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What The F…? Disney Buys Lucus Film For $4.05 Billion. New Star Wars Feature Film By 2015? The Official Press Release Says It Be So…   Leave a comment

Hey Everybody,

Well it seems to be true, Disney has purchased Lucasfilm form George Lucas for $4.05 billion.
Most interesting/terrifying , a snippet taken from the full press release at the bottom of this post;

Kathleen Kennedy, current Co-Chairman of Lucasfilm, will become President of Lucasfilm, reporting to Walt Disney Studios Chairman Alan Horn. Additionally she will serve as the brand manager for Star Wars, working directly with Disney’s global lines of business to build, further integrate, and maximize the value of this global franchise. Ms. Kennedy will serve as executive producer on new Star Wars feature films, with George Lucas serving as creative consultant. Star Wars Episode 7 is targeted for release in 2015, with more feature films expected to continue the Star Wars saga and grow the franchise well into the future.

Yes, there will be new Star Wars films on the way with the first to kick off as early as 2015. I’m not sure someone new behind the camera could do worse than the newest prequel trilogy directed by George Lucas and a gang of FX supervisors, but It really scares the shit out of me what Star Wars could become in the end.  Maybe Disney will bring some great talent to the writing and directing chairs surprising all us old time fans. It is definitely news that needs digesting.

FULL PRESS RELEASE:

Burbank, CA and San Francisco, CA, October 30, 2012 – Continuing its strategy of delivering exceptional creative content to audiences around the world, The Walt Disney Company (NYSE: DIS) has agreed to acquire Lucasfilm Ltd. in a stock and cash transaction. Lucasfilm is 100% owned by Lucasfilm Chairman and Founder, George Lucas.

Under the terms of the agreement and based on the closing price of Disney stock on October 26, 2012, the transaction value is $4.05 billion, with Disney paying approximately half of the consideration in cash and issuing approximately 40 million shares at closing. The final consideration will be subject to customary post-closing balance sheet adjustments.

“Lucasfilm reflects the extraordinary passion, vision, and storytelling of its founder, George Lucas,” said Robert A. Iger, Chairman and Chief Executive Officer of The Walt Disney Company. “This transaction combines a world-class portfolio of content including Star Wars, one of the greatest family entertainment franchises of all time, with Disney’s unique and unparalleled creativity across multiple platforms, businesses, and markets to generate sustained growth and drive significant long-term value.”

“For the past 35 years, one of my greatest pleasures has been to see Star Wars passed from one generation to the next,” said George Lucas, Chairman and Chief Executive Officer of Lucasfilm. “It’s now time for me to pass Star Wars on to a new generation of filmmakers. I’ve always believed that Star Wars could live beyond me, and I thought it was important to set up the transition during my lifetime. I’m confident that with Lucasfilm under the leadership of Kathleen Kennedy, and having a new home within the Disney organization, Star Wars will certainly live on and flourish for many generations to come. Disney’s reach and experience give Lucasfilm the opportunity to blaze new trails in film, television, interactive media, theme parks, live entertainment, and consumer products.”

Under the deal, Disney will acquire ownership of Lucasfilm, a leader in entertainment, innovation and technology, including its massively popular and “evergreen” Star Wars franchise and its operating businesses in live action film production, consumer products, animation, visual effects, and audio post production. Disney will also acquire the substantial portfolio of cutting-edge entertainment technologies that have kept audiences enthralled for many years. Lucasfilm, headquartered in San Francisco, operates under the names Lucasfilm Ltd., LucasArts, Industrial Light & Magic, and Skywalker Sound, and the present intent is for Lucasfilm employees to remain in their current locations.

Kathleen Kennedy, current Co-Chairman of Lucasfilm, will become President of Lucasfilm, reporting to Walt Disney Studios Chairman Alan Horn. Additionally she will serve as the brand manager for Star Wars, working directly with Disney’s global lines of business to build, further integrate, and maximize the value of this global franchise. Ms. Kennedy will serve as executive producer on new Star Wars feature films, with George Lucas serving as creative consultant. Star Wars Episode 7 is targeted for release in 2015, with more feature films expected to continue the Star Wars saga and grow the franchise well into the future.

The acquisition combines two highly compatible family entertainment brands, and strengthens the long-standing beneficial relationship between them that already includes successful integration of Star Wars content into Disney theme parks in Anaheim, Orlando, Paris and Tokyo.

Driven by a tremendously talented creative team, Lucasfilm’s legendary Star Wars franchise has flourished for more than 35 years, and offers a virtually limitless universe of characters and stories to drive continued feature film releases and franchise growth over the long term. Star Wars resonates with consumers around the world and creates extensive opportunities for Disney to deliver the content across its diverse portfolio of businesses including movies, television, consumer products, games and theme parks. Star Wars feature films have earned a total of $4.4 billion in global box to date, and continued global demand has made Star Wars one of the world’s top product brands, and Lucasfilm a leading product licensor in the United States in 2011. The franchise provides a sustainable source of high quality, branded content with global appeal and is well suited for new business models including digital platforms, putting the acquisition in strong alignment with Disney’s strategic priorities for continued long-term growth.

The Lucasfilm acquisition follows Disney’s very successful acquisitions of Pixar and Marvel, which demonstrated the company’s unique ability to fully develop and expand the financial potential of high quality creative content with compelling characters and storytelling through the application of innovative technology and multiplatform distribution on a truly global basis to create maximum value. Adding Lucasfilm to Disney’s portfolio of world class brands significantly enhances the company’s ability to serve consumers with a broad variety of the world’s highest-quality content and to create additional long-term value for our shareholders.

The Boards of Directors of Disney and Lucasfilm have approved the transaction, which is subject to clearance under the Hart-Scott-Rodino Antitrust Improvements Act, certain non-United States merger control regulations, and other customary closing conditions. The agreement has been approved by the sole shareholder of Lucasfilm.

Note: Additional information and comments from Robert A. Iger, chairman and CEO, The Walt Disney Company, and Jay Rasulo, senior executive vice president and CFO, The Walt Disney Company, regarding Disney’s acquisition of Lucasfilm, are attached.

Investor Conference Call:

An investor conference call will take place at approximately 4:30 p.m. EDT / 1:30 p.m. PDT today, October 30, 2012. To listen to the Webcast, turn your browser to /investors/events or dial in domestically at (888) 771-4371 or internationally at (847) 585-4405. For both dial-in numbers, the participant pass code is 33674546.

The discussion will be available via replay on the Disney Investor Relations website through November 13, 2012 at 5:00 PM EST/2:00 PM PST.

