Clone High (2002) - News Poster



Fired Han Solo Directs Break Silence on Losing Star Wars Movie

Fired Han Solo Directs Break Silence on Losing Star Wars Movie
Chris Miller and Phil Lord have broken their silence about leaving Solo: A Star Wars Story and how it made them better filmmakers. While it didn't come as a complete shock over the summer when Disney and Lucasfilm decided to part ways with Lord and Miller, it was still a surprise since so much of the movie had reportedly already been completed by the duo. Disney sited creative differences for the split, which seems to have been the case, and now the directors are sharing their side of the story for the first time.

At a panel for their MTV animated series Clone High at the Vulture Festival in L.A. over the weekend, Chris Miller and Phil Lord discussed their experience of being fired from the young Han Solo movie. When asked about the experience, Lord was positive about the incident and said that shooting the movie was great
See full article at MovieWeb »

Phil Lord & Chris Miller Discuss Leaving ‘Solo: A Star Wars Story’

Earlier this year, The Lego Movie directors Phil Lord and Chris Miller left the Han Solo movie that has just wrapped up shooting with Ron Howard taking over the helming duties. Much has been discussed about their leaving the project, but we haven’t heard too much from the filmmakers themselves.

The duo were appearing at the Vulture Festival in L.A to talk about their MTV animated series Clone High. The outlet spoke about their experience of being fired from the Star Wars young Han Solo movie and getting replaced by Howard.

Here’s what they had to say.

“The experience of shooting the movie was wonderful,” Lord said. “We had the most incredible cast and crew and collaborators. I think in terms of us leaving the project, I think everybody went in with really good intentions and our approach to making the movie was different than theirs. That
See full article at The Hollywood News »

‘Han Solo’ Directors Chris Miller and Phil Lord Reveal Departure Reason: ‘Our Approach Was Really Different’

  • Indiewire
‘Han Solo’ Directors Chris Miller and Phil Lord Reveal Departure Reason: ‘Our Approach Was Really Different’
It’s never easy to get let go from a project, but in their first public appearance since exiting what’s now been titled “Solo: A Star Wars Story,” Phil Lord and Chris Miller handled it gracefully.

“The experience of shooting the movie was wonderful,” Lord said to the crowd at Vulture Festival Sunday. “In terms of us leaving the project, everyone went in with really good intentions and our approach was really different from theirs… The gap was too big.”

Added Lord, “Sometimes people break up and it’s sad. We learned a lot from our collaborators, we’re really proud of our work and wish everyone with the best.”
See full article at Indiewire »

Phil Lord and Chris Miller developing new series We Can Do Better

  • JoBlo
I've said it many times on this site, but I'll say it again: in my opinion writer/directors Phil Lord and Christopher Miller will have a lifetime pass with me for creating Clone High, the cult animated series from the early '00s. Sure, they also directed Cloudy With A Chance Of Meatballs, The Lego Movie, and the way better than it had any right to be 21 Jump Street movies, but they'll forever be the Clone High guys... Read More...
See full article at JoBlo »

Clerks - an unlikely multimedia franchise

Mark Harrison Sep 28, 2017

How a 1994 indie hit from Kevin Smith gave birth to an unlikely franchise...

In 1993, Kevin Smith made a movie. Clerks was shot in black and white over the course of three weeks, at night, in the convenience store where Smith worked during the day, on a shoestring budget of $27,575. Smith funded the film himself by dipping into his savings, selling all his comics and maxing out several credit cards.

Even though it became an indie phenomenon when it was picked up by Bob and Harvey Weinstein's Miramax (who gave it a new soundtrack using a post-production budget that was ten times the cost of principal photography) at the 1994 Sundance Film Festival, it doesn't have 'franchise starter' written all over it.

Long considered a Gen X touchstone, Clerks is a funny and filthy slice of life movie, which equates a working day for Dante Hicks (Brian O'Halloran) to his namesake's Inferno.
See full article at Den of Geek »

Young Han Solo film teases the presence of the Empire in new still

  • JoBlo
So my interest in this solo Han Solo film plummeted when it was announced previous directors Chris Miller and Phil Lord - of 21 Jump Street and Clone High fame - were fired. While I like the cast, especially Alden Ehrenreich as Han Solo and Donald Glover as Lando Calrissian, I am less than thrilled that Ron Howard is taking over. Nothing against the guy - he makes serviceable-to-great films, depending on the material -... Read More...
See full article at JoBlo »

Ron Howard's brother Clint to have role in upcoming Han Solo film

  • JoBlo
I'm not going to lie, most interest I've had in the young Han Solo film have pretty much evaporated with the firing of former directors Chris Miller and Phil Lord, who were replaced by Ron Howard. Nothing against Howard - he's made some pretty great films in the past (and quite a few clunkers as well) - but he didn't make Clone High. And, to be fair, I was already iffy about the premise of the film from the get-go.... Read More...
See full article at JoBlo »

Phil Lord and Chris Miller met with DC about The Flash. Again.

