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13 items from 2016


Highlander, Catwoman, Thor and the secret of great action

13 June 2016 3:25 AM, PDT | Den of Geek | See recent Den of Geek news »

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Legendary stunt coordinator Andy Armstrong talks to us about his work on Highlander, Thor, Catwoman, and what makes a great action scene...

For over 40 years, Andy Armstrong has worked on a huge array of stunts and action sequences in TV and film. From directing 1,000s of extras in Stargate to a full body burn in Danny DeVito's Hoffa, Armstrong's experiences as a stuntman, stunt coordinator and unit director have taken him all over the world.

The brother of Vic Armstrong, the stunt coordinator and director who famously doubled for Harrison Ford in the Indiana Jones movies, Andy Armstrong's career began when he doubled for Sir John Mills on the 1970s TV series, The Zoo Gang. That early job jumpstarted a life in filmmaking which has taken in three James Bond movies, 90s action (Total Recall, Universal Soldier) and superhero movies (The Green Hornet, Thor, The Amazing Spider-Man).

Those 40 years of filmmaking experience are the pillar of Armstrong's book, the Action Movie Maker's Handbook. Intended as a reference for those thinking of starting a career in stunts or action unit directing, it also offers a valuable insight for those outside the industry, too. The book reveals the range of talents required to bring an effective action scene to the screen - organisation, storytelling, an understanding of engineering and physics - and how much input a coordinator and unit director has on how those sequences will look in the final film.

We caught up with Andy Armstrong via telephone to talk about his book and some of the highlights in his career so far. Read on for his thoughts on creating the action sequences in Thor and The Amazing Spider-Man, his hilarious behind-the-scenes memories from the 80s cult classic, Highlander, and what went wrong on the 2004 Catwoman movie...

Your book gave me a new appreciation for what second unit directors and stunt coordinators do. I didn't realise how much design work you do when it comes to action scenes, for example.

Yeah, it is true that a lot of people don't realise how much development goes into action. Especially nowadays, it's such a complex business. That becomes a huge part of it - the technicalities of it and the storytelling part of it. Some things might look great, but when you put them all together they don't necessarily work for that movie. A lot of what I've made a living doing is really creating action that is appropriate for the movie. Because the wrong type of action is just like the wrong costume or the wrong actor or something  - it just takes you out of the film.

You get a lot of movies that actually have too much action in them. Then what happens is, you can't appreciate it. It's like a feast where the starter is such a huge meal that you don't even want the main course because you're full. That's like so many action movies - they'd actually benefit from having some of the action taken out of them. I'm always fascinated when you see an audience in an action movie.

When I feel there's too much action in a movie, or it goes on for too long, I always look around in a cinema. It's interesting to see people chatting to each other or doing something else. You should never have that in an action movie. Action should be like sex or violence - you want to be left just wanting a bit more. That gets forgotten in a lot of movies, which are just relentless. Stuff going on the whole time.

What happens then is that, when it comes to something special for the third act, some fantastic fight or something, you can't raise the bar enough, because the bar's been high all the way through the movie. It's a weird thing.

They have to build, action scenes.

They do have to build, absolutely. That's why I do that little graph in the book, which is something I do in every movie, just to work out how much action there should be and where it should go and, on a scale of one to 10, how big it is. It's funny how crude that looks, and yet if you compare it to any of the really great action movies, they'll fit that graph. There'll be something at the opening, there'll be something happening at the end of the first act and into the second act, and there'll be bits and pieces happening in the second act and then a big third act finale. Whether it's a movie made in the 60s or now, that formula of action still becomes the sweet spot.

A lot of these superhero movies, there's some fantastic action going on, but by the end of the movie, nobody cares. You have nowhere to go with it.

Some of them are very long as well.

Far too long. Far, far too long. You're absolutely right. I think any movie, past two hours, has got to be either incredibly spectacular or it's an ego-fest for the filmmakers. Keeping somebody in a seat for more than two hours - you'd better have a really good tale to tell. And I don't think many of these modern ones do - they just have lots of stuff in them.

So what films have impressed you recently in terms of action?

Kingsman, definitely. I thought it was absolutely brilliant, a really good take on it. I loved that it was Colin Firth and not a traditional action hero that's covered in muscles and torn t-shirts and things. And for the same reasons, really, I love the Taken series of movies with Liam Neeson. I loved them, particularly because they're grounded in reality, or set just above reality. Obviously, Kingsman you go more above reality, but they're still grounded with real gravity and real people. It's a bit hypocritical, because I've made a great living doing some superhero movies, but they're not more favourite movies by any chance. I'm very proud of the work I've done on them, but the movies I love aren't even action, really. I haven't seen the third Taken, I need to get that, but I thought the first two Takens were really very cool.

