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Saturday, August 22, 2009

Shutter Island Pushed back until 2010

Shutter Island Pushed back until 2010

Moviegoers won't be going to "Shutter Island" this fall, as Paramount has moved the Martin Scorsese-directed thriller, starring Leonardo DiCaprio, from Oct. 2 to Feb. 19.
Citing economic factors, Paramount made the decision Friday morning, only six weeks before the pic would have opened.

Fox Searchlight immediately moved "Whip It," its Drew Barrymore-helmed roller derby comedy, forward a week into the slot. The only other pics set for wide release Oct. 2 are Disney's 3D re-releases of "Toy Story" and "Toy Story 2."

The Feb. 19 slot currently contains a pair of actioners: Lionsgate's "From Paris With Love" and Screen Gems' "Takers."

The studio issued a statement from Paramount Pictures chairman-CEO Brad Grey saying: "Our 2009 slate was greenlit in a very different economic climate and as a result we must remain flexible and willing to recalibrate and adapt to a changing environment.

"This is a situation facing every single studio as we all work through the financial pressures associated with the broader downturn. Like every business, we must make difficult choices to maximize our overall success and to best manage Paramount's business in a way that serves Viacom and its shareholders, while providing the film with every possible chance to succeed both creatively and financially.

Pundits had put "Shutter" high on the list of possible awards contenders this year, given the Scorsese-DiCaprio pedigree and the fact that it's based on a novel by Dennis Lehane ("Mystic River"). However, the trailers, which have been running for several months, sell it as a thriller, which is not always a genre that gets kudos attention.

Laeta Kalogridis penned the script for the project, a co-production between Phoenix Pictures, Scorsese's Sikelia and DiCaprio's Appian Way banners. Mike Medavoy, Arnold Messer, Brad Fischer and Scorsese are producing.

"Shutter Island" is set in 1954, with DiCaprio portraying a U.S. Marshal investigating the disappearance of a murderess who escaped from a hospital for the criminally insane and is presumed to be hiding on the remote Shutter Island.
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Inglorious Bastards Movie Review

Inglorious Bastards Movie Review
Review By:Chocolate Thunder

This film is classic Tarantino. Inglorious Bastards starts off in Tarantino fashion giving us the credits in the beginning, with the cool 80's soundtrack playing. Also in Tarantino fashion the movie has a few different story lines in it that keeps you bouncing around the movie, but never lost. The movies stars are Brad Pitt as Lt Aldo Raine, Christoph Waltz as Col. Hans Landa, and Melanie Laurent as Shosanna Dreyfus. The story imcumbuses the three lives into one explosive ending. There are some lovable characters that help to make the movie memorable. There are some very great moments of violence that get graphic, so if you are squemish, cover your eyes every now and then. Last thing, subtitles are all through the movie, if you dont speak German, French, or italian get ready to read.
I give it 8 Sandwichs out of 10
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Friday, August 21, 2009

Smallville Season 9 Preview Trailer

Smallville Season 9 Preview Trailer
Have really enjoyed this show and how it has grown over the years. And the All New Season Starts September 25, 2009.
Also Check out these past Articles

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Bryan Singer to Redo "Excalibur" and talks X Men

Bryan Singer to Redo "Excalibur" and talks X Men
Singer is going to be a very busy man. With alot on his plate let's see if he sticks to his guns and follows threw with all these movies. Singer recently signed on to develop to direct and produce “Battlestar Galactica" “Jack the Giant Killer,” a riff on the Jack and the Beanstalk legend.
Warner Bros. has closed a rights deal to remake the 1981 “Excalibur,” with Bryan Singer producing and developing the picture as a potential directing vehicle.

Deal comes as Singer gets serious about making the New Line-Legendary co-production “Jack the Giant Killer” his next directing effort, according to sources.

WB and Legendary Pictures have labored for months to pull together the rights to the film, which Singer will produce with Julie Yorn. Polly Johnsen, who was Polly Cohen when she was the WB exec who presided over the Singer-directed WB/Legendary collaboration “Superman Returns,” will also be a producer.

