12 items from 2017
Last month, a rumor swirled that Dwayne Johnson's Black Adam won't be featured in the upcoming Shazam! movie, but instead will get his own spin-off, which has now been confirmed by Shazam director David F. Sandberg. The director, who is promoting his new thriller Annabelle: Creation, confirmed that Dwayne Johnson has in fact been cast as Black Adam, and that there were earlier scripts that did feature the character in this movie, but now it will solely focus on the Shazam! character. Here's what the director had to say below.
"So, The Rock has been cast as Black Adam, but he's not going to be featured in this film. There've been variations of the script, like before I came along, where, you know, variations where Black Adam was in and out and, you know. But now, this is about Shazam."
During his interview with Film Riot, the filmmaker also »
John Saavedra Jul 21, 2017
Shazam is the next DC movie to go before cameras. The film is expected to begin shooting in early 2018.
According to THR, the long-gestating Shazam movie will finally begin shooting in January or February 2018. David Sandberg, who most recently filmed Lights Out and Annabelle: Creation, will direct Shazam. Warner Bros has not announced who will be playing Billy Batson or the superhero in the film, but we expect to get some casting news at San Diego Comic-Con. We will, of course, keep you updated as we learn more!
The Shazam movie will not feature Dwayne Johnson, who is set to play Black Adam in his own DC movie down the line. Johnson has been tied to play the character since the slate of DC Extended Universe films were first announced.
Johnson told MTV back in April that plans had changed regarding the introduction of Shazam and Black Adam in the same movie. »
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.
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 »
- Peter Debruge
We recently ran a story here that walked through every X-Men film currently development. While we think that one is all well and good for keeping that universe straight, the real beast here is the DC Extended Universe. A few years back, Warner Bros announced an ambitious slate that consisted of nine films. Here’s how they were presented, and when they were supposed to hit:
Batman v Superman: Dawn of Justice, directed by Zack Snyder (2016)Suicide Squad, directed by David Ayer (2016)Wonder Woman, starring Gal Gadot (2017)Justice League Part One, directed by Zack Snyder, with Ben Affleck, Henry Cavill and Amy Adams reprising their roles (2017)The Flash, starring Ezra Miller (2018)Aquaman, starring Jason Momoa (2018)Shazam (2019)Justice League Part Two, directed by Zack Snyder (2019)Cyborg, starring Ray Fisher (2020)Green Lantern (2020)
As of this writing, the first four films are are on track to meet their release dates, but everything after »
- Joseph Medina
Mike Cecchini Feb 20, 2017
Lights Out director David F Sandberg is being considered to direct the Shazam movie.
The Shazam movie has seeminglybeen in development forever, but this is the first we've actually heard of director talk. For it's been revealed that Lights Out director David F. Sandberg is in "early talks" to helm the movie.
The long in development Shazam movie is at Warner Bros' New Line Pictures, but it will firmly be a part of the DC Extended Universe of films. DC seems to be taking a cue from Marvel here by choosing a director primarily known for well regarded horror efforts to take on a more magical based character (Marvel took the same approach by getting Scott Derrickson to direct Doctor Strange). Lights Out was good »
The Week in Movies is an excerpt from the weekly Flickering Myth Super Newsletter. Subscribe here to get it delivered to your inbox every Sunday.
‘Tis the season…
The film world is in shock this week. The nominations for the 89th Academy Awards did not have one signal nod to 2016’s remake of Ben-Hur.
Instead, the Academy recognised the most-widely agreed upon best films – Arrival, Hacksaw Ridge, Manchester by the Sea, some others, and, of course, La La Land; a movie that couldn’t be more Oscar-baiting if it had Sean Penn acting in a disabled role.
Or a prosthetic. Prosthetics are good too.
Not that it’s a bad film. La La Land is terrific – worthy of its record-tying 14 nominations »
- Oli Davis
Simon Brew Jan 24, 2017
Last week, we learned that the planned movie of Shazam had split into two, with Dwayne Johnson taking the lead of Black Adam in what’s now become his solo movie. Originally, Black Adam was set to be the main foe that Shazam was battling. We're assuming that's not now the case.