About The Walt Disney Company

The Walt Disney Company, together with its subsidiaries and affiliates, is a leading diversified international family entertainment and media enterprise with five business segments: media networks, parks and resorts, studio entertainment, interactive media, and consumer products. Disney is a Dow 30 company with revenues of over $40 billion in its Fiscal Year 2011.

About Lucasfilm Ltd.

Founded by George Lucas in 1971, Lucasfilm is a privately held, fully-integrated entertainment company. In addition to its motion-picture and television production operations, the company’s global activities include Industrial Light & Magic and Skywalker Sound, serving the digital needs of the entertainment industry for visual-effects and audio post-production; LucasArts, a leading developer and publisher of interactive entertainment software worldwide; Lucas Licensing, which manages the global merchandising activities for Lucasfilm’s entertainment properties; Lucasfilm Animation; and Lucas Online creates Internet-based content for Lucasfilm’s entertainment properties and businesses. Additionally, Lucasfilm Singapore, produces digital animated content for film and television, as well as visual effects for feature films and multi-platform games. Lucasfilm Ltd. is headquartered in San Francisco, California.

# # #

Contact:

Zenia Mucha
The Walt Disney Company
818-560-5300

Forward-Looking Statements:

Certain statements in this communication and the attachments may constitute “forward-looking statements” within the meaning of the Private Securities Litigation Reform Act of 1995. Such statements relate to a variety of matters, including but not limited to: the operations of the businesses of Disney and Lucasfilm separately and as a combined entity; the timing and consummation of the proposed merger transaction; the expected benefits of the integration of the two companies; the combined company’s plans, objectives, expectations and intentions and other statements that are not historical fact. These statements are made on the basis of the current beliefs, expectations and assumptions of the management of Disney and Lucasfilm regarding future events and are subject to significant risks and uncertainty. Investors are cautioned not to place undue reliance on any such forward-looking statements, which speak only as of the date they are made. Neither Disney nor Lucasfilm undertakes any obligation to update or revise these statements, whether as a result of new information, future events or otherwise.

Actual results may differ materially from those expressed or implied. Such differences may result from a variety of factors, including but not limited to:

  • legal or regulatory proceedings or other matters that affect the timing or ability to complete the transactions as contemplated;
  • the risk that the businesses will not be integrated successfully;
  • the possibility of disruption from the merger making it more difficult to maintain business and operational relationships;
  • the possibility that the merger does not close, including but not limited to, due to the failure to satisfy the closing conditions;
  • any actions taken by either of the companies, including but not limited to, restructuring or strategic initiatives (including capital investments or asset acquisitions or dispositions);
  • developments beyond the companies’ control, including but not limited to: changes in domestic or global economic conditions, competitive conditions and consumer preferences; adverse weather conditions or natural disasters; health concerns; international, political or military developments; and technological developments.

Additional factors that may cause results to differ materially from those described in the forward-looking statements are set forth in the Annual Report on Form 10-K of Disney for the year ended October 1, 2011, under the heading “Item 1A—Risk Factors,” and in subsequent reports on Forms 10-Q and 8-K and other filings made with the SEC by Disney.

ROBERT A. IGER, CHAIRMAN AND CEO, THE WALT DISNEY COMPANY REMARKS FOR ANALYSTS REGARDING DISNEY’S ACQUISITION OF LUCASFILM LTD., AS PREPARED

As we just announced, The Walt Disney Company has agreed to acquire Lucasfilm and its world class portfolio of creative content – including the legendary Star Wars franchise – along with all of its operating businesses, including Industrial Light & Magic and Skywalker Sound.

George Lucas is a visionary, an innovator and an epic storyteller – and he’s built a company at the intersection of entertainment and technology to bring some of the world’s most unforgettable characters and stories to screens across the galaxy. He’s entertained, inspired, and defined filmmaking for almost four decades and we’re incredibly honored that he has entrusted the future of that legacy to Disney.

Disney has had a great relationship with George that goes back a long way – with Star Wars theme attractions in our parks in Anaheim, Orlando, Paris and Tokyo. This acquisition builds on that foundation and combines two of the strongest family entertainment brands in the world. It makes sense, not just because of our brand compatibility and previous success together, but because Disney respects and understands – better than just about anyone else – the importance of iconic characters and what it takes to protect and leverage them effectively to drive growth and create value.

Lucasfilm fits perfectly with Disney’s strategic priorities. It is a sustainable source of branded, high quality creative content with tremendous global appeal that will benefit all of Disney’s business units and is incredibly well suited for new business models, including digital platforms. Adding the Lucasfilm IP to our existing Disney, Pixar and Marvel IP clearly enhances our ability to serve consumers, strengthening our competitive position — and we are confident we can earn a return on invested capital well in excess of our cost of capital.

Star Wars in particular is a strong global brand, and one of the greatest family entertainment franchises of all time, with hundreds of millions of fans around the globe. Its universe of more than 17,000 characters inhabiting several thousand planets spanning 20,000 years offers infinite inspiration and opportunities – and we’re already moving forward with plans to continue the epic Star Wars saga.

The last Star Wars movie release was 2005’s Revenge of the Sith – and we believe there’s substantial pent up demand. In 2015, we’re planning to release Star Wars Episode 7 – the first feature film under the “Disney-Lucasfilm” brand. That will be followed by Episodes 8 and 9 – and our long term plan is to release a new Star Wars feature film every two to three years. We’re very happy that George Lucas will be creative consultant on our new Star Wars films and that Kathleen Kennedy, the current Co-Chair of Lucasfilm, will executive produce. George handpicked Kathy earlier this year to lead Lucasfilm into the future. She’ll join Disney as President of Lucasfilm, reporting into Walt Disney Studios Chairman Alan Horn and integrating and building the Star Wars franchise across our company.

Our successful acquisitions of Pixar and Marvel prove Disney’s unique ability to grow brands and expand high-quality creative content to its fullest franchise potential and maximum value.

We’ve leveraged Pixar’s terrific characters and stories into franchises across our company – from feature films to consumer products online games, major attractions in our theme parks, and more.

The 2006 Pixar acquisition delivered more than great Pixar content — it also delivered the means to energize and revitalize the creative engine at Walt Disney Animation – which was crucial to our long term success. Animation is the heart and soul of Disney and our successful creative resurgence will be on full display this weekend when Wreck-It-Ralph opens in theaters across the country.

Our acquisition of Marvel three years later combined Marvel’s strong global brand and world-renowned library of characters with Disney’s creative skills, unparalleled global portfolio of entertainment properties, and an integrated business structure that maximizes the value of creative content across multiple platforms and territories. Our first two Marvel films – Thor and Captain America grossed a total of more than $800 million at the box office. This year, Marvel’s The Avengers grossed more than $1.5 billion to become the world’s third highest grossing movie of all time – and an important and lucrative franchise for us.