"Excalibur” is the quintessential myth-of-King-Arthur film, complete with the enchanted sword, the Knights of the Round Table, Merlyn the wizard and the quest for the Holy Grail to save Arthur’s life. The original film was directed by John Boorman and adapted from the Thomas Malory book by Rospo Pallenberg and Boorman.
Singer recently signed on to develop to direct and produce “Battlestar Galactica” at Universal, a project he’d been eyeing since he originally made a deal to godfather a series revival in 2001. At the same time, Singer has been flirting with directing “X-Men: First Class,” a 20th Century Fox spinoff that got a first script draft by “O.C.” creator Josh Schwartz.

It looks like his next directing assignment could well be “Jack the Giant Killer,” a riff on the Jack and the Beanstalk legend developed by New Line with scripters Darren Lemke and Mark Bomback and producer Neal Moritz. The story revolves around a young farmer who leads an expedition into the land of the giants to recover a kidnapped princess.
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Karl Urban to Star in the Movie Priest

Karl Urban to Star in the Movie Priest

Do we really need another Vampire money. Looks like Hollywood thinks so. Let's see how this one turns out.Karl Urban has signed on to play the villain in "Priest," Screen Gems' post-apocalyptic horror thriller directed by Scott Stewart.

Adapted by Cory Goodman from a TokyoPop comic, "Priest" is set in a world ravaged by war between man and vampires. Paul Bettany stars as a warrior priest and vampire fighter who teams with a sheriff (Cam Gigandet) and warrior priestess (Maggie Q) to track down a murderous band of vampires who have kidnapped his niece.

Urban plays Black Hat, the evil leader of the bloodsuckers who was once a priest and hunter but now fancies himself a god of vampires.

Produced by Michael De Luca, Stars Road Entertainment's Josh Donen and Mitchell Peck, "Priest" begins production next week in Los Angeles.

Karl Urban starred as "Bones" McCoy in J.J. Abrams' "Star Trek"
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Is Catherine Hardwicke going to Direct 21 Jump Street Movie?

Catherine Hardwicke 'Isn't Attached' To Direct '21 Jump Street'
I have always been a HUGE fan of the TV show 21 Jump Street since I was a Kid, Shit I still watch the series on DVD every now and then. Will Johnny Depp Be willing to Join the cast?
Catherine Hardwicke (Director of Twilight ) taking the reins for "The Girl With the Red Riding Hood," you may have noticed that the Variety article also pins the "Twilight" director to "21 Jump Street." That project, adapted from the '80s TV series about undercover cops operating as high school students, already has a script from Jonah Hill. No other announcements have been made however, so it is surprising to see such seemingly big news revealed in such an offhand way.

As it turns out, there was no reveal. Hardwicke's publicist told MTV that "it's too early" to say anything, and that Hardwicke "isn't attached" to the adaptation. While that certainly leaves the possibility open that she could sign on for the project, it might be tough with her plate being so full.
It would certainly be interesting to see what Hardwicke does with Hill's script. The "Superbad" star has described his take on the TV series as an "R-rated, insane, 'Bad-Boys'-meets-John-Hughes-type movie." With her "Twilight" experience, Hardwicke is certainly well suited to take on the John Hughes side of that description; I'd be curious to see how she handles the "Bad Boys" blockbuster action.
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Thursday, August 20, 2009

Fourth Jason Bourne Gets a Screen Writer

Fourth Jason Bourne Gets a screen writer
It seems like Josh Zetumer is a Hot writer who is very busy these days. Josh Zetumer,is generating heat around town for writing “Dune” for Peter Berg and Paramount. He wrote “The Infiltrator” for Warner Bros., to which Leonardo DiCaprio is attached and is being produced by Management 360,Appian Way and David Benioff.

Josh Zetumer has signed on to pen the fourth installment of Universal’s “Bourne” movie series, writing what is being described as a parallel script.

George Nolfi, who worked on “The Bourne Ultimatum,” initially came back for the fourth entry. He also boarded to write and direct “The Adjustment Bureau,” an adaptation of a Philip K. Dick short story that reteams him with “Bourne” star Matt Damon.

But as that movie nears its September start date, Nolfi had to step away from “Bourne.” Not wishing to slow development and keen on making “Bourne” part of its 2011 slate, Universal hired Zetumer to write a new script. It is unclear what will occur after Zetumer submits his draft or whether his script will be integrated with Nolfi’s.