  • JoBlo
For such a speedy superhero, The Flash's dash to a solo feature has been amazingly slow and arduous. First the film was set up with Seth Grahame-Smith as the director, with Phil Lord and Christopher Miller (Clone High, former directors of Han Solo) writing up a treatment. Then when Graham-Smith left, there was a page one rewrite with Dope director Rick Famuyiwa at the helm. Now, eight months... Read More...
See full article at JoBlo »

Moonlight's Mahershala Ali joins Lord and Miller's animated Spider-Man film

  • JoBlo
While it's super disappointing that Clone High's Chris Miller and Phil Lord were fired from Han Solo (leaving behind the last shred of interest I had in that film), at least they're not going to be gone for long. They are still involved with writing and producing Sony's upcoming animated Spider-man film focusing on Miles Morales, which is to be directed by Bob Persichetti (The... Read More...
See full article at JoBlo »

Why Movies Need Directors Like Phil Lord and Chris Miller More Than Ever

Why Movies Need Directors Like Phil Lord and Chris Miller More Than Ever
A few days ago, my colleague Owen Gleiberman wrote a scathing essay questioning whether Colin Trevorrow was the right choice to direct “Star Wars: Episode IX,” suggesting that the “Jurassic World” helmer’s in-between indie, “The Book of Henry,” is such an abomination we have reason to think he could ruin the franchise that has already weathered the likes of Gungans and Ewoks.

It was a tough essay, so much so that I genuinely feared Trevorrow’s job could be in danger. And then a funny thing happened. “Star Wars” producer Kathleen Kennedy fired the directors on a completely different “Star Wars” movie, axing Phil Lord and Christopher Miller from the Han Solo project. What!?!?

The universe needs directors like Lord and Miller more than ever these days — and not just the “Star Wars” universe, mind you, but the multiverse of cinematic storytelling in general. Lord and Miller represent that rarest of breeds: directors with a fresh and unique vision, backed by the nerve to stand up for what they believe in.


Star Wars’ Han Solo Spinoff: Lord & Miller Fired After Clashing With Kathleen Kennedy (Exclusive)

Just look at their track record: After starting their careers as TV writers (they created the MTV cartoon series “Clone High” and wrote for “How I Met Your Mother”), the duo made their feature directorial debut with “Cloudy with a Chance of Meatballs,” a wildly imaginative reinvention of a 32-page children’s book that heralded them as bold, outside-the-box comedy storytellers.

Then they made the jump to live-action, bringing their trademark brand of hip, pop-savvy self-awareness to the feature-length “21 Jump Street” remake. Few animation directors have survived the leap from animation to live-action (just consider the likes of “John Carter” and “Monster Trucks”), but Lord and Miller took to the new medium like naturals (technically, they had experience from their TV writing days — and I remember hearing stories that they’d actually taken a break from “Cloudy” to write an episode of “How I Met Your Mother” just so they wouldn’t lose their Writers Guild insurance benefits, but that’s another story about animators don’t enjoy the same protection in this industry).

“21 Jump Street” took the concept of a tired old ’80s TV show — two baby-faced cops go undercover as high-school students — and rebooted it with a playful twist, turning the ludicrous setup into one giant joke. Then came “The Lego Movie,” in which they cracked one of the weirdest assignments in 21st-century filmmaking — bring the popular line of kids toys to life — in a wholly original way, embracing the fact that Legos had spawned an almost cult-like sub-genre of fan films (to capitalize on the trend, the Lego company had even released a “MovieMaker Set” in 2000, complete with stop-motion camera and Steven Spielberg-styled minifigure) to make the ultimate wisecracking meta-movie.

After that string of successes, Lord and Miller had become two of the hottest names in town, able to pick their projects. But like so many directors of their generation — children of the ’70s whose love of cinema had been inspired by George Lucas’ game-changing space opera, what they wanted was to make a “Star Wars” movie. For a moment, that seemed possible, since the producers were hiring indie directors like Rian Johnson (“Brick”) and Gareth Edwards (“Monsters”) to helm these tentpoles.