We’re looking forward to a robust slate of new Marvel movies – starting with Iron Man 3 and Thor: The Dark World next year, followed by Captain America: The Winter Soldier in 2014. And, as we announced previously, Joss Whedon is writing and directing Avengers 2 and developing a Marvel-based series for ABC.

Pixar and Marvel both fit our criteria for strategic acquisitions – they add great IP that benefits multiple Disney businesses for years to come, and continue to create value well in excess of their purchase price. The acquisition of Lucasfilm is in keeping with this proven strategy for success and we expect it to create similar opportunity for Disney to drive long-term value for our shareholders.

We’re clearly excited about this move forward. We believe we can do great things with these amazing assets….we have a proven track record of maximizing the value of our strategic acquisitions…. and we’re poised to do the same with this one.

JAY RASULO, SENIOR EXECUTIVE VICE PRESIDENT AND CFO, THE WALT DISNEY COMPANY REMARKS FOR ANALYSTS REGARDING DISNEY’S ACQUISITION OF LUCASFILM LTD., AS PREPARED

Lucasfilm, and more specifically the Star Wars franchise, fits perfectly within the Disney portfolio of intellectual properties and the strategic and financial implications of this acquisition are compelling. Our team has spent a tremendous amount of time evaluating this deal and we have concluded we are uniquely positioned to maximize the value of Lucasfilm’s IP in a manner that can generate substantial value for our shareholders above and beyond the purchase price.

In this transaction we will acquire rights to the Star Wars and Indiana Jones franchises, a highly talented and expert team, Lucasfilm’s best-in-class post production businesses, Industrial Light and Magic and Skywalker Sound, and a suite of cutting edge entertainment technologies. Our valuation focused almost entirely on the financial potential of the Star Wars franchise, which we expect to provide us with a stream of storytelling opportunities for years to come delivered via all relevant platforms on a global basis.

There are a number of ways our company will derive value from Lucasfilm’s intellectual property—some of which can be realized immediately while others will accrue to us over time. George and his team have built Star Wars into one of the most successful and enduring family entertainment franchises in history, as well as one of the best selling licensed character merchandise brands in the U.S. and around the world. However, we believe there is great opportunity to further expand the consumer products business. Today, Star Wars is heavily skewed toward toys and North America. We see great opportunity domestically to extend the breadth and depth of the Star Wars franchise into other categories. We also plan to leverage Disney’s global consumer products organization to grow the Star Wars consumer products business internationally.

Let me note that in 2012 Lucasfilm’s consumer products business is expected to generate total licensing revenue that is comparable to the roughly $215 million in consumer products revenue Marvel generated in 2009, the year in which we announced our acquisition. With renewed film releases, and the support we can give the Star Wars property on our Disney-branded TV channels, we expect that business to grow substantially and profitably for many years to come.

We also expect to create significant value in the film business. We plan to release the first new Star Wars film in2015, and then plan to release one film every two to three years. These films will be released and distributed as part of our target slate of 8-10 live-action films per year, and will augment Disney’s already strong creative pipeline for many years to come. Lucasfilm has not released a Star Wars film since Revenge of the Sith in 2005. However, adjusted for inflation, as well as growth in both international box office and 3D, we estimate the three most recent Star Wars films would have averaged about $1.5 billion in global box office in today’s dollars. This speaks to the franchise’s strength, global appeal and the great opportunity we have in the film business.

We also expect to utilize Star Wars in other businesses including Parks & Resorts, in games and in our television business. These initiatives were also considered in our valuation.

Under the terms of the agreement, Disney will buy Lucasfilm for $4.05 billion, consisting of approximately fifty percent cash and fifty percent in Disney stock. Based on Friday’s closing price of Disney stock, we expect to issue approximately 40 million Disney shares in this transaction. We continue to believe our shares are attractively priced at current levels and therefore, we currently intend to repurchase all of the shares issued within the next two years– and that’s in addition to what we planned to repurchase in the absence of the transaction.

Our valuation of Lucasfilm is roughly comparable to the value we placed on Marvel when we announced that acquisition in 2009. Our Lucasfilm valuation is almost entirely driven by the Star Wars franchise, so any success from other franchises would provide upside to our base case. I realize it may be a challenge for you to quantify our opportunity given the limited amount of publicly available information. But to give you some perspective on the size of the Lucasfilm business– in 2005, the year in which the most recent Star Wars film was released, Lucasfilm generated $550 million in operating income. We’ve taken a conservative approach in our valuation assumptions, including continued erosion of the home entertainment market, and we expect this acquisition to create value for our shareholders.

In terms of the impact on our financials, we expect the acquisition to be dilutive to our EPS by low single digit percentage points in fiscal 2013 and 2014 and become accretive to EPS in 2015.

Our capital allocation philosophy has been consistent since Bob took over as CEO. In addition to returning capital to shareholders, we have invested, both organically and through acquisitions, in high quality, branded content that can be seamlessly leveraged across our businesses. Our acquisition of Lucasfilm is entirely consistent with this strategy, and we’re incredibly excited by the prospect of building on Lucasfilm’s successful legacy to create significant value for our shareholders.

Ever imagine what a Star Wars theme park would be like? Well, above is the concept art for the proposed Star Wars section for 2015 completion at Disney Land in Paris. Obviously this deal has been in play for quite sometime me thinks?

Till Next Time. Stay Tuned.

J.

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Actor Tomas Janes’s Self Financed Punisher Short Film “Dirty Laundry” Is Bloody, Violent…And Ultimately, Pretty Cool.   Leave a comment

Hey Everybody,

Actor Thomas Jane decided himself  to take on a short film of Frank Castle, The Punisher for release around July’s Comic Con. Directing, staring  and financing the Hard R short himself, he shows his love for a Marvel character as yet to have a great feature film made, even the one he stared in back in 2004.

Obviously A fan of the character, Jane quoted as saying in 2007 in an interview with Quint at Ain’t It Cool News:

Punisher fans are already fighting an uphill battle as it is. And I’ve always felt a responsibility to fight that fight for them and with them so that Frank Castle gets the treatment he deserves.

It’s a cool thing when an actor puts his money where his mouth is. I say a good effort by Jane for sure. Hope to see a few more Punisher shorts from him,  a Vietnam flashback setting type thing maybe. That would be really cool I think. We’ll see what else this brings for our favorite Marvel  anti-hero.

Till Next Time. Stay Tuned.