“Our hope is that Nolfi, a key member of the ‘Bourne’ team, will return after he is done with ‘The Adjustment Bureau,’ ” a Universal spokesperson said.

Writing two scripts, though rare, is not without precedent in the tentpole movie world. “Star Trek: Generations,” “Fantastic Four: The Rise of the Silver Surfer” and “Wolverine” are movies that had parallel scripts commissioned and sometimes had them combined. “Conan,” still in development, is another project that falls into that category.

Zetumer, repped by UTA and Management 360, is generating heat around town for writing “Dune” for Pete Berg and Paramount. He wrote “The Infiltrator” for Warner Bros., to which Leonardo DiCaprio is attached and is being produced by Management 360, Appian Way and David Benioff.
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Source-THR

Star Wars Live Action Show to begin Filming this Year

Star Wars Live Action Show to begin Filming this Year

Lucas wants to film the live action series covering the "dark times" period of Star Wars lore between Episode 3 and Episode 4, in Prague, the capitol of the Czech Republic. He hopes to get a tax break from the government there. The series is intended to elaborate on the rebellion against the Empire whose head is Palpatine, a Sith Lord, (the Jedi's greatest enemy, an anti-Jedi), but supposedly will not feature either the emperor or Darth Vader. However, there is always the possibility the series will focus on Vader's hunt for the remaining Jedi that survived the purge in Revenge of the Sith. In any case, the primary characters will not be Jedi but ordinary beings from the Star Wars universe whose roles are usually overshadowed by the pivotal Jedi characters in all of the six movies.

There will be appearances by Obi Wan Kenobi and at least one other Jedi - Quinlan Vos, who never made an appearance in any of the prequels, but is a well known character in Star Wars universe graphic novels. It is unknown if Ewan McGregor will be the one to don the beard and cloak again to reprise his role of Obi Wan from the Prequel movies, but it seems unlikely since he has not been contacted to play the part. Boba Fett will also be a recurring character and Daniel Logan who played the young Boba Fett in Attack of the Clones is being considered to play the adult Boba.

Lucas plans on writing the first season and will then hand it off to a worthy successor, at this time it is unclear who that will be. Not only will there be one Star Wars television show for fans to relish, but eventually there will be several with plots that connect all of them together and tell the story of the dark times mentioned by Obi Wan in the first Star Wars movie ever made, A New Hope.

Rumors abound about whether or not they have started casting calls since George Lucas said he wouldn't start casting until the script had been written, and it is unclear whether principal filming will take place in Prague or Sydney. However, the series will debut in 2010, a year earlier than planned, so it is likely the script is done and the casting is underway.
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Shazam Gets a Writer for his own Movie

Shazam Gets a Writer for his own Movie

Actor-turned-writer Bill Birch has been tapped to reboot "Shazam!," Warners' adaptation of a DC Comics series featuring Captain Marvel.

Geoff Johns, one of the three DC Comics heavyweights hired by the studio to act as consultants on DC projects, is also helping with the kick-start, co-writing the story with Birch.

It's somewhat fitting that Birch takes on "Shazam!" as his very name echoes the name of the comic's hero, Billy Batson, a teenager who becomes Captain Marvel when he utters the magic word "Shazam!" The name is an acronym for six gods and heroes of the ancient world as well as their attributes: the wisdom of Solomon, the strength of Hercules, the stamina of Aries, the power of Zeus, the courage of Achilles and the speed of Mercury.

The project, which was housed at New Line for several years, has had a tough time taking flight, with writers William Goldman, Bryan Goluboff, Joel Cohen and Alec Sokolow, as well as John August taking turns writing a script.

Peter Segal remains attached to direct and also is producing with Michael Ewing.

Greg Silverman is overseeing for Warners while Gregory Noveck oversees for DC.