I quite liked both the Red films. I was going to do the second one of those, because the guy who directed the second one is a friend of mine. So I'd have liked to have done that, but they wanted to go with the person they used on the first film. Dean Parisot is a very good friend of mine, I did Galaxy Quest with him. That's one of my favourites.

But a lot of movies I've seen lately, I've been underwhelmed by some of them. It's funny. I like tight little movies. I think it's a shame we've not had more John Frankenheimers making things like Ronin, you know. Great action but well placed - the right action in the right place. Again, grounded in reality, real people.

Do you think stunts go through trends? Obviously, you've recently been doing a lot of wire work on superhero movies lately.

Oh, absolutely. It's kind of gone in a tight full circle, because a few years ago action went fully CG, and then the brief we were given when we did the first Amazing Spider-Man is that they want to get away from that feel, to go more gravity based, more reality. That's what we spent a lot of time doing on that first Spider-Man is the way he jumps around. I based it on real physics.

Some of the stuff on the first Amazing Spider-Man I'm really very, very proud of. We filmed some groundbreaking rig systems and high-powered winches that moved around so there was a proper organic travel when Spider-Man jumps around. It's funny, because when I agreed to do the movie, that was the brief - they want to make Spider-Man's movement much more realistic. I said, "Yes, absolutely, we can do it." But when I came out of the meeting, I have to be honest - I had no idea how the hell we were going to do that.

We did a lot of testing. They were good enough to give us a lot of time to test. One of the things I did was bring in an Olympic gymnast, and I had him swing from three bars, from one bar to the next bar to the next bar, doing giant swings on them. I videoed it, because I knew that something on the original [Sam Raimi] Spider-Man didn't look right. It sounds really obvious in the end, because your eye goes straight to it, but when I brought the gymnast in, I realised that when you see a human swinging, their downward swing is really violent. It gets faster, faster, faster until it nearly pulls the arms out of the sockets, and then as they swing up it gets slower, slower, slower until they get negative. Then they grab the next bar and it happens again. It's the massive variation in velocity that made me realise, "I get it. That's what's real." Then you can tell it's a real guy. When you see Spider-Man and his speed is the same going down as it is going up, even though you haven't analysed it in your mind, you know that it's not right. It's like the five-legged horse syndrome: if you saw one standing in a field, even though you've never seen one in your life, you'd know that it's not something from nature. 

It's something I spend a lot of time doing, making things organic and real. In the book you've see a lot of reference to Buster Keaton and things, because I like to go back to that. When you've seen something done for real, then you can make anything as fantastic as you want. But you have to know where the baseline is, where real is, before you start doing something too spectacular. Or what will happen is, even though an audience has never seen an athlete on giant bars, or a guy swinging on a spider web, they'll know instinctively that it looks wrong. We're conditioned to do that - no matter how realistic a dummy in a shop window is, we know as humans that it isn't a real person. Animals know all that - they can spot their own species, they can spot other species and know what they are.

It's why, with a superhero movie, especially, I like to do a bible beforehand, so that you can have a reference. How strong is Spider-Man? Can he throw cars or push a building over? Can he just pick up a sofa? You have to have a yardstick of what people can do. Otherwise it's all over the place. We've seen those movies, where the power of the superheroes [varies]. One minute he gets knocked out by someone in a bar, the next he's pushing a house over.

It has to have some kind of internal logic, doesn't it.

It has to have some kind of logic, no matter how mad that logic is, it has to be consistent. We had it on Thor: how powerful is Thor? How much can he do with a hammer? What happens when the hammer really hits something? You have to have all these mad conversations at the beginning of the movie. If you see someone punch through a  building, it's tough to then see that same person slap someone in their face without tearing their head off. You need a yardstick to go to.

I was interested to read what you said about Catwoman, and the idea you had for the big fight.

Yeah, that was a classic case. In the end I was proved right. The movie could have been fantastic. Halle Berry - in the outfit, she could stop traffic. And she was such a perfect choice for Catwoman - she had all the abilities. The movement down, the whole thing. It was such a waste, because the script got crappier and crappier. There was a rewrite every week or so. Each one was worse than the last one. It was like someone was drinking and writing worse and worse versions of it. I feel sorry for Halle as well - I don't think it did her career any good. She's such a trooper anyway.