On paper, Lord and Miller’s irreverent sensibility seemed like a perfect match for Han Solo, the franchise’s most sardonic character. One has to assume that it was precisely that take Kathy Kennedy and the “Star Wars” producers wanted when they hired the duo. But this is where modern critics, columnists and the fan community at large fail to understand a fundamental change that is happening at the blockbuster level in Hollywood: These directors are not being chosen to put their personal stamp on these movies. They are being hired to do the opposite, to suppress their identity and act grateful while the producers make all the key creative decisions.

Want to know why Trevorrow was picked to direct “Jurassic World” when his only previous credit was a nifty little sci-fi indie called “Safety Not Guaranteed”? It’s because he plays well with others, willing to follow exec producer Steven Spielberg’s lead when necessary. Going in to the assignment, Trevorrow had no experience directing complicated action sequences or overseeing massive-budget special effects. He didn’t need it, because those aspects of the movie were delegated to seasoned heads of department, while Trevorrow focused on what he does best: handling the interpersonal chemistry between the lead characters. (Personally, I hold Trevorrow responsible for the decision to film Bryce Dallas Howard running in high heels, but not the turducken-like gag where a giant CG monosaur rises up to swallow the pterodactyl that’s eating Bryce’s assistant. Surely someone else oversaw that nearly-all-digital sequence.)

Independent schlock producer Roger Corman memorably observed that in the post-“Jaws,” post-“Star Wars” era, the A movies have become the B movies, and the B movies have become the A movies — which is another way of saying that today, instead of taking risks on smart original movies for grown-up sensibilities (say, tony literary adaptations and films based on acclaimed Broadway plays), the studios are investing most of their resources into comic-book movies and the equivalent of cliffhanger serials (from Tarzan to Indiana Jones).

To Corman’s equation I would add the following corollary: On today’s tentpoles, the director’s job is to take orders, while producers and other pros are called in to oversee the complicated practical and CG sequences that ultimately define these movies. It’s an extension of the old second-unit model, wherein experienced stunt and action-scene professionals handled the logistics of car chases and exotic location work — except that now, such spectacular sequences are the most important part of effects-driven movies. Meanwhile, the one ingredient the producers can’t fake or figure out on their own is the human drama, which is the reason that directors of Sundance films keep getting handed huge Hollywood movies: to deliver the chemistry that will make audiences care about all those big set pieces.

How times have changed: In the 1980s, the only one who would make a movie like “Fantastic Four” was Corman, which he did for peanuts, whereas two years ago, Fox dumped more than $125 million into the same property. And the director they picked? Josh Trank, whose only previous feature had been the low-budget “Chronicle.” Let’s not forget that Trank ankled his own “Star Wars” spinoff, which I suspect had everything to do with realizing what happens when forced to relinquish control of a project in which he’s listed as the in-title-only director.

Back in the ’60s, a group of French critics writing for Cahiers du Cinéma coined what has come to be known as “the auteur theory,” a relatively quaint idea that the director (as opposed the screenwriter, star or some other creative contributor) is the “author” of a film. In the half-century since, critics everywhere have fallen for this fantastical notion that directors have creative autonomy over the movies they make — when in fact, as often as not, that simply isn’t the case.

The auteur theory makes for a convenient myth, of course, and one that lazy critics have long perpetuated, because it’s much to difficult to give credit where it’s due when confronted with the already-cooked soufflé of a finished movie. Critics aren’t allowed into the kitchen, after all, and though countless chefs (or heads of department, to clarify the metaphor) contribute to any given film production, it’s virtually impossible to identify who was really responsible for the choices that make the film what it is.

How much of “Citizen Kane’s” creative genius can be attributed to cinematographer Gregg Toland? Would “Jaws” or “Star Wars” have been even half as effective without composer John Williams? Did editor Ralph Rosenblum save “Annie Hall”? And most relevant to the discussion at hand: Is it correct to think of “Rebecca” as an Alfred Hitchcock movie (he directed it, after all), or does the result more thoroughly reflect the hand of producer David O. Selznick?

This is all complicated by the fact that an entire class of filmmakers — the so-called “film-school generation” — seized upon the auteur theory, turning it into something of a self-fulfilling prophecy, as the likes of Coppola, Scorsese, Spielberg, Lucas and so on left their signature on the movies they made. Meanwhile, the Cahiers critics (several of whom went on to become directors, among them Jean-Luc Godard and François Truffaut) were protected by a uniquely French copyright law dating back to the 18th century, known as the “droit d’auteur,” which entitled them to final cut (a privilege precious few Hollywood directors have).