J.

Legendary Artist Ralph McQuarrie Passes Away At The Age Of 82   Leave a comment

Hey Everybody,

Sadly Artist Ralph McQuarrie has passes away on Saturday March 3rd at the age of 82. He was the great talent that really gave Star Wars it’s visual concept look that was the catalyst to finally giving the project a greenlight at Fox on the 70’s. As a conceptual artist he also designed The 70’s Battlestar Galactica Series, contributed to classic films, Close Encounters Of The Third Kind, E.T., Raiders Of The Lost Ark and many more. His legacy lives on in the iconic images he helped bring to the screen. If you look at how close the concepts looks to the final product in most cases, it’s a real living tribute to how much he captured what George Lucas had in his head.

All of his art is pretty amazing and worth taking a look around the net to check out, but for me it’s the original Star Wars trilogy images I will always remember him for. The rest of this post will be an abundance of those images and the love I carried for them from my childhood.

Till Next Time. Stay Tuned.

J.

Finally Dispensing With Some Of This Misdirection Shit, Prometheus Viral Video Lets Us Into the Fold Just A Little Bit   1 comment

Hey Everybody,

Lots of misdirection going on with Prometheus. Ridley Scott has say that it’s only a very loose prequel to the 1979 Alien. After seeing the first trailer, any fan of the original will instantly recognize tons of imagery that is directly taken from the 1979 film. This is getting to the point that we obviously know that the film makers were playing some sort of game with us. Yesterday a viral video of Guy Pearce as Peter Wayland giving a TEDtalk conference speech in 2023 popped up on line. This video will not be in the Prometheus film, but gives us a good idea that this is a direct prequel going right to the same place the original did. I really can’t wait for this film, I think it’s my most anticipated for 2012, and I love the idea of viral marketing that won’t even be in the film. Check it out below, very cool stuff.

About the video:
Peter Weyland has been a magnet for controversy since he announced his intent to build the first convincingly humanoid robotic system by the end of the decade.

Whether challenging the ethical boundaries of medicine with nanotechnology or going toe to toe with the Vatican itself on the issue of gene-therapy sterilization, Sir Peter prides himself on his motto, “If we can, we must.” After a three year media blackout, Weyland has finally emerged to reveal where he’s heading next. Wherever that may be, we will most certainly want to follow.

Conceived and designed by Ridley Scott and Damon Lindelof and directed by Luke Scott.

About the speaker:
Sir Peter Weyland was born in Mumbai, India at the turn of the Millennium. The progeny of two brilliant parents; His mother, an Oxford Educated Professor of Comparative Mythology, his father, a self-taught software Engineer, it was clear from an early age that Sir Peter’s capabilities would only be eclipsed by his ambition to realize them. By the age of fourteen, he had already registered a dozen patents in a wide range of fields from biotech to robotics, but it would be his dynamic break-throughs in generating synthetic atmosphere above the polar ice cap that gained him worldwide recognition and spawned an empire.

In less than a decade, Weyland Corporation became a worldwide leader in emerging technologies and launched the first privatized industrial mission to leave the planet Earth. “There are other worlds than this one,” Sir Peter boldly declared, “And if there is no air to breathe, we will simply have to make it.”

Here’s a Q&A with PROMETHEUS writer Damon Lindelof about this video:
How did you come to the idea of writing a TEDTalk connected to Prometheus?
In really, really good science fiction the line between the science and the fiction is blurry. When I started attending TED, that line got even blurrier — I started hearing about ideas that were, in my own imagination, more far out than some of the science fiction I was seeing.

Prometheus takes place in the future, but it’s a movie about ideas, and I just felt like it would be really cool to have one of the characters from the movie give a TEDTalk. Obviously, since the movie is set in the distant future, it would have to be a little more contemporary. But wouldn’t it be cool if it was a TED talk from a decade in the future? And what is a TEDTalk going to look like in 10 years? And what would this guy have to say?

Then I understand you contacted Tom Rielly at TED, and started working together. What was it like working with him to construct a fictional TEDTalk?

My first assumption was that TED was never going to go for it. At the end of the day, it was a cool viral piece. I never thought in my wildest dreams we would get the actual TED branding. I thought we have to end up calling it a NED talk. But Tom is every bit as much a geek as I am, and we sort of subscribe to the same sort of pop-culture influences, and he was already into what Ridley was doing. He just completely sparked the idea.

[Says Tom Rielly: “Damon asked if we wanted to be involved in a Ridley Scott movie, and I thought, ‘oh twist my arm’.]

I said, “l’ll write this thing, and we’ll put it in front of you guys, and if you think it’s cool, we would love to platform it at TED, and make it only viewable through TED.” Because I liked the idea of exposing a more general audience to, “Wait a minute, I’ve never heard of this thing. There’s more talks here.” I thought it could be mutually beneficial — as opposed to overtly cram-it-down-your-face viral marketing, which I don’t think anyone wanted to do.

The video has all these wonderful science fiction elements, floating cameras and such — was it different writing for an existing event than writing other scifi?

No, all scifi starts in some kind of grounded reality that seems familiar, and then the tornado comes and take you into Oz. I feel the same way about a TEDTalk. I know there was some discussion about what the scale of this was going to be. I think that it’s probably out there that TEDTalks are going to be happening in arenas and stadiums in 12 years, but we also thought that a guy like Peter Weyland — whose ego is just massive, and the ideas that he’s advancing are nothing short of hubris — that he’d basically say to TED, “If you want me to give a talk, I’m giving it in Wembley Stadium.” So, he could actually bend the idea of what a TEDTalk is to him. Could you get an arena-level crowd to show up and listen to someone talk about ideas? That to me was the cool step outside the realm that we’re all comfortable knowing.

As an aficionado of TED itself and what TED does, I feel the intimacy is very important. I hope that in 2023 it’s still happening in Long Beach on a fairly intimate level, but those talks are available on a widespread basis. But it wouldn’t have been as cool to say, “In 2023, TEDTalks are going to look the same exact way that they do in 2012.”

What’s your favorite TEDTalk?

Ken Robinson on the failure of creativity in education. That was my inaugural TEDTalk, and it completely and totally blew my mind, just in terms of how concise and easily and with humor his ideas were presented, and I was just thinking and thinking about it for days. It’s really impacted the way my wife and I decided to educate our kid.

Obviously JJ’s Mystery Box TEDTalk was a personal favorite. Then, Kevin Slavin who gave talk about algorithms, love that talk. Paul Nicklen, the photographer, showed all the pictures he took up in the Arctic — that was breathtaking. I remember a talk about vertical farming that was like, “What?”