It's funny, I remember when I saw the first TV commercial for the movie, and I'd been a bit depressed - I don't like leaving movies. I remember coming out, and you always have that second thought as to whether you should have left it or not. But I'm quite strict about only doing good stuff. The interesting thing is, I fought to get the motorcycle sequence in there, and the directors and the producers - none of them wanted it. The moment I saw that first commercial, and it was nearly all motorcycle. I remember shouting at the screen that I was absolutely right. You know when they put that in the trailer that it's the only good thing in the movie! It's very funny. 

Why do you think that happens sometimes in these big Hollywood films, where you get this death spiral of script rewrites? You hear about it quite a lot.

Oh, God knows. If you could answer that I think you'd be a gazillionaire. A lot of these rewrites just get worse and worse. It's like cooking, putting this and that in, until you've got this inedible bowl of crap that's like the vision you originally set out to make. That happens so often. I think part of it happens in the main studio system because a lot of films get made by committee. That happens a lot. It didn't happen with some of the greats of the 50s, 60s and 70s, because some of those people were tyrannical, but the movies they made had a personal identity to them.

John Boorman doesn't always make great movies, but he's a great moviemaker and every movie he makes is a John Boorman movie. You look at Excalibur, you look at Deliverance, you look at Hope And Glory, they're all different, you can like them or not like them, but they have a real authority and identity to them. What happens in a studio system is you have a lot of junior executives and they all want to put a comment in there, they all want to use this actor or that actress. In the end, for right or wrong, a film has to have one real author. If it doesn't... there's the old saying that a camel is a horse designed by committee. That's what happens to movies. There are so many people in different areas in the studio that want to keep their fingers in the pie.

The big thing about studios is, most studio executives are all eventually going to get fired or run another studio or something. The rule of thumb is, most studio executives want to be just attached to a movie enough that if it's a huge success they can say they were or part of it, and they can point out the bits they changed or suggested or whatever. And if it's a Catwoman, they can distance themselves from it as if it were a disease. That's a real thing - a fine line executives work. Because you can get the blame for a picture that you may have had nothing to do with in some ways, you had no say in it if you were a studio executive, necessarily, and you can also get lots of praise and lots of awards and a million-dollar job at another studio because you're considered to be the guy or girl that brought this or that movie to the studio and it made $300m. It's a funny game, that.

In the end, who knows what's going to be successful? Who'd have thought movies like Fast & Furious would still be successful?

Yeah, there's gonna be eight or nine of them.

It's incredible. Vic [Armstrong] and I were offered, I guess it was three or four, and then they made a change with the action team and they've had the same action team since. But we'd just started Thor so we turned it down. It's funny because they went off and did more and more of those Fast & Furious films and we did the two Spider-Mans and Season Of The Witch and some other things. I think in the end we kind of made the right choice. I'm proud of the stuff I've done.

When you think of how advanced the look of Highlander was - Russell invented that look. The very long lenses, the very wide lenses. Fantastic cuts between things. It's absolutely timeless. I watched it again recently. It's as good now as it was when we made it. And it's a beautiful looking movie.

I'm really proud of the stuff I've done on it. It's amazing to think it's 30 years [old]. There's a lot of funny stories about Highlander. When they hired Sean Connery first of all as Ramirez, it’s funny because it's a Scotsman playing a Spaniard and a Frenchman playing a Scotsman! The funny thing is, Peter Davis and Bill Panzer, the producers, cast Connery - and the movie's called Highlander, so Connery thought he was playing the Highlander

He got some huge fee, and then they let him know that he's playing Ramirez, this Spanish guy. He went, "Oh fine", but his fee was the same - he got about a million dollars for however many weeks he was on the movie. And then Christopher Lambert, who'd only done Greystoke before, as far as English-speaking movies went, they cast him and hadn't met him. Apparently, when they did Greystoke, he learned his lines parrot fashion - he just learned the line he had to speak. He couldn't speak English. But he's such a lovely guy.

When they first met him and he answered "Yes" to every question, they realised he didn't know what the hell they were talking about. [Laughs] They were in a bar or restaurant, and Peter Davis and Bill Panzer both came outside, and they left him at the table, and said, "He can't fucking speak English!" And they'd already cast him! The deal was done! It was fantastic, you know?

It just shows you. He was so charismatic in that movie. He learned English during the movie and was brilliant.