See related Britsoft: An Oral History charts the early UK games industry
However, the Shazam film is still live and kicking too, and there’s been a bit of news there. It had been reported that Henry Gayden, who penned Earth To Echo, had been hired to pen the Shazam movie. And the man himself has now ratified the news story via his Twitter account. Don’t believe us, though. Here’s the Tweet in question…
@annericelover Confirmed and loving what's to come. »
There's been a lot of major movement on the Shazam! front over the past week as it went from being just one film to being two as a solo feature for Black Adam was officially announced with Dwayne Johnson headlining. While both films are still in the very early stages of development, with still no directors attached, the recent activity has shed some light on who may be writing one of these two DC cinematic adventures. The Hollywood Reporter, in their initial report on Thursday, revealed that they believed Henry Gayden (Earth to Echo) had been assigned scriptwriting duties and on Friday, Gayden himself confirmed the news on his own personal Twitter account. Check out his exchange with a fan below: @annericelover Confirmed and loving what's to come... :)— Henry Gayden (@HenryGayden) January 20, 2017 Outside of Earth to Echo, which had a fairly average critical reception, Hayden has written the shorts Ham Sandwich and Zombie Roadkill. »
Many worried that the recent news of a Black Adam solo film would mean further delays and stalled development for the film featuring the villain’s superhero nemesis, Shazam. However, it appears that the wheels are still turning for DC’s “Big Red Cheese” to get his big screen debut.
@annericelover Confirmed and loving what's to come…
— Henry Gayden (@HenryGayden) January 20, 2017
To date, 2014’s Earth to Echo is the only film credit to Gayden’s name, but its focus on young kids who get swept up into a science fiction adventure seems befitting for a property like Shazam, which features a young boy, Billy Batson, who is given the power to transform into an adult superhero by speaking a magic word.
There’s no word yet »
- James Garcia
Author: Josh Wilding
Dwayne “The Rock” Johnson Tweeted out details of a big meeting at DC Entertainment last week, and the reasons for that have now been revealed. While he was originally set to take on the role of Black Adam in 2019’s Shazam, it has now been confirmed that the one movie is becoming two as the villain is going to receive his own solo outing in the near future.
That’s definitely a surprise, though it’s said that New Line and Warner Bros. decided that having the charismatic Johnson take on just a supporting role in Shazam as that movie’s villain would have been a waste, hence why he’ll now take centre stage in his own film.
As a result of this, Black Adam is no longer expected to be Shazam’s big bad, though it’s thought that the two will eventually meet somewhere »
- Josh Wilding
Dwayne Johnson had a big meeting at DC Entertainment last week and we now know why. The Hollywood Reporter reveals that New Line is developing a solo outing for Black Adam, a movie which will stand apart from Shazam. In fact, they now sound like two totally separate franchises as he's no longer set to appear in the movie at all. Instead, it's thought the two could meet down the line. Apparently, after meeting with Johnson, it was decided by studio execs that having the wrestler turned Hollywood A-Lister just play a supporting role in Shazam as that movie's villain would be a waste and that he would be better off with his own feature. As of right now, no one is attached to work on Black Adam, though the trade mentions that Henry Gayden (Earth to Echo) is penning the Shazam script. Here's where things get really interesting, though. »
Dax Shepard (“Hit and Run,” TV’s “Parenthood”) and Michael Peña (“The Martian”) star in Warner Bros. Pictures’ action comedy CHiPs. Shepard also directs from a script he penned based on the characters from the popular ‘70s television series created by Rick Rosner.
Jon Baker (Shepard) and Frank “Ponch” Poncherello (Peña) have just joined the California Highway Patrol (Chp) in Los Angeles but for very different reasons. Baker is a beaten up pro motorbiker trying to put his life and marriage back together. Poncherello is a cocky undercover Federal agent investigating a multi-million dollar heist that may be an inside job—inside the Chp.
The inexperienced rookie and hardened pro are teamed together, but clash more than click, so kickstarting a partnership is easier said than done. But with »
- Michelle McCue
12 items from 2017
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