But these remain the exception, not the rule. In the case of the “Jurassic Park” and “Star Wars” franchises, the director is decidedly not the auteur. To the extent that a single vision forms the creative identity of these films, it’s almost always the producer we should hold responsible. To understand that, we need only look back to the original “Star Wars” sequel, “The Empire Strikes Back,” a movie “directed” by Irvin Kershner, but every bit George Lucas’ brainchild (he reportedly hand-picked Kershner for his strength with character development). The same goes for Richard Marquand on “Return of the Jedi.”

This shouldn’t be a scandalous revelation. It just doesn’t fit with the self-aggrandizing narrative that many directors have chosen for themselves. Yes, the 1989 “Batman” is without question “a Tim Burton movie”: Burton has such an incredibly distinctive aesthetic, and the personality to push it through a system that’s virtually designed to thwart such originality. But when it comes to the incredibly successful “X-Men” franchise, there’s no question that producer (and “Superman” director) Richard Donner deserves as much credit as those first two films’ director, Bryan Singer. Simply put, that franchise owes its personality to both of their involvement.

But when it comes to “Jurassic World,” that movie probably wouldn’t look much different in the hands of someone other than Trevorrow. And the same can almost certainly be said for the “Star Wars” movie he’s been hired to direct, because in both cases, it’s the producers who are steering the ship. When the stakes are this high, it would be downright reckless to give complete autonomy to relatively unproven directors.

That’s increasingly the case in Hollywood these days. Director Dave Green (who’d made a tiny Amblin-style movie called “Earth to Echo”) went through it on a franchise project produced by Michael Bay. He was tapped to helm “Teenage Mutant Ninja Turtles: Out of the Shadows,” only to discover that he had no autonomy. Granted, Green was still wet behind the ears and had no experience with a nine-digit budget or big union crew. But that wasn’t the job, because Bay never expected him to handle everything. Instead, the producer pulled in more experienced professionals to oversee much of the action and visual effects, while Green followed orders and worked his magic with the actors.

You can bet Tom Cruise’s paycheck that the same thing happened on “The Mummy,” in which Alex Kurtzman is listed as director, but the producer-star was reportedly calling most of the shots. How appropriate that a Universal monster movie reboot should be the victim of what amounts to a kind of creative Frankenstein effect.

Likewise, Marvel has had more success (both financially and artistically) forcing directors to conform to an inflexible set of aesthetic guidelines than it did when art-house “auteur” Ang Lee experimented with his own ideas on 2003’s “Hulk.” And though Mexican director Alfonso Cuarón is celebrated for the personal touch he brought to the Harry Potter franchise, it was relatively malleable British TV director David Yates whom writer-producer J.K. Rowling approved to direct four more films in the series.

So where does that leave us with “Star Wars”? On one hand, it’s perfectly understandable that the producers would want Trevorrow to direct Episode IX, since he’s already demonstrated his capacity to play along with the producers. Meanwhile, it’s disheartening — but not altogether surprising — that a directorial duo as gifted as Lord and Miller have been fired from the Han Solo film, since they’ve been known to fight for the creative integrity of their vision.

But it’s a loss to the “Star Wars” world, since Lord and Miller’s previous credits demonstrate the kind of unique take they might have brought to the franchise. Warner Bros. trusted the duo enough on “The Lego Movie” to let them poke fun at Batman — arguably the studio’s most precious IP, previously rendered oh-so-serious in the Christopher Nolan trilogy. Lord and Miller’s minifigure Dark Knight was a brooding egomaniac and the funniest thing about that film, so much so that Warners ran with it, producing a spinoff that stretched the joke to feature length.

Sony Pictures Animation (where Lord and Miller made “Cloudy with a Chance of Meatballs”) was similarly enthusiastic about their input on Spider-Man, greenlighting the pair’s high-attitude idea for an animated movie centered around Miles Morales, the Black Hispanic superhero who took over web-slinging duties after Peter Parker’s death. Though they’re not directing, the script is said to bear their fingerprints — which it seems is exactly what Kennedy and company don’t want on the Han Solo project.