He's also incredibly short-sighted, Christophe. I did some really cool sword fight sequences with him. He couldn't see the sword! Incredible. His muscle memory and ability to be taught a fight with his glasses on, and then take is glasses off and then shoot was absolutely astounding. I've never met anyone like it. He never missed a beat, and yet he couldn't see - he couldn't see which end of the sword he had a hold of. 

You look at those sword fights, and he's better than most stuntmen doing them. Yet he could hardly see his opponent, let alone the sword. Fascinating.

Clancy Brown, who played the villain, he's still a friend. He was fantastic. A couple of funny things happened on that, I think they're in the book. We were doing some car action in New York, and I had cameras on the front of the Cadillac. The Cadillac was my choice - originally it was written as a big four-wheel drive. I wanted something classically American that would slide around.

When we were towing it through town with the cameras on for the close-ups of the two actors, Clancy's there with his slit throat with the safety pins in it and all that, and I would jump off the back of the camera car when we got to a decent bit of road or bridge or something, and I'd turn all the cameras on.

At one point, I was turning the cameras on and the cop who was helping us - or supposed to be helping us in a typical sort of New York, aggressive cop way, said, "If you get off the camera car again, I'm going to arrest you."

Now, meanwhile, the cameras are rolling. I'm not really arguing with the cop, but I'm a bit pissed off to say the least. So I got back on the camera car. But while I'm doing that, Clancy, just dicking around, was [sings] "New York, New York!" And that was just him playing around. It was actually in response to me arguing with a New York cop, really.

Anyway, Russell, when he was putting the chase together, loved that little moment. He'd done all the Queen videos, and that's when Queen came in and saw it, and they loved it. So that's when they re-recorded their version of New York, New York and it became a hit record for Queen.

That's amazing.

It started as a mild confrontation between me and a rather aggressive New York cop! [Laughs] Whenever I see Clancy, we still laugh about it. It wasn't in the script or anything, it was just one of those things.

Andy Armstrong, thank you very much!

Action Movie Maker's Handbook is available from Amazon now.

See related  Does it matter whether stars do their own stunts? Speed 2: how a dream sparked one of the biggest stunts ever Olivier Megaton interview: Taken 2, Liam Neeson and stunts Sam Mendes interview: Skyfall, stunts & cinematography Movies Interview Ryan Lambie Andy Armstrong 14 Jun 2016 - 05:40 Highlander Catwoman The Amazing Spider-Man The Amazing Spider-Man 2 interview Andy Armstrong movies »

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The Dynamic Duo team up with The Avengers in Batman ’66 Meets Steed and Mrs Peel

7 June 2016 7:00 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

They’ve met The Green Hornet and Kato, and The Man from U.N.C.L.E., and tomorrow the Dynamic Duo will team-up with The Avengers as DC Comics unleashes the first issue of its new bi-weekly digital-first crossover series Batman ’66 Meets Steed and Mrs Peel.

“It has been one of the best, fun jobs that I have ever done,” writer Ian Edgington tells The Guardian. “I’ve never had to write anything like this – it has always had to be tempered with a sombre tone. But this is just fun. This is panto! Panto in spandex. We can all do with some fun. It is light and silly. There is nothing wrong with wanting pure, unadulterated entertainment.”

Batman ’66 Meets Steed and Mrs Peel #1 is out digitally tomorrow, June 8th, with a print edition set to follow in July.

»

- Gary Collinson

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Review: Why Seth Rogen's 'Preacher' was smart to move away from the comics

17 May 2016 6:00 AM, PDT | Hitfix | See recent Hitfix news »

We live in an age of miracles when it comes to allegedly unadaptable books actually being adapted. For years, fantasy fans assumed no one could do right by George R.R. Martin's A Song of Ice and Fire books, but then Game of Thrones became a phenomenon for readers and non-readers alike. Diana Gabaldon's Outlander books seemed too larded with historical detail (and the occasional extremely graphic rape scene) to seem plausible as a TV show, but the Starz version has won over most of her audience. Now comes AMC's Preacher, based on an acclaimed '90s comic book series, by writer Garth Ennis and artist Steve Dillon, whose apparent barriers to adaptation are so numerous and daunting that they make A Song of Ice and Fire look like Bridget Jones' Diary. The comic is deeply offensive on both spiritual and aesthetic levels — its recurring cast includes both »

- Alan Sepinwall

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Seth Rogen on ‘Preacher’: ‘It’s Funny, But It’s Also F—ed Up’

16 May 2016 3:08 PM, PDT | Variety - TV News | See recent Variety - TV News news »

AMC’s newest comic book adaptation “Preacher,” developed by Seth Rogen, Evan Goldberg, and “Breaking Bad” co-producer and writer Sam Catlin, is taking a page from “The Walking Dead” and veering away from a faithful representation of Garth Ennis’ comic book.

