Studios executives sometimes seem as if they do things to deliberately alienate the audience (coincidentally, the very same people that they expect to pay to see their movies). For instance, Alan Moore, as the writer of “Watchmen,” quite possibly the most acclaimed comic ever, was never keen that his projects be adapted for feature films.
So what do filmmakers do? Do they try to work with him? Do they make changes that will not only get his blessing, but those of his ample fan base?
No. Instead they just do whatever it is that they wanted to do in the first place, despite Moore being very much against it.
And “Watchmen” underperformed at the box office, which is probably a coincidence till you take in the fact that “The League Of Extraordinary Gentlemen” not only underperformed, but was such a terrible experience for its director, Stephen Norrington, swore that he would never do another movie.
I was drifting around the Internet, when I found this YouTube post from Jace Hall (the guy who’s spearheading the upcoming (?) “Space: 2099”). The recording isn’t the best, and Landau (Commander Koenig from the original series) doesn’t say all that anything that most fans of the original series don’t already know, but it’s good to see him not only still in command of his faculties, but he actually brings up the upcoming series to his questioner.
Which I thought was really cool.
And I have to give credit to Hall because, while what little I know of the news concept doesn’t exactly inspire me, at least he appears to care about the original.
When I heard that Joe Carnahan was moving on to a remake of Michael Winner’s “Death Wish,” from the aborted “Daredevil,”I was relieved that another property has made its way back to The House Of Ideas (where he joins the Punisher and Blade). What I wasn’t so crazy was that another film that didn’t require a remake, was being remade.
Especially when there are so many cringe-worthy films out there much more deserving.
Joe Carnahan, via ScreenRant, says that his film is definitely not a reboot, though he admits that it does take certain liberties with the story, though the core–a man’s avenging himself on the people that harmed his family–seems to be intact.
Which brings me to the question of how much can his film differ from the original? Carnahan says that he’s going to change the location, as well as the whole vibe of the film.
That being said, how many can he actually make that preserve the structure and themes of Brian Garfield‘s novel?
Deadline: New York has a great interview with Guillermo Del Toro, from Comic-con, where he’s discussing his upcoming “Pacific Rim,” as well as how he feels about “The Hobbit,” and “At The Mountains Of Madness.”
“Streets of Fire,” “48 Hrs.,” “Another 48 Hrs.,” “Last Man Standing,” “Supernova” (which he disowned because of creative differences between him and the studio that released the film) are among the films directed by the uber-talented Walter Hill. If that were the only role he played in Hollywood, there would be enough material for a distinguished career.
Though there are the films that he’s produced, like the Alien saga, and many others. The Village Voice has an interview with Hill, and it’s worth reading if only to hear of the fate of the proposed remake of his masterpiece, “The Warriors.”
For those of you, like me, that happen to think that Guillermo del Toro is the best thing to happen to American genre film since latex, Vulture has an interview.
Milton’s Paradise Lost will be coming soon to a theater near you, by way of Alex Proyas (of “The Crow,” “Dark City,” “I, Robot,” etc), though my question is when did Alex Proyas–a very talented director, by the way–take the helm of this project?
That being said, I suspect that as long as he’s allowed to do things the way he thinks that they should done it should be fine, unlike in the case of “I, Robot,” which had a bit of studio interference.
The last I heard this project was being handled by Scott Derrickson (“The Exorcism of Emily Rose”), who’s also talented (though perhaps not yet in the league of Alex Proyas) though I thought that “The Day The Earth Stood Still” was somewhat underwhelming.
Here’s a video where Scott Derrickson mentions the project, albeit somewhat hesitantly, around 4:40 minutes in.