Birch, repped by ICM and Anonymous Content, has appeared in TV shows ranging from the original "Beverly Hills, 90210" to "Grey's Anatomy" to "The Unit." He is currently writing Warners' "One Finger Salute" to which Segal is attached to direct.
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Updates on Star Trek and Heroes from Zachary Quinto

Updates on Star Trek and Heroes from Zachary Quinto

Here is the Trailer to the New Season of Heroes . After attending the Heroes panel during Comic Con and watching the Trailer all I can say is WOW. The new season reminds me of the First season. I can only hope that they turn Heroes around to what it once was.
Zachary Quinto, who memorably played young Spock in J.J. Abrams' Star Trek, said that filmmakers are in no hurry to mount a sequel, though he acknowledges everyone would like one next year. Quinto also offered us an update on several new projects and his NBC series Heroes.
Here is an update on Star Trek 2.
With regard to Star Trek, "I know that they're breaking the stories and working on it," Quinto said in an interview Wednesday at the Video West Arcade in Glendale, Calif., where he was launching the Stride Gum "Save the Arcades" campaign. "J.J. [Abrams] and Bobby [Orci] and Alex [Kurtzman]. But I think those guys have other things that they're working on. Star Trek is a priority, certainly, but I don't think anybody's in a hurry. Which is what I love about them. You know what I mean? Of course the fans and the studio would love it to come out next summer if it could. I think it's going to be much better served by taking time and being clear about the story that they want to tell. Whether or not that involves Khan or Mr. Shatner remains to be seen."

Yesterday on Twitter, Quinto wrote, "new project coming very soon. hopefully next week," so I asked him what it was. "We have a couple of things coming up. My production company [Before the Door Pictures] is actively developing a few different things, and I think the next thing that we're doing, ... we have these comic books [LUCID] that we're publishing, and that will be by the end of the year, hopefully. ... And a short film that we did, like a Funny or Die exclusive that will probably be out in the next couple of weeks."

Having just seen the trailer for the new season of Heroes, I had a few Sylar questions for Quinto. I asked about the carnival scenes with brand-new villain Robert Knepper and how Sylar is connected to it all. "The carnival is going to be awesome," he said. "It looks so incredible, and Robert Knepper, who plays Samuel, Ray Park, who plays Edgar, and Dawn Olivieri, who plays Lydia, ... these are really, really incredible actors, and their characters are really multifaceted. It's a whole new dimension for the show. I think it's going to be incredibly exciting and really colorful and really dynamic. My involvement in it is unfolding as we speak. We're about to start shooting episode seven, so we'll see if I end up there or if I stay or what ends up happening to me, and I think it will be good. I think people are going to dig it. I know I am."

Quinto also let it slip that there may be a new romantic interest for Sylar. "There are a couple of little percolations, but we'll see if any of them take," he teased.

When we last saw our favorite evildoer, he had been tricked into thinking he was Nathan Petrelli. I asked Quinto when Sylar was going to figure it all out. "It's a long road for me to realize that," he said. "I'll say that. It doesn't happen right away. And the character exists in a couple of different places this season, one of which is in Matt Parkman's [Greg Grunberg] imagination. The other one is in Nathan's body. So it is a long road to getting right back to who we know him as."

In the past, Quinto has indicated that he thinks someone like Sylar is really too evil ever to be redeemed. So I wanted to know how he'd like his character ultimately to be taken out. "That's interesting," he said. "Those are longer-term conversations. And Tim Kring, our creator, is an incredibly supportive and creatively open person, so we have those conversations from time to time about where we see the character going. I don't know. Maybe the redemption would be in his eradication somehow. Maybe some kind of ultimate sacrifice. Or maybe just bloody and gory, ... a well-deserved demise for someone who's caused so much pain in the world of Heroes. We'll see."

Quinto also revealed that he's an avid gamer! Over the music from the nearby Tetris machine, Quinto told us why he thinks arcades are still relevant.

"I'm a big fan of anything old-school," he said. "I'm a big fan of giving people a place to go where they can feel really expressive of who they are and connect to people who are like-minded. A lot of arcades are owned by small businesses and families, and they're struggling [to stay] relevant in a society that is becoming ever more commercialized. ... For me it's about giving attention to that."

Universal Pictures Releases New Wolfman Trailer

Universal Pictures Releases New Wolfman Trailer

Inspired by the classic Universal film that launched a legacy of horror, The Wolfman brings the myth of a cursed man back to its iconic origins. Oscar winner Benicio Del Toro stars as Lawrence Talbot, a haunted nobleman lured back to his family estate after his brother vanishes. Reunited with his estranged father (Oscar winner Anthony Hopkins), Talbot sets out to find his brother ... and discovers a horrifying destiny for himself.
Lawrence Talbot's childhood ended the night his mother died. After he left the sleepy Victorian hamlet of Blackmoor, he spent decades recovering and trying to forget. But when his brother's fiancee, Gwen Conliffe (Emily Blunt), tracks him down to help find her missing love, Talbot returns home to join the search. He learns that something with brute strength and insatiable bloodlust has been killing the villagers, and that a suspicious Scotland Yard inspector named Aberline (Hugo Weaving) has come to investigate.