With any luck, Lord and Miller will see the “Star Wars” setback as the opportunity that it is: Rather than being forced to color within the lines of a controlling producer’s vision, they can potentially explore the more individual (dare I say, “auteurist”?) instinct they so clearly possess on a less-protected property. Heck, maybe Sony’s Spider-Man project will be the one to benefit. Or perhaps they’ll be in the enviable position of pitching an original movie. Not all directors have such a strong or clear sense of vision that they can be trusted to exert it over a massive studio tentpole, but Lord and Miller are among the few actively reshaping the comedy landscape. Now is their moment, although as Han Solo would say, “Great, kid. Don’t get cocky.”

Related stories'Star Wars' Han Solo Spinoff: Lord & Miller Firing Is Latest in Long Line of Director Exits'Star Wars' Han Solo Spinoff: Lord & Miller Fired After Clashing With Kathleen Kennedy (Exclusive)'Star Wars' Han Solo Film Loses Directors Phil Lord and Christopher Miller
See full article at Variety - Film News »

Phil Lord and Chris Miller’s 10 Tips For Screenwriters: Learn Their Tricks of the Trade

Phil Lord and Chris Miller’s 10 Tips For Screenwriters: Learn Their Tricks of the Trade
“Lego Movie” masterminds Phil Lord and Chris Miller think it’s nuts to offer advice via the esteemed BAFTA’s Screenwriters’ Lecture master class. “If anyone calls themselves a ‘master screenwriter,'” Lord told the London audience last October, “they are about to write a terrible screenplay.”

Nevertheless, Lord and Miller persisted; after writing and producing together for 20 years, including the upcoming Han Solo origin story, they had plenty to say. BAFTA has just made their nearly 90-minute video available to the public, glitchy graphics and all, and it makes for some very funny viewing (not to be missed: their short that “was not educational enough” for Disney, which attempted to teach children about the Brontë sisters using Victorian era-inspired action figures). It’s also educational — some might even say, masterful.

Here’s 10 of the best bits of advice from Lord and Miller.

Read More: Star Wars Celebration: Han Solo
See full article at Indiewire »

TV's 15 Best Musical Episodes, Ranked (Plus the One Absolute Worst)

TV's 15 Best Musical Episodes, Ranked (Plus the One Absolute Worst)
“Musical episode.” No two words strike fear in the hearts of network executives — and snark in the minds of critics — with greater expedience. But when done right, the result can be a beautiful thing.

VideosThe Flash and Supergirl Get Retro Glam in First Musical Crossover Promo

With two big-ticket musical episodes on the horizon — the Supergirl/Flash crossover airs Tuesday (The CW, 8/7c), while Once Upon a Time‘s song-and-dance hour will air later this season — TVLine decided to take a look back at some of our favorites from days (and shows) gone by.

Before you start whining about your favorites being omitted,
See full article at »

Upcoming TV and Film Anniversaries That Will Make You Feel Old in 2017

Upcoming TV and Film Anniversaries That Will Make You Feel Old in 2017
Here at Et, we love an anniversary -- whether it’s the 20th anniversary of Scream or Clueless, 10 years in the life of The Hills or the magical time making No Doubt’s Magic Kingdom 20 years later. And as we settle in 2017, it’s time to look ahead at all those upcoming moments that will have you saying, “I remember when…”

Here’s a brief look at our favorite TV and film milestones of 2017:

Jan. 25, 2002: A Walk to Remember (15 Years)

While fans are crying over Mandy Moore’s Golden Globe-nominated performance on NBC’s hit new series This Is Us, it was just 15 years ago that they cried over her performance in the weepy adaptation of Nicholas Sparks’ book about a girl with cancer who falls in love with a rebellious classmate.

Let’s not also forget that 2002 gave us Naomie Harris in 28 Days Later, Barbershop, Ryan Gosling in Murder by Numbers, My Big Fat Greek Wedding, [link
See full article at Entertainment Tonight »

What MTV Classic Needs to Do to Survive

What MTV Classic Needs to Do to Survive
If MTV Classic is anything like MTV, it'll be on the air for a month before people start complaining they don't play enough music. The "new" channel launched on August 1st, the 35th anniversary of MTV's debut, opening up the vaults to a pop-culture treasure trove that's been gathering dust for years. They should have done this years ago. MTV Classic wants to establish its music cred early on — they were wise to spend most of the first day playing classic Unplugged episodes, with Nirvana, Erykah Badu and R.E.M. The
See full article at Rolling Stone »

MTV Classic will launch on August 1 with 'Daria,' 'Punk'd,' and 'Clone High'