“The comic creates a world where anything is possible and anything can happen. It’s very funny, but it’s also f—ed up,” said Rogen.

“Garth was a big advocate of taking a new path, to allow a new audience to discover the show and not strictly adhering to the comics,” added Rogen.

“We were proposing that we do a version extremely similar to the comics and he told us that was stupid,” added Goldberg.

“I think everyone was afraid to say it, and he was the first one to say, ‘You can just do this, you’re not going to get enough episodes. You have to change it, »

- Maria Cavassuto

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‘Now You See Me 2’ to Release in China (Exclusive)

14 May 2016 1:49 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Lionsgate’s comedy thriller “Now You See Me 2” set in the world of magicians will release in China next month.

The film, which is directed by Asian-American Jon M. Chu (“G.I. Joe: Retaliation,” “Step Up: 3D”) will get a June 22 premiere ahead of a June 24 theatrical release. It releases in North America on June 10.

Starring Mark Ruffalo, Morgan Freeman, Jess Eisenberg, Woody Harrelson and Daniel Radcliffe, the picture also gives a significant supporting role to Jay Chou (“The Green Hornet”,) the Taiwanese singing-acting star who has a massive following in China.

The film is being treated as a flat fee import, rather than being released through China’s narrower, but more lucrative, 34 films per year revenue share quota.

The date comes before the beginning of the expected annual blackout period, in which time major foreign films do not get to release.

Imported movies coming up in China in »

- Patrick Frater

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'I don't suppose they have fax machines on elephants': match the bad line to the superhero movie - quiz

29 March 2016 7:54 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

As Batman v Superman: Dawn of Justice breaks box office records despite a questionable script (‘I’m not a lady, I’m a journalist’), how well do you know other superbad superhero quotes?

"Even the entire cast of E.R. couldn't put you back together again"

Spawn

Deadpool

Mystery Men

Ghost Rider

"I don't suppose they have fax machines on elephants!"

X-Men: The Last Stand

Zoom

The Crow: Salvation

Batman & Robin

"Every man dreams he'll meet a woman he can give the world to. In my case, that's not just a metaphor"

Watchmen

The Shadow

Fantastic Four (2005)

Batman Forever

"I'm blind, and I see more than any of you, because I don't look"

Superman II

The Wolverine

Superman Returns

Elektra

"I've always considered you the Dutch Elm disease in my family tree"

Superman IV

Hulk

Thor

X-Men Origins: Wolverine

"Muggers don't usually wear rose oil or high heels ... at least, this »

- Benjamin Lee

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New Now You See Me 2 vintage posters show off cast

16 March 2016 2:05 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Four recently released one-sheets for Now You See Me 2 (via Imp Awards) embrace the film’s magic-filled premise and present the Four Horsemen, Jesse Eisenberg’s J. Daniel Atlas, Woody Harrelson’s Merritt McKinney, Lizzy Caplan’s Lula and Dave Franco’s Jack Wilder, in a vintage magic poster style similar to those used by real magicians to promote their shows. Each poster highlights a character’s signature act, including tricks ranging from self-decapitation to sleight of hand. Additionally, a new trailer for the film will supposedly drop sometime today, so stay tuned.

See the classic magic posters here…

The Four Horsemen [Jesse Eisenberg, Woody Harrelson, Dave Franco, Lizzy Caplan] return for a second mind-bending adventure, elevating the limits of stage illusion to new heights and taking them around the globe. One year after outwitting the FBI and winning the public’s adulation with their Robin Hood-style magic spectacles, the illusionists resurface for a comeback performance in »

- Justin Cook

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10 Actors Who Made A Terrible Movie Right After Winning An Oscar

10 March 2016 12:51 PM, PST | Obsessed with Film | See recent Obsessed with Film news »

Eon Productions

Winning an Oscar isn’t some magical guarantee of a great career. Even if the Academy decide to one day present you with an award, there’s still a chance that you’ll make a bunch of ill-judged choices and end up in a succession of terrible, critically-panned pictures.

Still, usually an Oscar means that – for a few years, at least – an actor will be able to find their way into some of the best projects in Hollywood. They’re given a special window of time in which the biggest producers and directors in the business seek out recent Academy Award winners to star in the next “big” films.