As he pieces together the gory puzzle, he hears of an ancient curse that turns the afflicted into werewolves when the moon is full. Now, if he has any chance at ending the slaughter and protecting the woman he has grown to love, Talbot must destroy the vicious creature in the woods surrounding Blackmoor. But as he hunts for the nightmarish beast, a simple man with a tortured past will uncover a primal side to himself: one he never imagined existed.

Joe Johnston (Jurassic Park III) directs The Wolfman, and six-time Oscar-winning special effects artist Rick Baker brings his design and makeup talents to transform Del Toro into the fearsome title character.
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Movie is Schedule to be Released February 12, 2010 Read more...

Avatar Trailer is a GO!!

Avatar Trailer is a GO!!

The Teaser Trailer for the New movie Avatar has been found on The French Version of MSN
. It can be found here Avatar Trailer. The Trailer is in French. And don't forget that this Friday is Avatar Day. Did you get your tickets? Also if you haven't seen my Exclusive Interview with James Cameron Watch it Here.
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Movie is Due out December 18, 2009

Wednesday, August 19, 2009

Sean Connery's Outland Getting a remake By Warner Brothers

Sean Connery's Outland Getting a remake By Warner Brothers

Looks like another 80's Movie that is going to get a remake. The Original movie was about Marshal W.T. O'Niel is assigned to a mining colony on Io, one of Jupiter's moons. During his tenure miners are dying - usually violently. When the marshal investigates he discovers the one thing all the deaths have in common is a lethal amphetamine-type drug, which allows the miners to work continuously for days at a time until they become "burned out" and expire. O'Niel follows the trail of the dealers, which leads to the man overseeing the colony. Now O'Niel must watch his back at every turn, as those who seek to protect their income begin targeting him.
We have a soft spot in our hearts for Outland, the 1981 Sean Connery outer-space western loosely modeled on High Noon, so it comes as good news that Warner Brothers and Hollywood Gang Productions are developing a remake.

Shoot 'Em Up director Michael Davis will oversee the update, suggesting a more dynamic and action-packed version.

Variety reports:

Chad St. John, who scripted WB drama The Days Before, will pen the redo.

The new version will reportedly expand the "space frontier" concept of the original.
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Jon Hamm Joins the Cast of Zack Synders New Movie " Sucker Punch "

Jon Hamm Joins the Cast of Zack Synders New Movie "Sucker Punch "

I have been waiting for more announcements on the cast to this Movie For awhile.My Wife April ones of the Lucky People to get a Sucker Punch Shirt at Comic Con this Year.

"Mad Men" star Jon Hamm has joined the cast of "Sucker Punch," an action fantasy Zack Snyder is directing for Warner Bros. and Legendary Pictures.

Hamm joins Emily Browning, Vanessa Hudgens, Jamie Chung, Jena Malone, Abbie Cornish and Carla Gugino in the 1950s-set tale of a girl (Browning) confined to a mental institution by her stepfather, who intends to have her lobotomized in five days. She and her friends enter an alternate reality where they begin planning an escape.

Although details for Hamm's character are being kept under lock and key, the name is known: High Roller.

Snyder, who wrote the script, is producing with his Cruel & Unusual Films partner, wife Deborah Snyder.

Hamm, repped by ICM and Forward Entertainment, is shooting Season 3 of "Mad Men," whose Sunday premiere attracted 2.8 million viewers, a series high. In September, he will segue to Boston to shoot "The Town," Warners' crime thriller being directed by Ben Affleck, before hopping a flight to Vancouver for "Sucker Punch
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Jaime King Joins The Cast of Mother's Day Remake

Jaime King Joins The Cast of Mother's Day Remake

Jaime King has her cards and flowers ready for "Mother's Day," Darren Lynn Bousman's remake of Charles Kaufman's 1980 Troma cult classic, and Shawn Ashmore, Briana Evigan, Alexa Vega and Matt O'Leary are in talks to join the production.

