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The Debate On Whether Or Not Ghostbusters Is a Hit

18 July 2016 11:40 AM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »

Many are spinning a story that’s factually a disappointment.

Now that Ghostbusters has opened and is Certified Fresh on Rotten Tomatoes and received a B+ rating from Cinemascore, everything is good with the world of Ghostbusters fandom, right? It’s been proven that both the pros and the people who wanted to see the movie like it just fine, and we can ignore that extremely low IMDb user rating as corrupted data.

But is the movie a hit? That’s apparently up for debate, with talk gone from whether or not it’s a good reboot to whether or not it’s a successful one.

Here are the facts:

Ghostbusters earned $46m (estimated) domestically over its opening weekend.Ghostbusters cost a reported $144m to make, not including an estimated $100m in marketing costs.Ghostbusters came in second place behind The Secret Life of Pets, which was in its second weekend.Ghostbusters »

- Christopher Campbell

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8 Great Comic Book Characters Marvel Studios Can't Use In Their Movies

12 July 2016 10:57 AM, PDT | ComicBookMovie.com | See recent ComicBookMovie news »

var l_ttlPages = 8; var l_url = location.pathname.replace(location.hash, ""); var qs = (function(a) { if (a == "") return {}; var b = {}; for (var i = 0; i 2 && l_page Earlier this year, the Marvel Cinematic Universe got a major new addition in the form of Spider-Man. While the rights to that character are still owned by Sony, the disappointing performance of The Amazing Spider-Man 2 led to that studio turning to Marvel Studios for help, with the biggest advantage of that being the fact that the wall-crawler and all his friends and villains have joined the McU. Throw in the fact that Marvel Studios has regained the likes of Blade, Daredevil, Ghost Rider, and several others in recent years, and they're definitely doing pretty well with »

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14 rumours about the troubled Ghostbusters reboot production

7 July 2016 9:00 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Luke Owen sifts through the rumours…

We’re only a few days away from Paul Feig’s reboot of Ghostbusters arriving in cinemas, and there has certainly been a lot said about it already. From its first trailer confusing the message, to people rejecting the idea of a female Slimer, Ghostbusters is going to have to try really hard to win round the haters. But while certain members of the cast and the film’s director are positive, it might not be all sunshine at Sony.

Since it went into production last year, there have been a lot of rumours about a troubled production on sites like 4Chan and Reddit from those claiming to be either involved or close to the film. I decided to go through each one, and add in my own two cents into what could have happened behind the scenes.

As we do with all our rumours here at Flickering Myth, »

- Luke Owen

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First Look: Chris Evans In Marc Webb’s ‘Gifted’ Arriving In 2017

30 June 2016 10:46 AM, PDT | The Playlist | See recent The Playlist news »

It’s taken a moment for Marc Webb to recover from the disappointment of “The Amazing Spider-Man 2” (a film that still made $700-something million, but fell well short of Sony’s $1 billion wish). But the director lives to fight another day, no matter the franchise flop. The “(500) Days Of Summer” director is back for Fox Searchlight’s “Gifted,” a […]

The post First Look: Chris Evans In Marc Webb’s ‘Gifted’ Arriving In 2017 appeared first on The Playlist. »

- The Playlist

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Junkie Xl Will Bring The Noise To Zack Snyder’s ‘Justice League’

28 June 2016 10:47 AM, PDT | The Playlist | See recent The Playlist news »

One of the fastest rising film composers at the moment is Tom Holkenborg, aka Junkie Xl. While he cut his teeth on fare like “Divergent,” “300: Rise Of An Empire,” and “The Amazing Spider-Man 2,” it was with “Mad Max: Fury Road” that he made his strongest impression. This year alone, he’s powered two superhero […]

The post Junkie Xl Will Bring The Noise To Zack Snyder’s ‘Justice League’ appeared first on The Playlist. »

- Kevin Jagernauth

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6 Potentially Amazing Spider-man Spinoff Movies We Actually Want To See From Sony