Oh! And the one that was given by Elizabeth Gilbert was fantastic.

As a professional screenwriter, what do you think is it about TEDTalks that makes it work?

I look at myself more as a storyteller than a screenwriter, as pretentious as that may sound, but that’s what really attracts me to TEDTalks. For me the really effective ones are being presented by expert storytellers. I think that people think of a narrative story as something that has a beginning, middle and end — you know, it follows these conventional rules. But that’s not the way that I look at story at all. You can tell a story about the state of education and provide anecdotal evidence, or tell a story about algorithms. That’s what all these things have in common. What’s really great about them is that the person who’s telling the story is the hero of the story. They’re advancing sometimes a very small experience that might have big, far-reaching implications. Or they might have an idea that is nothing short of mythic — like having laptops at every single desk in a third-world country.

There’s the storytelling aspect of the format, and the limitations of having to fit it within this timeframe — that 18 minutes is not just about appealing to people with short attention spans. It’s really stating the same thing as Twitter does: “If you can’t say it within 140 characters, then it probably isn’t worth saying.”

You’re known for telling stories that are infused with really big ideas. Is there a special challenge in making a story that doesn’t have a tidy end, or doesn’t close in all the normal ways, but maybe does get at a much bigger idea?

Yeah. I believe that this idea of story or myth or this thing that Joseph Campbell writes about is sort of an inter-connective spiritual force — like The Force in Star Wars — where it doesn’t matter where you were raised, or what your background is, there are certain elements of story that totally appeal to you.

When the blanks aren’t filled in for you, your own imagination tends to fill them in. That’s the storytelling that I’ve always been interested in. I certainly have suffered the slings and arrows of criticism for being too vague at times, but I always give much more credit to this sort of collective consciousness and imagination of the audience watching my story than on my own imagination.

And so there’s that idea of leaving some things up for grabs, so that you can personalize the story in your own way. There’s certainly a road that I want you to go down in my storytelling, but if you choose not to go down it, that’s very exciting for me. I feel like great TEDTalks are ones that are a little bit subject to interpretation, that do provoke further conversation — and potentially controversy. They’re the talks that, when you walk out of them, you need to instantly seek out somebody else who heard it to talk more about it, without the presence of the person who presented the idea. At that point, you’re now grafting the idea to your own psychological framework, and that’s what really great story does.

It looks like Prometheus is much more idea-driven than other movies in this genre, and that there are some enormous ideas coming. Was it a challenge to weave that into an existing mythos?

Look, Ridley Scott birthed this universe over two decades ago. My job was to sit and listen and to channel, in the same way that a medium does. This was about the ideas that he wanted to convey, and he did not want to come back and do science fiction again unless there was some kind of a philosophical construct to it. That’s why Blade Runner, which didn’t really enjoy commercial success when it first came out, is viewed as a classic, and is still being discussed and dissected: there are these fundamental ideas about humanity, our relationship with technology, the presence of a soul — those are all the things that drive Blade Runner. Ridley was reaching for the fruit on the tree of knowledge in the ideas that he was having about this movie.

At the same time, there is a line where a movie becomes overtly pretentious. We wanted to stay on the right side of it, because once you cross it, there’s no going back. There had to be a version of this movie that presented big ideas, but didn’t really wallow around and spend all it’s time basking in the glory of it’s own intelligence. We wanted to make an entertaining movie at the same time. Hopefully, it’s a hybrid in tone between the original Alien and Blade Runner. I mean, Inception is a wonderful movie and I love it, but I also love that people are shooting guns at each other and buildings are exploding.

You talked about how, when you listen to a good TEDTalk you want to go in another room and talk to someone about it, and I think a lot of that comes from the fact that you relate to the speaker and sympathize with them. Was it a challenge writing a talk for a speaker who is very unlikable in a lot of ways?

No. First off, Guy Pearce is a brilliant actor — you basically just write the words and let the actor do what they’re going to do with the words. And Peter Weyland’s role is still a toss-up for the audience. They don’t know what he’s going to be in the movie, or how this talk relates to the movie. I do think that, if someone is going to be saying the things that this guy is saying, then there is a god complex inherent in the speech. Guy Pearce took that and ran with it, and I feel like that gives it a certain degree of entertaining power.

What would your TEDTalk be about?

Ha! I couldn’t even begin to fathom it. I would think that the obvious route would be to talk about storytelling, but I wouldn’t be able to go where everybody would expect me to go. I would delve into a slightly more surprising terrain, although I have no idea what that means. If I were to do a TEDTalk, I would challenge myself to make people gasp.

For more information check out the new website www.WeylandIndustries.com

Till Next Time. Stay Tuned

J.

The 84th Academy Awards Were Bland And Safe To Say The Least. Here Are The Winners In Case Any One Gives A Shit Anymore   Leave a comment

Hey Everybody,

The 84th Academy Awards were as bland and hard to get through as any I’ve ever seen. If it wasn’t for the NBA All-Star game been on at the same time I most likely would have just watched a Blu-ray. The game allowed us to flip back and forth and really only check out the last 4 or 5 awards of the evening, and it was still a tough watch. With badly written  joke and segments that seems like they came up with them back stage 5 minutes before the show started, I can’t imagine how entertaining it could be for any viewer not nominated for an award or with an IQ out of the low double digits. Even some of the stars and attendees looked like they were on the verge of taking a nap at any minute. As far as the award winners, it went like most people figured it would go for the major awards, the Artist took almost all the big one, best picture, director, Jean Dujardin for actor, with best actress going to Meryl Streep for Iron Lady. Hugo took most of the well deserved technical awards leading with cinematography, art direction, sound editing and mixing. The rest of the winners are all below in case you’re still one who is interested and for those who aren’t, I’ve added my options on who should have won and that includes people and thing not even nominated. Enjoy.

Best Picture Best Director
  • The Artist – Thomas Langmann
    • The Descendants – Jim Burke, Jim Taylor, and Alexander Payne
    • Extremely Loud and Incredibly Close – Scott Rudin
    • The Help – Brunson Green, Chris Columbus, and Michael Barnathan
    • Hugo – Graham King and Martin Scorsese
    • Midnight in Paris – Letty Aronson and Stephen Tenenbaum
    • Moneyball – Michael De Luca, Rachael Horovitz, and Brad Pitt
    • The Tree of Life – Dede Gardner, Sarah Green, Grant Hill, and Bill Pohlad
    • War Horse – Steven Spielberg and Kathleen Kennedy

    As amazing as the Artist was (and it was a great film that seemed more like a crazy bet that ended up being something really special than an actual choice for Oscar winner) After watching all the films nominated, I really think Scorsese’s HUGO was the my choice for best film this year, hands down. 