The original "Mother's Day" revolved around three female friends who, while camping, run afoul of two brothers who engage in murder and rape to impress their deranged mother.

The new version, written by Scott Milam, is being remolded as a psychological thriller in which the wicked family returns to the house where they grew up to terrorize the new owners and their guests.

King will play the woman of the house, a wife who has lost her child and is isolating herself from her husband.

Ashmore and Evigan will play guests at the house. O'Leary ("CSI") is one of Mother's sons, joining the already cast Deborah Ann Woll as members of the family.
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Source-THR

Disney Announces D23 Expo Movie Line-up

Disney's D23 Expo Movie line is Announced And Star Wars News
The Walt Disney Studios has released its line-up of movie titles to be presented and screened at the D23 Expo taking place September 10–13, 2009 at the Anaheim Convention Center:
And the official website mentioned that George Lucas’ Star Wars would have a presence at the convention, which got me Really excited. Enough that Disney released an official statement-
“In response to inquiries from Star Wars fan sites about Storm Troopers at the D23 Expo, D23 issues the following statement: “We were contacted by the Galactic Empire and have been advised that Imperial dignitaries will be attending Disney’s D23 Expo,” said Steven Clark, head of D23. “As a result, a legion of Storm Troopers from the 501st Battalion will be patrolling the Anaheim Convention Center on Saturday, September 12.”
And Saturday September 12th also happens to be the same day that Jay Rasulo, Head of Disney Parks and Resorts will be speaking. Will there be a Star Tours announcement?
The Walt Disney Studios is jumping on the D23 Expo bandwagon with four days (September 10-13) of exciting programming that includes major overviews of upcoming films by Disney Studios Chairman Dick Cook and Disney-Pixar Chief Creative Officer John Lasseter, plus a full schedule of events spotlighting new releases and newly restored digital versions of classic favorites.

Cook will present exclusive sneak peeks at such highly anticipated Disney features as "Disney's A Christmas Carol," Tim Burton's "Alice in Wonderland," "Old Dogs" (with Robin Williams and John Travolta), "Prince of Persia" and "The Sorcerer's Apprentice" (both from producer Jerry Bruckheimer), "Tron: Legacy," plus updates on many more exciting projects. Lasseter will discuss and show materials from such upcoming Walt Disney and Pixar Animation Studios' motion pictures as "The Princess and the Frog," "Rapunzel," "Toy Story 3," etc. Both presentations will be held at The Anaheim Convention Center in a 4000-seat arena.

All other film screenings and programs will take place in The Walt Disney Studios Theater (at the Anaheim Convention Center), a custom-built state-of-the-art venue with 3D capability, located within the Convention Center. All Disney Digital 3D(TM) presentations will be shown in RealD 3D, the world's most widely used 3D cinema technology. Among the U.S. premieres at the D23 Expo will be new Disney Digital 3D(TM) versions of "Toy Story" and "Toy Story 2," the digital conversion of the original "Tron," and a newly restored digital version of the Walt Disney classic "Snow White and the Seven Dwarfs." Expo guests will get an exclusive look at all things Muppets, as well as meet the filmmakers and see exclusive presentations for such highly anticipated new Disney features as "The Princess and the Frog," "Toy Story 3" (from Disney-Pixar), "Tron: Legacy," "Tinker Bell and the Lost Treasure" (from Walt Disney Studios Home Entertainment), and the new ABC-TV holiday animated special, "Prep and Landing."

The Expo will also debut selected scenes from the upcoming Disney Digital 3D(TM) version of the Studio's 1991 modern classic, "Beauty and the Beast." Other highlights of the four-day event include a program devoted to the music from "The Lion King," a panel discussion and screening of "Sleeping Beauty," and the first U.S. screening of "Trail of the Panda" (Disney's second co-production with China). There will also be presentations on two recent documentaries - "the boys: the sherman brothers' story" and "Walt & El Grupo."

A special screening series, "Fifty and Fabulous," will unspool at 10:00 pm in the Studio Theater on Thursday, Friday and Saturday nights spotlighting films that are celebrating their 50th anniversary - "Darby O'Gill and the Little People," "The Shaggy Dog," and "Sleeping Beauty."