  • Hitfix
Earlier this month, a tweet hinted that Vh1 Classic would soon become MTV Classic but now we have all the details. On August 1 — the 35th anniversary of MTV's launch — MTV Classic will kick off by reairing its first hour. From there, the network will start to air all of your favorite shows, from Clone High to The Real World. Other shows featured will be Beavis & Butt-Head (the original, I'm assuming, and not the recent-ish reboot), its Daria spinoff, Pimp My Ride, Laguna Beach, Road Rules, Jackass, and more. Here's a fun promo to get yourself appropriately stoked:
See full article at Hitfix »

‘Daria,’ ‘Beavis & Butt-Head’ Returning to TV as VH1 Classic Becomes MTV Classic

Those who still want their MTV are about to get their fill. On Aug. 1, the channel currently known as VH1 Classic will be rebranded as MTV Classic, and be pumped full of all the shows that built Music Television into a viewing destination for all the cool kids in your neighborhood.

The new-old network will make its debut with “MTV Hour One,” a replay of the exact first hour of programming MTV aired, and then segue into a “Total Request Live” retrospective, followed by a best-of run of “MTV Unplugged.”

The shows that will be making their reappearance on MTV Classic during the hours of 10 p.m. to 1 a.m. include “Daria,” “Beavis and Butt-Head,” “Aeon Flux,” “Run’s House,” “Pimp My Ride,” “Clone High,” and just about every other show that still carries a cult following, with desperate pleas from fans to make the series available for streaming. (“Daria” is actually available to stream on Hulu
See full article at Variety - TV News »

MTV Classic to Replace VH1 Classic; New Network to Feature '90s Throwback Programming

R.I.P., VH1 Classic.

MTV has announced that beginning Monday, Aug. 1, VH1 Classic will officially morph into MTV Classic. The newly-rebanded network will feature “an eclectic mix of fan-favorite MTV series” from the ’90s and ’00s, including Laguna Beach, Beavis & Butt-head, Cribs, Jackass, Punk’d, and Clone High.

RelatedCable/Streaming Renewal Scorecard 2016: What’s Coming Back? What’s Cancelled? What’s On the Bubble?

The launch date was not chosen randomly. August 1 marks 35 years to the day that MTV first debuted.

“MTV’s programming vault is a music and pop culture goldmine with universal resonance,” said Sean Atkins,
See full article at »

‘Son of Zorn’ and ‘Making History’ Trailers: Phil Lord & Chris Miller Have More Laughs for TV

‘Son of Zorn’ and ‘Making History’ Trailers: Phil Lord & Chris Miller Have More Laughs for TV
Phil Lord & Chris Miller have effectively worked their magic on the big screen with Cloudy with a Chance of Meatballs, 21 Jump Street (and its equally as good sequel) and The Lego Movie. But on the small screen, they’ve also delivered great comedy with Clone High and Last Man on Earth. Now they’re bringing even […]

The post ‘Son of Zorn’ and ‘Making History’ Trailers: Phil Lord & Chris Miller Have More Laughs for TV appeared first on /Film.
See full article at Slash Film »

Han Solo headlines are fun, or the problem with casting 'short lists'

  • Hitfix
Han Solo headlines are fun, or the problem with casting 'short lists'
First and foremost, I trust Chris Miller and Philip Lord. After all, they have made a habit of announcing projects that sound absolutely terrible, then making movies out of them that are delightful. There is no reasonable way I should love 21 Jump Street, 22 Jump Street, or The Lego Movie, but sure enough… I do. And the lesson I've taken from that run (as well as their work on plenty of other projects like Clone High and The Last Man On Earth) is that I trust Miller and Lord. So while there's a part of me that winces each and every time someone mentions a young Han Solo movie as part of the Star Wars Stories series, all I have to do is think about Lawrence Kasdan and his son writing it and Miller and Lord directing, and I relax. Does the short list rumored by today's Variety article make me itch all over?
See full article at Hitfix »

‘The Lego Movie’ team set to bring hit podcast, ‘Serial,’ to television

Can these guys just stop impressing us with their immense talent?

The team behind the unlikely hits, 21 Jump Street and The Lego Movie, are looking to spin gold again by adapting the popular podcast, Serial, for television, according to The Hollywood Reporter. The duo have dipped into TV before with Clone High and most recently The Last Man on Earth.

According to THR, the show will not follow the first season case with Adnan Syed like the podcast and will most likely go a new direction. The plan is to create a cable series that feels much like the experience of the podcast with weekly check-ins on the case and new revelations along the way.

Serial host Sarah Koenig and her producers pitched the show to Lord and Miller, who will look for a team of writers to take on the project and then shop to networks. Rumors pegged HBO
See full article at SoundOnSight »
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