABC deluge of trailers and fall schedule announcement, CBS has set their line-up for the 2015-2016 Fall primetime season. Unlike ABC, however, who have been simply crushing it in key demographics, CBS is doing some switching around with the introduction of a handful of new programs. One thing that sticks out is the general lack of comedies in CBS's schedule, with only Thursday nights really providing a home for a few chuckles amongst all the grisly murders and death talk that populate a great deal of their dramatic programming, though the introduction of Supergirl and supernatural thriller Limitless into the schedule may offer just the hint of variety that has been escaping CBS for so very long. [caption id="attachment_421559" align="alignright" width="309"] Image via CBS[/caption] Indeed, CBS is going as far to put Supergirl into the post-football Monday-night 8 p.m. slot, meaning it will directly face off with Fox's Gotham, when the »
- Chris Cabin
Has being the director of a film in a major franchise become a high-stakes gamble? Ryan looks at the pressures faced by modern filmmakers.
The process of making the behemoth that is Avengers: Age Of Ultron has clearly taken its toll on Joss Whedon. In each successive interview with the press, he’s talked with surprising openness about the process of making the superhero sequel and his battles to places an individual stamp on it; this culminated in a recent podcast with Empire, in which he described the “really, really unpleasant” fight to keep certain scenes in the film.
For an established writer and director like Whedon, who’s been working in TV and film since the 90s, taking on a project as huge and loaded with expectation as a Marvel film is evidently punishing, both physically and psychologically. Imagine how difficult it must be, then, to make the jump »
All week long our writers will debate: Which was the greatest film year of the past half century. Check here for a complete list of our essays. Just one glance at the Oscar nominees for 1998 might make it seem less a questionable choice for “best year in film” — and more an insane one. Instead of a 1974 – The Godfather II, The Conversation, Chinatown, Blazing Saddles, Young Frankenstein, etc – or even a 1994, where Shawshank, Quiz Show, and Pulp Fiction lost to Gump – you choose a year where the Oscars would allow Roberto Benigni to climb atop both the figurative and literal chairs of the Shrine? Fine, step away from the Oscars. Would you still celebrate a year that saw not one, but two movies about asteroids threatening the Earth? A year that saw such scars carved across cinematic history as Patch Adams, My Giant, Stepmom, and Krippendorf’s Tribe? It bears repeating: Krippendorf’S Tribe? »
- Michael Oates Palmer
As an interview subject, Christopher Nolan is an expert diplomat: He’s great at sounding forthright while not saying anything particularly revealing. But, holding forth on his career in an hour-long conversation with Foxcatcher director Bennett Miller at the Tribeca Film Festival last night, the Dark Knight and Inception director did open up at a couple of points. Maybe it was the fact that he was talking shop with a fellow filmmaker, but Nolan seemed refreshingly reflective, particularly as he discussed some of the opportunities he’d been given in his career.“If there’s one thing that I’ve been fortunate in, in my development as a filmmaker, it’s that I’ve always worked at a comfortable scale,” Nolan said. “I started very very small [with the no-budget feature Following]. Then, after I had done Following … I was able to show people the script for Memento, and it had a similarly nonlinear structure. »
- Bilge Ebiri
Christopher Nolan described his filmmaking process as “some combination of intuition and geometry” in one of the Tribeca Talks series of public conversations at the 2015 Tribeca Film Festival.
“I don’t write a story outline,” he told a packed house of festivalgoers during the discussion with fellow director Bennett Miller (“Foxcatcher,” “Moneyball”). “Usually my answer right off the bat is that I work intuitively, but I draw a lot of diagrams when I work. I do a lot of thinking about etchings by Escher, for instance. That frees me, finding a mathematical model or a scientific model. I’ll draw pictures and diagrams that illustrate the movement or the rhythm than I’m after.”
Intuition, he noted, comes to the fore in his editing process. “I’ve always edited in a huge hurry, tried to catch that lightning in a bottle, just so the energy is there,” he said. “I »
- Gordon Cox
Christopher Nolan is one of the most successful filmmakers working today. In fact, he’s one of very few directors (maybe the only one) that basically have carte blanche when it comes to choosing projects and getting them made without any fuss. He makes massive, ambitious original films like Inception and Interstellar, and audiences turn out on a scale normally reserved for superhero movies or the next Transformers sequel. It’s an impressive feat, and it’s no wonder that he’s able to assemble such impressive ensembles in front of the camera. While everyone’s waiting to hear what Nolan will do next, a new video tribute to the filmmaker has landed online that runs through his entire filmography, from his feature debut Following to last year’s Interstellar and everything in between. It’s a serviceable ode to Nolan, and while a few of the cuts are a bit jarring, »
- Adam Chitwood
Oliver Davis reviews 2000Ad Prog 1924…
Borag Thungg, Earthlets! It’s all change this Prog, with five spanking-new stories beginning. Well, they’re kinda new. Four of them are just the latest chapters in long-running strips. Handily, though, the editors have included a ‘catch-up’ page for each, which makes for some entertaingly bonkers reading. 2000Ad, it seems, is where comic book writers’ imaginations go to take drugs.