26 June 2016 12:15 PM, PDT | ComicBookMovie.com | See recent ComicBookMovie news »

var l_ttlPages = 6; var l_url = location.pathname.replace(location.hash, ""); var qs = (function(a) { if (a == "") return {}; var b = {}; for (var i = 0; i 2 && l_page Earlier this week, we learned that Sony still has big plans for a Spider-Man Universe. Before The Amazing Spider-Man 2 disappointed, the studio was eyeing a third and fourth instalment of that franchise along with Sinister Six, Venom, and a number of other spinoffs (one of which was rumoured to have revolved around Aunt May). While Spidey may now be part of the McU, his supporting cast is seemingly up for grabs, hence why Venom may be back on and Silver Sable is being planned. Does anyone really want those though? Venom without Spider-Man is meaningless, and »

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Rumors of a 'Spider-man' Movie Universe Not Dead -- Silver Sable Film in the Works?

24 June 2016 7:28 PM, PDT | LatinoReview | See recent LatinoReview news »

A few years ago, Sony gave the Spider-man universe the good ol' college try with The Amazing Spider-man 2. In that film, they set up what they'd hoped would be a Sinister Six film, which would've pre-empted DC in the whole "bad guys as leads" deal. Now that Spider-Man has joined the Marvel Cinematic Universe, one would expect that Sony Pictures would abandon creating their own little universe. No such luck.

According to Jeff Sneider on Popcorn Talk's "Meet the Movie Press," a Silver Sable project, which was first revealed during the Sony Leaks a couple years back, is still in the works, and Sony has turned to Shame and Suffragette screenwriter Abi Morgan to make it a reality. The character, for those unfamiliar, is an anti-hero and mercenary very much in the vein of Black Widow. She would apparently exist within the current Spider-man universe, and by proxy, the Marvel Cinematic Universe. »

- Joseph Medina

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Sony Wants an Entire Spider-Man Universe With Marvel; Silver Sable Movie Rumored

24 June 2016 4:00 PM, PDT | Slash Film | See recent Slash Film news »

Sony’s first Spider-Man film series petered out after the disappointing Spider-Man 3, and their second ended after The Amazing Spider-Man 2 was met with total indifference. But the property finally got the boost he needed when the studio struck a deal to bring the webslinger into the Marvel Cinematic Universe. Spider-Man’s cameo was one of the most buzzed-about moments […]

The post Sony Wants an Entire Spider-Man Universe With Marvel; Silver Sable Movie Rumored appeared first on /Film. »

- Angie Han

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First Look at Miles Morales in Spider-Man: Homecoming?

24 June 2016 11:11 AM, PDT | MovieWeb | See recent MovieWeb news »

Could we be looking at the first ever big screen incarnation of Miles Morales in the latest Spider-Man: Homecoming set photos? Possibly. Earlier in the week, production started on Marvel and Sony's second reboot of the Spider-Man franchise. And ever since we've been inundated with images and casting updates. One of the latest cast additions has everyone speculating that Morales is about to make his debut appearance in this comic book adventure. And now said actor has appeared in costume.

But not that costume. No, Abraham Attah is seen in his high school wardrobe as he makes his way to the Midtown School of Science & Technology. Attah made his breakthrough feature film debut with last year's Netflix drama Beasts of No Nation, and as soon as he was brought forward for Homecoming, rumors began to fly that he's been cast as fan-favorite Miles Morales, who at one point in the comics takes over as Spider-Man. »

- MovieWeb

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Sony Chief On Marvel & "Spider-Man" Deal

24 June 2016 7:08 AM, PDT | Dark Horizons | See recent Dark Horizons news »

As production began this week on "Spider-Man: Homecoming," Sony Pictures studio boss Tom Rothman has spoken with THR about the future of the webslinger on the big screen.

Surprisingly Rothman revealed that plans to expand the "Spider-Verse" beyond the main movies still exist. Said plans were first revealed during production on "The Amazing Spider-Man 2" and then seemingly ditched when that film failed and the Marvel Studios deal came about.

Rotham tells the trade they are happy to have handed the creative reigns over to Marvel when it comes to Spider-Man himself, but they still very much hope to expand the webslinger's world. He also can't praise Marvel enough it seems, saying:

"It's been fantastic, our relationship with Marvel. Sony has the ultimate authority, but we have deferred the creative lead to Marvel because they know what they're doing. We start shooting the new Spider-Man in Atlanta [in mid-June].