  • Michel Hazanavicius – The Artist
    • Woody Allen – Midnight in Paris
    • Terrence Malick – The Tree of Life
    • Alexander Payne – The Descendants
    • Martin Scorsese – Hugo

    Again I think that Scorsese for Hugo was my choice for director this year followed by Woody Allen for Midnight In Paris then I would have gone Hazanavicius for The Artist. But I can truly see why Michel Hazanavicius won, the fact that there is no dialog almost the entire film and it keeps your attention is amazing for sure.

 

Best Actor Best Actress
  • Jean Dujardin – The Artistas George Valentin
    • Demián Bichir – A Better Life as Carlos Galindo
    • George Clooney – The Descendants as Matt King
    • Gary Oldman – Tinker Tailor Soldier Spy as George Smiley
    • Brad Pitt – Moneyball as Billy Beane

    This one I do agree with this one, Jean Dujardin was really awesome. In reality the one deserving of best actor wasn’t even nominated, Finders Key from War Horse, playing Joey the Horse. This is one animal I was blown away by, an amazing film with a great cast lead by a Horse that can act better than some of Hollywood’s new young talent(Twilight saga anyone?)

  • Meryl Streep – The Iron Lady as Margaret Thatcher
    • Glenn Close – Albert Nobbs as Albert Nobbs
    • Viola Davis – The Help as Aibileen Clark
    • Rooney Mara – The Girl with the Dragon Tattoo as Lisbeth Salander
    • Michelle Williams – My Week with Marilyn as Marilyn Monroe

    I can absolutely see why Meryl Streep won here but for me I think (especially after seeing the craptastic performance in the shit pile Nightmare On Elm Street remake) I would have given it to Rooney Mara for Dragon Tattoo, that shit was crazy, crazy good.

Best Supporting Actor Best Supporting Actress
  • Christopher Plummer – Beginnersas Hal Fields
    • Kenneth Branagh – My Week with Marilyn as Laurence Olivier
    • Jonah Hill – Moneyball as Peter Brand
    • Nick Nolte – Warrior as Paddy Conlon
    • Max von Sydow – Extremely Loud and Incredibly Close as The Renter

    Another great performance rewarded. The only other one I loved was Nick Nolte in Warrior (the most underrated movie of the year by far)

  • Octavia Spencer – The Helpas Minny Jackson
    • Bérénice Bejo – The Artist as Peppy Miller
    • Jessica Chastain – The Help as Celia Foote
    • Melissa McCarthy – Bridesmaids as Megan Price
    • Janet McTeer – Albert Nobbs as Hubert Page

    Another good choice here, totally deserved.

Best Writing – Original Screenplay Best Writing – Adapted Screenplay
  • Midnight in Paris – Woody Allen
    • The Artist – Michel Hazanavicius
    • Bridesmaids – Kristen Wiig and Annie Mumolo
    • Margin Call – J.C. Chandor
    • A Separation – Asghar Farhadi

    Loved Midnight In Paris, also loved that Woody Allen didn’t even show up, super rad display of dis-stain for self flagellation. Good show.

  • The Descendants – Alexander Payne, Nat Faxon, and Jim Rash from The Descendants by Kaui Hart Hemmings
    • Hugo – John Logan from The Invention of Hugo Cabret by Brian Selznick
    • The Ides of March – George Clooney, Grant Heslov, and Beau Willimon from Farragut North by Beau Willimon
    • Moneyball – Screenplay by Steven Zaillian and Aaron Sorkin; Story by Stan Chervin from Moneyball by Michael Lewis
    • Tinker Tailor Soldier Spy – Bridget O’Connor and Peter Straughan from Tinker, Tailor, Soldier, Spy by John le Carré

    I think I probably would have gone Hugo, Moneyball then in third The Desendents. Clooney made that movie what it was, take him out of the equation and I think it would not have worked for me as well.

Best Animated Feature Best Foreign Language Film
  • Rango – Gore Verbinski
    • A Cat in Paris – Alain Gagnol and Jean-Loup Felicioli
    • Chico and Rita – Fernando Trueba and Javier Mariscal
    • Kung Fu Panda 2 – Jennifer Yuh Nelson
    • Puss in Boots – Chris Miller

    Love me some Rango. A good year for adult geared animation.  So weird to see no Disney or Pixar at all. I bet they were surprised as well. 

  • A Separation (Iran) in Persian – Asghar Farhadi
    • Bullhead (Belgium) in Dutch and French – Michaël R. Roskam
    • Footnote (Israel) in Hebrew – Joseph Cedar
    • In Darkness (Poland) in Polish – Agnieszka Holland
    • Monsieur Lazhar (Canada) in French – Philippe Falardeau

    Didn’t get to see any of these.

Best Documentary – Feature Best Documentary – Short Subject
  • Undefeated – TJ Martin, Dan Lindsay, and Richard Middlemas
    • Hell and Back Again – Danfung Dennis and Mike Lerner
    • If a Tree Falls: A Story of the Earth Liberation Front – Marshall Curry and Sam Cullman
    • Paradise Lost 3: Purgatory – Joe Berlinger and Bruce Sinofsky
    • Pina – Wim Wenders and Gian-Piero Ringel

    Didn’t get to see any of these.

  • Saving Face – Sharmeen Obaid-Chinoy and Daniel Junge
    • The Barber of Birmingham: Foot Soldier of the Civil Rights Movement – Robin Fryday and Gail Dolgin
    • God Is the Bigger Elvis – Rebecca Cammisa and Julie Anderson
    • Incident in New Baghdad – James Spione
    • The Tsunami and the Cherry Blossom – Lucy Walker and Kira Carstensen

    Didn’t get to see any of these.

Best Live Action Short Film Best Animated Short Film
  • The Shore – Terry George and Oorlagh George
    • Pentecost – Peter McDonald and Eimear O’Kane
    • Raju – Max Zähle and Stefan Gieren
    • Time Freak – Andrew Bowler and Gigi Causey
    • Tuba Atlantic – Hallvar Witzø

    Didn’t get to see any of these.

  • The Fantastic Flying Books of Mr. Morris Lessmore – William Joyce and Brandon Oldenburg
    • Dimanche – Patrick Doyon
    • La Luna – Enrico Casarosa
    • A Morning Stroll – Grant Orchard and Sue Goffe
    • Wild Life – Amanda Forbis and Wendy Tilby

    Didn’t get to see any of these.