These narratives make perfect sense when told over time, but appear most strange when condenscened into two paragraphs. The best of these is the catch-up for Strontium Dog, the long-running strip from Judge Dredd creators John Wagner and Carlos Ezquerra. Mutant turned bounty hunter turned freedom fighter, once-dead-but-returned-to-life Johnny Alpha seemed “blown to smithereens” last time we saw him. Turns out he was saved by the government he fought against to face a greater foe. Personally, Alpha has never done it for me. It »
- Oli Davis
Film and celluloid is going the way of vinyl. The shift from tactile mediums to ones and zeroes has happened so quickly that for a while it had looked like these records and film strips that we had used to record our artistic history for the entire 20th century would suddenly become obsolete and erased forever. While vinyl has experienced a resurgence among those who truly love music, the already struggling movie theaters and multiplexes have all but done away with film in place of digital projection. Kodak’s film sales have dropped 96 percent in the last decade.
In fact, you can almost count on two hands the number of major filmmakers still actively using film when making studio pictures today: Quentin Tarantino, J.J. Abrams (who is making Star Wars: Episode VII on film), Wes Anderson (The Grand Budapest Hotel), and Christopher Nolan.
Nolan this week spoke at an »
- Brian Welk
There was no Bat-Signal shining in the skies over the Getty Museum last Sunday, but the distress call being sent by filmmaker Christopher Nolan and artist Tacita Dean was unmistakable — a beacon that said, in effect, “Save Our Celluloid.”
Heeding the call were some 30 representatives of the nation’s leading film archives, labs and presenting institutions, who accepted Dean and Nolan’s combined invitation to participate in an informal summit entitled “Reframing the Future of Film.” The two-part event sponsored by the Getty Research Institute (where Dean is currently an artist-in-residence) consisted of a private roundtable session in the morning, followed by a public afternoon event at which Dean and Nolan appeared in conversation with Kerry Brougher, director of the Academy of Motion Picture Arts & Sciences’ planned Wilshire Boulevard museum (scheduled to open in 2017).
While the Getty gathering was hardly the first-ever symposium devoted to the sustainability of film in the digital era, »
- Scott Foundas
I’m a huge fan of Insomnia, both the Erik Skjoldbjærg-directed 1997 original version and the Christopher Nolan directed remake in 2002.It was a solid story, and a mystery that really kept you guessing throughout the entire film, a talent that Skjoldbjærg has been able to carry over into his subsequent films following that great mystery thriller. With the newly released Pioneer, Skjoldbjærg tells a very gripping and enthralling tragic tale of an accident that happens to divers trying to complete an oil tunnel underwater.
Following Petter, a commercial diver who, along with his brother Knut, joins a team mixed with both Norwegians and Americans, working together to dive deep into the ocean (deeper than ever attempted) to build a tunnel that will serve as a gas pipe, bringing oil through it and making people rich. There’s an instant disconnect between the Norwegian and American teams (Wes Bentley does a great job as Mike, »
- Jerry Smith
Well before the mainstream fascination with the soft-core sexual sensibilities of Fifty Shades of Grey, one of the more notable alums of such boundary pushing was American filmmaker Zalman King. After producing the infamous sensation that was Adrian Lyne’s 9 ½ Weeks, King moved into filmmaking himself, debuting in 1988 with Two Moon Junction, before collaborating with his wife Patricia Louisiana Knopp on what stands as his most high profile title with Wild Orchid in 1989, reuniting him with Weeks stars Mickey Rourke. As is often the case with cinema seriously interested in exploring eroticism and titillation, the title suffers from a lot of misplaced energy. Character development and its semblance of a narrative appear to be roughly hewn afterthoughts, its most pronounced moments revolving around extremely stylized sexual congress between several different characters (and stylized in the vein of what we see on display in Verhoeven’s Showgirls).
Emily (Carre Otis) has »
- Nicholas Bell
This article contains a spoiler for the ending of Interstellar.
In case you missed it, the Oscars were this past weekend and Birdman was the big winner. The Academy’s choice to award Alejandro González Iñárritu's fever dream was a genuine shock, with Boyhood the running favourite for many months. Nonetheless, some things never change, and in that vein it's certainly a non-surprise the Academy also hardly noticed the most ambitious blockbuster of 2014: the Christopher Nolan space epic, Interstellar. Indeed, I use the phrase "non-surprise", because how could it be a winner when it was only nominated for the bare minimum of five Oscars in technical categories that are reserved as consolation prizes?
This is by all means par for the course with a film that has »
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