I don't want to trim costs. »

- Garth Franklin

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Sony to build “a whole Spider-Man universe” with Marvel

24 June 2016 3:06 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Prior to the release of The Amazing Spider-Man 2, Sony announced that it was developing a further two sequels to the Marc Webb reboot, along with spinoff movies for The Sinister Six and Venom.

Of course, the negative reaction to the 2014 sequel put paid to those plans, leading Sony to form a partnership with Marvel Studios to relaunch the wall-crawler as part of the Marvel Cinematic Universe with Captain America: Civil War.

With filming on next year’s Spider-Man: Homecoming now underway, The Hollywood Reporter spoke to Sony Pictures Entertainment chairman Tom Rothman, asking him whether the studio still intends on launching a “whole Spider-Man universe” and has any plans to work with Marvel beyond the main Spider-Man series.

“Yes to both those questions,” said Rothman. “It’s been fantastic, our relationship with Marvel. Sony has the ultimate authority. But we have deferred the creative lead to Marvel, because they know what they’re doing. »

- Gary Collinson

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Will Marvel Let Sony Have a Spider-Man Shared Universe?

23 June 2016 1:20 PM, PDT | MovieWeb | See recent MovieWeb news »

Before The Amazing Spider-Man 2 arrived in theaters as a huge disappointment to both fans and critics, Sony had grand plans for the franchise. They were prepping to launch their own shared movie universe set within the sprawling world of Peter Parker's New York. This would have included spinoffs for The Sinister Six, Venom a number of female Spider-Man characters and even a standalone Aunt May movie, as weird as that may seem. But the box office wasn't kind to the previous Spider-Man reboot, and the aftermath saw Sony and Marvel teaming up for an all-new reboot that arrives in 2017. Sony still has some grand plans for Peter and his pals. But now, it seems any idea of a shared universe rests in the hands of Marvel Studios. At least for the time being. And that is all by design.

While Sony is eager to squeeze any and all juice »

- MovieWeb

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Sony Still Wants A Shared Spider-man Universe But Current Creative Control Remains With Marvel Studios

23 June 2016 11:30 AM, PDT | ComicBookMovie.com | See recent ComicBookMovie news »

Before The Amazing Spider-Man 2 failed to live up to Sony's expectations, the studio were planning spinoffs for both the Sinister Six and Venom, while rumours pointed to some sort of female led team-up movie and even a solo outing for a young May Parker. However, the wall-crawler entering the Marvel Cinematic Universe changed everything, but it sounds like they're not giving up on a "Spider-Verse." Talking to The Hollywood Reporter, Sony boss Tom Rothman confirmed that they still hope to expand the wall-crawler world, but are glad to have handed the creative reigns over to Marvel when it comes to Spider-Man himself (whether they'll be involved in these spinoffs is unclear for the time being).   Since you teamed with Marvel, do you plan to make a whole Spider-Man universe? Do you have plans for more work with Marvel?   Yes to both those questions. It’s been fantastic, our relationship with Marvel. »

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Spider-Man movie universe back on the cards

23 June 2016 10:15 AM, PDT | Den of Geek | See recent Den of Geek news »

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Sony will continue to work with Marvel on future Spider-Man movies - and that movie universe is back on...

Filming has now begun on Spider-Man: Homecoming, the new standalone Spider-Man movie that Sony Pictures and Marvel Studios are collaborating on. Sony still holds the rights to make Spider-Man films, but after its The Amazing Spider-Man films struggled, a deal was done with Marvel to bring in its expertise. We saw the first fruits of that in Captain America: Civil War, when Tom Holland debuted his take on the character.

Sony, you may remember, had been planning a Spider-Man cinematic universe when The Amazing Spider-Man 2 was released. And it seems it still is. It was asked if Sony had plans for its Spider-Man universe, and if it plans to work with Marvel again. “Yes to both those questions”, Sony Pictures chairman Tom Rothman has said. “It’s been fantastic, »

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Film London appoints Vimeo's Jordan McGarry to production role

23 June 2016 4:44 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Jordan McGarry joins Film London as head of talent development and production, taking over from Deborah Sathe.