Best Original Score Best Original Song
  • The Artist – Ludovic Bource
    • The Adventures of Tintin – John Williams
    • Hugo – Howard Shore
    • Tinker Tailor Soldier Spy – Alberto Iglesias
    • War Horse – John Williams

    This is always a hard one to predict but the score in The Artist was key to understanding half the story and feeling being portrayed. I did love the War Horse score as well as the Hugo one. Can see why it went to The Artist 

  • Man or Muppet” from The Muppets – Bret McKenzie
    • “Real in Rio” from Rio – Sérgio Mendes, Carlinhos Brown, and Siedah Garrett

    Got to love the Muppets.

Best Sound Editing Best Sound Mixing
  • Hugo – Philip Stockton and Eugene Gearty
    • Drive – Lon Bender and Victor Ray Ennis
    • The Girl with the Dragon Tattoo – Ren Klyce
    • Transformers: Dark of the Moon – Ethan Van der Ryn and Erik Aadahl
    • War Horse – Richard Hymns and Gary Rydstrom

    I likey…

  • Hugo – Tom Fleischman and John Midgley
    • The Girl with the Dragon Tattoo – David Parker, Michael Semanick, Ren Klyce, and Bo Persson
    • Moneyball – Deb Adair, Ron Bochar, David Giammarco, and Ed Novick
    • Transformers: Dark of the Moon – Greg P. Russell, Gary Summers, Jeffrey J. Haboush, and Peter J. Devlin
    • War Horse – Gary Rydstrom, Andy Nelson, Tom Johnson, and Stuart Wilson

    As it should be.

Best Art Direction Best Cinematography
  • Hugo – Dante Ferretti and Francesca Lo Schiavo
    • The Artist – Laurence Bennett and Robert Gould
    • Harry Potter and the Deathly Hallows – Part 2 – Stuart Craig and Stephanie McMillan
    • Midnight in Paris – Anne Seibel and Hélène Dubreuil
    • War Horse – Rick Carter and Lee Sandales

    Not surprised in the least, great sets and effects. An amazing look into 1930’s Paris.

  • Hugo – Robert Richardson
    • The Artist – Guillaume Schiffman
    • The Girl With the Dragon Tattoo – Jeff Cronenweth
    • The Tree of Life – Emmanuel Lubezki
    • War Horse – Janusz Kamiński

    There is a few shots that had my mouth gaped open with how technically hard they would be to pull off. Pure genius here.

Best Makeup Best Costume Design
  • The Iron Lady – Mark Coulier and J. Roy Helland
    • Albert Nobbs – Martial Corneville, Lynn Johnson, and Matthew W. Mungle
    • Harry Potter and the Deathly Hallows – Part 2 – Nick Dudman, Amanda Knight, and Lisa Tomblin

    Not a surprise. The one thing I love about the film was the make up. Brilliant artists. The make up in The Harry Potter finale was a very close second, some super cool work there.

  • The Artist – Mark Bridges
    • Anonymous – Lisy Christl
    • Hugo – Sandy Powell
    • Jane Eyre – Michael O’Connor
    • W.E. – Arianne Phillips

    There was lots of competition this year in costumes. I liked The artist wardrobe but I like Hugo’s better. In eye popping saturated color and 3D the outfits came alive.  

Best Film Editing Best Visual Effects
  • The Girl with the Dragon Tattoo – Angus Wall and Kirk Baxter
    • The Artist – Anne-Sophie Bion and Michel Hazanavicius
    • The Descendants – Kevin Tent
    • Hugo – Thelma Schoonmaker
    • Moneyball – Christopher Tellefsen

    This is an interesting choice. I really liked Fincher’s Girl With the Dragon Tattoo, the editing was good and interesting but once you see Hugo, I think there is more going on there.

  • Hugo – Rob Legato, Joss Williams, Ben Grossmann, and Alex Henning
    • Harry Potter and the Deathly Hallows – Part 2 – Tim Burke, David Vickery, Greg Butler, and John Richardson
    • Real Steel – Erik Nash, John Rosengrant, Danny Gordon Taylor, and Swen Gillberg
    • Rise of the Planet of the Apes – Joe Letteri, Dan Lemmon, R. Christopher White, and Daniel Barrett
    • Transformers: Dark of the Moon – Scott Farrar, Scott Benza, Matthew E. Butler, and John Frazier

    It definitely was filled with effect that might not have been so obvious a choice as TF3 or Apes but there is a whole wack of great visuals in Hugo no doubt. 

Honorary Academy Awards

The Academy held its 3rd Annual Governors Awards ceremony on November 12, 2011, during which the following awards were presented.[11]

Academy Honorary Award
  • James Earl Jones
  • Dick Smith
Jean Hersholt Humanitarian Award
  • Oprah Winfrey

All and all a pretty good year for films and a boring year for award shows, but now that it’s all over we can concentrate on the killer year ahead of us. Some really great big tent pole movie are on their way, hope to see you there.

Till Next Time. Stay Tuned.

J.

Oscar Nominations 2010. In Case Anyone Gives A S#!t Anymore   1 comment

Hey Everybody,

The 83rd Annual Academy Award nominations have been announced, in case anybody really cares anymore. I find the Oscars depressing sometimes, and so obviously political in many years past. Once in a while the Academy come through with some interesting and right choices, mostly it’s a way too long TV special that leaves you scratching your head as to the decisions the people who are voting for these awards make.

Saying that, there are some great filmmakers, actors, technicians and films I really love up for lots of awards this year. “The King’s Speech”  and “True Grit” lead the pack with twelve and ten nominations respectively, followed by “The Social Network” and “Inception” with eight each.

Also  “The Fighter” with seven, “127 Hours” with six, “Toy Story 3” and “Black Swan” with five, and “Winter’s Bone” and “The Kids Are All Right” with four.