Which means that it’s almost always shocking to find out that an Oscar winner produced something godawful right after they won an Academy Award. As in: their very next movie. These guys were on top of the world »

- Sam Hill

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Justin Theroux Wrote Zoolander 2, Plus 15 More Actors You Didn't Know Are Also Screenwriters

16 February 2016 2:30 PM, PST | PEOPLE.com | See recent PEOPLE.com news »

"That Justin Theroux guy - where do I know him from?" Depending on whom you ask, you could get a great many answers. Of course, he's the husband of Jennifer Aniston, but he's had a string of notable acting roles too. He could be that guy from The Leftovers, the actor who played the hapless director character in Mulholland Drive, Leslie Knope's short-lived boyfriend on Parks and Recreation, or even the bad guy from Charlie's Angels: Full Throttle. However, Theroux is also a screenwriter, and he's credited with a handful of major films that casual movie-goers might not associate with him. »

- Drew Mackie, @drewgmackie

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Justin Theroux Wrote Zoolander 2, Plus 15 More Actors You Didn't Know Are Also Screenwriters

16 February 2016 2:30 PM, PST | PEOPLE.com | See recent PEOPLE.com news »

"That Justin Theroux guy - where do I know him from?" Depending on whom you ask, you could get a great many answers. Of course, he's the husband of Jennifer Aniston, but he's had a string of notable acting roles too. He could be that guy from The Leftovers, the actor who played the hapless director character in Mulholland Drive, Leslie Knope's short-lived boyfriend on Parks and Recreation, or even the bad guy from Charlie's Angels: Full Throttle. However, Theroux is also a screenwriter, and he's credited with a handful of major films that casual movie-goers might not associate with him. »

- Drew Mackie, @drewgmackie

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Kazuchika Okada “Will Never Go To WWE”

9 February 2016 1:17 PM, PST | Obsessed with Film | See recent Obsessed with Film news »

New Japan Pro Wrestling

Iwgp Heavyweight Champion Kazuchika Okada was in tears at his friend and stablemate Shinsuke Nakamura’s New Japan farewell show last month, but he has absolutely no plans to join Nakamura stateside.

According to Twitter user enuhito (@enuhito_eng), tomorrow’s edition of Japanese publication Weekly Pro Wrestling contains a vow from Okada: “I will never go to WWE.”

Last year, Dave Meltzer reported that WWE scouts were interested in all three of New Japan’s top stars – Okada, Nakamura, and perennial company ace Hiroshi Tanahashi. Tanahashi was doubtful to make the jump due to his age and status in Japan, while Nakamura’s journey has been well-documented. Okada – who turned 28 last November and is already among the best workers in the world – seemed like a natural fit for WWE, but he expressed an interest in staying with New Japan to help lead the company for the next several years. »

- Scott Fried

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Justice League, Wonder Woman release dates revealed

22 January 2016 12:09 AM, PST | The Hollywood News | See recent The Hollywood News news »

The official release dates for the planned Justice League movie and the in-production Wonder Woman have been revealed by Warner Bros.

Wonder Woman will be the first movie to hit cinemas, and will be released on June 23rd 2017. Zack Snyder’s Justice League Part One, which kicks off production later in the year, will be released on November 17th 2017.

Gal Gadot will headline Wonder Woman, which also stars Chris Pine, Robin Wright, Danny Huston, David Thewlis, Ewen Bremner, Saïd Taghmaoui, Connie Nielsen and Lucy Davis. As we said, shooting is taking place in the UK, and will shortly move on to France and Italy. Patty Jenkins directs.

Justice League Part One will unite all of our favourite DC super-heroes, including Superman, Batman, The Flash, The Green Hornet and Aquaman.

The post Justice League, Wonder Woman release dates revealed appeared first on The Hollywood News. »

- Paul Heath

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Video: Nine Actors Whose Careers Got a Big Boost from Quentin Tarantino

6 January 2016 12:40 PM, PST | PEOPLE.com | See recent PEOPLE.com news »

What jumps to mind when you hear the phrase "Quentin Tarantino movie"? Hyperviolence? A bunch of different B-movies pastiched into something new? A lot of dialogue with a lot of bad language? That one "F" word in particular? Any of those could be right, but there's another thing many of Tarantino's movies have in common: a big, meaty role for an actor who's maybe in need of a career boost. In the case of the Tarantino movie currently in theaters, The Hateful Eight, the role is that of Daisy Domergue, a wily, foul-mouthed criminal played by Jennifer Jason Leigh. Now Leigh hasn't been without work. »

- Drew Mackie, @drewgmackie

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13 items from 2016


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