Film London has appointed Vimeo exec Jordan McGarry as its new head of talent development and production, as of August 1. Deborah Sathe had held the post but, as previously revealed by Screen, is moving to Cinestaan International.

McGarry had been with Vimeo for five years, most recently as director of curation. She worked on key projects such as Vimeo On Demand, Vimeo Brand Studios, Vimeo Originals and the Staff Picks channel.

Prior to joining Vimeo, the London native worked as executive producer for Partizan Films, she has also worked as a journalist and commisioner for the likes of Dazed & Confused, Nowness, the British Council and the Edinburgh International Film Festival.

She will now oversee Film London’s Microwave filmmaking initiative and the London Calling and London Calling Plus short film funds alongside other training initiatives.

Adrian Wootton, Chief »

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'Spider-man: Homecoming': First Set Pics and Hannibal Buress Joins Cast!

20 June 2016 6:27 PM, PDT | LatinoReview | See recent LatinoReview news »

Whether or not Sony wanted to believe it, there was some real Spider-Man fatigue going on even as the first Amazing Spider-man's first trailer hit the web. This is a character that fans have seen a lot of. We had a whole trilogy from Sam Raimi, and in that trilogy, it covered what was essentially the quintessential Peter Parker origin story. Fans didn't need or want another one going into Amazing Spider-man, so when those films had nothing really new to offer, it quickly blew up in Sony's face. They did their best to change things up with The Amazing Spider-man 2, but unintentionally sped that iteration of the character to an early grave.

Now, a few short years later, Marvel did the impossible and made fans excited about the character again. After Tom Holland's Peter Parker made his introduction in the recent Captain America: Civil War, many »

- Joseph Medina

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Sony Finally Finds A Director For Their Animated Spider-Man Movie

20 June 2016 4:56 PM, PDT | We Got This Covered | See recent We Got This Covered news »

The Lego Movie‘s Phil Lord and Chris Miller were originally expected to direct Sony’s animated Spider-Man film, but after attempting to balance that, The Flash, a Lego sequel and the Han Solo spinoff, it was ultimately the latter that they decided to devote their time to. However, this CGI adventure for the wall-crawler finally has someone at the helm.

That will be first time director Bob Persichetti. He’s worked on countless animated features for studios like Disney and Dreamworks in various capacities and served as head of story for Puss in Boots and The Little Prince. It’s hard to predict what he’ll bring to the table, but it’s hard to complain when he has so much experience in this realm.

Interestingly, Lord actually wrote the script alone, but will produce alongside Miller, Amy Pascal and Avi Arad (the latter is someone most fans would »

- Josh Wilding

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New Batman and Spider-Man video games announced at this year’s E3

13 June 2016 8:56 PM, PDT | HeyUGuys.co.uk | See recent HeyUGuys news »

Despite superhero movies being the most dominant genre in Hollywood, video game tie-ins are a rarity these days. That’s mostly because they became well known for being terrible (see Sega’s Iron Man games and The Amazing Spider-Man 2), but Sony has now announced two PlayStation 4 exclusive comic book adaptations coming our way in the […]

The post New Batman and Spider-Man video games announced at this year’s E3 appeared first on HeyUGuys. »

- Josh Wilding

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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!

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Women in Refrigerators: Why Female Representation in Superhero Movies Needs to Evolve

9 June 2016 10:50 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Henry Bevan on why female representation in superhero movies needs to evolve…

The X-Men: Apocalypse billboard featuring Oscar Issac’s Apocalypse choking Jennifer Lawrence’s Mystique has created a lot of negative noise. Actress/activist Rose McGowan called the billboard out for its “casual violence against women” and Fox has apologised for its tone-deafness. Flickering Myth’s Kirsty Capes articulately argues against McGowan’s points, but even if the awesome Mystique gives “as good as she gets”, Apocalypse‘s box office figures suggest the X-Men aren’t the most popular superhero property and the casual viewer will not understand the advert’s context or how it is playing with iconography — all they will see is Ivan Ooze strangling ginger Smurfette, a man victimising a woman.

The situation raises important questions about how female characters are represented in superhero cinema. Women are frequently storytelling props and are victimised to further the »

- Henry Bevan

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