Here’s the Full  list:

BEST PICTURE
“127 Hours”
“Black Swan”
“The Fighter”
“Inception”
“The Kids Are All Right”
“The King’s Speech”
“The Social Network”
“Toy Story 3”
“True Grit”
“Winter’s Bone”

ACTOR IN A LEADING ROLE
Javier Bardem for “Biutiful”
Jeff Bridges for “True Grit”
Jesse Eisenberg for “The Social Network”
Colin Firth for “The King’s Speech”
James Franco for “127 Hours”

ACTRESS IN A LEADING ROLE
Annette Benning for “The Kids Are All Right”
Nicole Kidman for “Rabbit Hole”
Jennifer Lawrence for “Winter’s Bone”
Natalie Portman for “Black Swan”
Michelle Williams for “Blue Valentine”

DIRECTING
Darren Aronofsky for “Black Swan”
David O. Russell for “The Fighter”
Tom Hooper for “The King’s Speech”
David Fincher for “The Social Network”
Joel & Ethan Coen for “True Grit”

ACTOR IN A SUPPORTING ROLE
Christian Bale for “The Fighter”
Mark Ruffalo for “The Kids Are All Right”
Geoffrey Rush for “The King’s Speech”
Jeremy Renner for “The Town”
John Hawkes for “Winter’s Bone”

ACTRESS IN A SUPPORTING ROLE
Amy Adams for “The Fighter”
Helena Bonham Carter for “The King’s Speech”
Melissa Leo for “The Fighter”
Hailee Steinfeld for “True Grit”
Jacki Weaver for “Animal Kingdom”

FOREIGN LANGUAGE FILM
“Biutiful” – Mexico
“Dogtooth” – Greece
“In a Better World” – Denmark
“Incendies” – Canada
“Hors la Loi” (“Outside the Law”) – Algeria

ANIMATED FEATURE FILM
“How To Train Your Dragon”
“The Illusionist”
“Toy Story 3”

SCREENPLAY (Adapted)
Michael Arndt for “Toy Story 3”
Simon Beaufoy & Danny Boyle for “127 Hours”
Joel & Ethan Coen for “True Grit”
Aaron Sorkin for “The Social Network”
Debra Granki, Anne Rosellini for “Winter’s Bone”

SCREENPLAY (Original)
Mike Leigh for “Another Year”
Lisa Cholodenko, Stuart Blumberg for “The Kids Are All Right”
Christopher Nolan for “Inception”
David Seidler for “The King’s Speech”
Scott Silver, Paul Tamasy, Eric Johnson, Keith Dorrington for “The Fighter”

ART DIRECTION
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows: Part One”
“Inception”
“The King’s Speech”
“True Grit”

CINEMATOGRAPHY
“Black Swan”
“Inception”
“The King’s Speech”
“The Social Network”
“True Grit”

COSTUME DESIGN
“Alice in Wonderland”
“I Am Love”
“The King’s Speech”
“The Tempest”
“True Grit”

DOCUMENTARY FEATURE
“Exit Through the Gift Shop”
“Gasland”
“Inside Job”
“Restrepo”
“Waste Land”

DOCUMENTARY SHORT SUBJECT
“Killing in the Name”
“Poster Girl”
“Strangers No More”
“Sun Come Up”
“The Warriors of Qiugang”

FILM EDITING
“127 Hours”
“Black Swan”
“The Fighter”
“The King’s Speech”
“The Social Network”

MAKEUP
“Barney’s Version”
“The Way Back”
“The Wolfman”

MUSIC (SCORE)
A.R. Rahman for “127 Hours”
John Powell for “How To Train Your Dragon”
Hans Zimmer for “Inception”
Alexandre Desplat for “The King’s Speech”
Trent Reznor and Atticus Ross for “The Social Network”

MUSIC (SONG)
‘Coming Home’ from “Country Strong”
‘I See the Light’ from “Tangled”
‘If I Rise’ from “127 Hours”
‘We Belong Together” from “Toy Story 3”

SHORT FILM (ANIMATED)
“Day & Night”
“The Gruffalo”
“Let’s Pollute”
“The Lost Thing”
“Madagascar, a Journey Diary”

SHORT FILM (LIVE ACTION)
“The Confession”
“The Crush”
“God of Love”
“Na Wewe”
“Wish 143”

SOUND EDITING
“Inception”
“Toy Story 3”
“Tron: Legacy”
“True Grit”
“Unstoppable”

SOUND MIXING
“Inception”
“The King’s Speech”
“Salt”
“The Social Network”
“True Grit”

VISUAL EFFECTS
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows: Part One”
“Hereafter”
“Inception”
“Iron Man 2”

I’m really hoping that Aronofsky takes home an Oscar for directing Black Swan, but I’m pretty sure it will be Fincher for The Social Network  or The Coen Brothers for True Grit; Which is great either way as far as I’m concerned, love all these director works. I’m thinking Natalie Portman will take home the Best Actress Oscar, Colin Firth will take home the Best Actor  for “The King’s Speech”(once you see his performance, you’ll see it’s a lock for him to win.).

Best Supporting Actor will most likely go to Christian Bale for “The Fighter”, Best Supporting Actress is too close for me to call, but 14 year old Hailee Steinfeld in “True Grit” holds her own beside Jeff Bridges brilliant acting chops without showing any sign of actual acting, a phenomenal performance for a young teenager.

Toy Story 3 will win Best Animated Feature, Adapted Screenplay will most likely be either Joel & Ethan Coen for True Grit or Aaron Sorkin for The Social Network, Original Screenplay David Seidler for The King’s Speech or Scott Silver, Paul Tamasy, Eric Johnson, Keith Dorrington for “The Fighter”, I’m thinking The Fighter might not win just because it would be just too much money to give all the writers Oscars.

I’m sure Inception will be a winner in most of  the technical awards, cinematography, sound editing and mixing, visual effects, and possibly art direction . Black Swan or True Grit might rival in cinematography.

Most of the rest is up in the air for me. I’m notoriously bad at “calling” the winner of the documentary, short films and foreign film categories, but I’m usually pretty close with the other ones. We’ll see how it pans out in February 27th. Place Your Bets.

Till Next Time. Stay Tuned

J.

Posted January 27, 2011 by JMC in Film School Loser Talks Too Much, Latest And The Greatest

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Zack Snyder Snatches Superman Directing Gig   Leave a comment

Hey everybody,

Looks like Warner has finally picked Zack Snyder to direct their Christopher Nolan produced, David Goyer Scripted Superman flick.

Snyder (300, Watchmen, Suckerpunch, Legend Of Guardians: The Owl of Ga’Hoole ) beat out a long line of candidates for the job. Ben Affleck, Darren Aronofsky, Matt Reeves, Tony Scott and Robert Zemeckis were also rumored to be in the running according to a number of sources. The only few details on the movie so far are that Brandon Routh,who dawned the cape in 2006’s Superman Returns, will not be returning for this one and that the rumored villain may be General Zod, who was previously played by Terrance Stamp in 1980 ‘s Superman 2.

I think Snyder could definitely made a kick ass Superman movie.  I liked all his previous efforts so far, he always has great kinetic action sequences that look at action in a unique way. I’m more looking forward to Superman now that we know that a strong director is aboard the project. Just wondering now if Snyder will do Xerxes (300 sequel) first, which have rumored to be booking stage space here  in Vancouver already. Most likely he will be shooting one while prepping the other, Zack is a true workhorse. Will  definitely be keeping my eye on this one…

till next time

J.