1:00 PM "Beauty and the Beast" panel discussion; and screening of selected scenes in Disney Digital 3D(TM)

4:00 PM "The Lion King" music program

7:00 PM "the boys: the sherman brothers story" panel discussion/ screening

10:00 PM "Darby O'Gill and the Little People" screening


11:00 AM Dick Cook / Walt Disney Studios presentation (in the Arena)

1:00 PM Screening of "The Nightmare Before Christmas" in Disney Digital 3D(TM) plus Tim Burton shorts, "Frankenweenie" and "Vincent"

4:00 PM "Tron"/ "Tron: Legacy" presentation; Digital debut screening of original "Tron"

7:30 PM "Walt & El Grupo" presentation; Followed by screening of "Saludos Amigos"

10:00 PM "The Shaggy Dog" screening


10:00 AM Disneynature presentation

12:00 PM "Snow White" panel discussion; Followed by screening of Restored Print

3:00 PM "Princess and the Frog" presentation

5:30 PM "Prep and Landing" presentation

7:30 PM "Trail of the Panda" screening

10:00 PM "Sleeping Beauty" screening


11:00 AM John Lasseter / Walt Disney and Pixar Animation Studios presentation (in the Arena)

1:00 PM "Muppets" presentation

4:00 PM "Tinker Bell and the Lost Treasure" screening

6:30 PM "Toy Story 3" presentation;

7:00 PM "Toy Story" and "Toy Story 2" debuts in Disney Digital 3D(TM)

Tickets to the D23 EXPO are available at http://www.D23Expo.com. Admission includes access to all experiences and entertainment at the D23 EXPO and can be purchased for single days or for the full four days of festivities. Admission is $37 for a one-day adult ticket and $27 for children 3-12. Four-day passes are $111 for adults and $81 for children. Members of D23: The Official Community for Disney Fans will receive a discount on up to four admissions, as well as early entry to each day of the D23 EXPO for themselves and their guests.
Source-Walt Disney

Tuesday, August 18, 2009

Will Remake Of Nightmare On Elm Street be Better Then The Original?

Will Remake Of Nightmare On Elm Street be Better Then The Original?

Originally portrayed by Robert Englund, Freddy Krueger invaded dreams for eight films and a two-season TV series, Freddy's Nightmares. His nightmares ranged from the standard gutting to the more elaborate human roach motel. Cassidy said new Nightmare director Bayer has scarier things in store for his Freddy, played by Watchmen's Jackie Earle Haley.

The original Nightmare on Elm Street horror film series made Freddy Krueger so popular that fans welcomed his appearances when they were supposed to fear him. But the creators of the new Nightmare on Elm Street want to make Freddy scary again, and star Katie Cassidy said they succeeded: She was terrified.

"It's going to scare the s--t out of people," Cassidy said in a group interview earlier this month in Pasadena, Calif., where she was promoting the CW series Melrose Place. "I definitely think people are going to freak out. It was really emotionally and physically draining for me, but it was great. It was a great experience."

How The Remake Of Nightmare On Elm Street Will Explain Freddy's Origins

A Nightmare on Elm Street is due April 30, 2010.
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Source-SyFy

Will The Movie Surrogates Follow the Graphic Novel?

Will The Movie Surrogates Follow the Graphic Novel?

It Looks like that it might not. Jonathan Mostow, director of the upcoming Bruce Willis sci-fi/action film Surrogates, had never heard of the Robert Venditti/Brett Weldele graphic novel on which it's based (and which is actually entitled The Surrogates), but that didn't stop the director of Terminator 3: Rise of the Machines from signing on to the project.

"I got involved nearly two years ago, and it began with the graphic novel," Mostow said recently in an exclusive telephone interview. "I just immediately responded to the concept. There's just something incredibly resonant about the idea. It's almost a metaphor for the way we're living our lives right now. It's a story that asks the question 'How do you stay human in this relentlessly, increasingly technological world we live in?' The graphic novel ... may have a different meaning for everybody who reads it, on a specific level, but on a general level it's just in the zeitgeist. It's made up, it's science fiction, but it's something that feels very relevant."
I hope that the Writers " John D. Brancato and Michael Ferris " Who Together Might have killed the Terminator Franchise.

Set for release on Sept. 25, the film unfolds in the near future and stars Willis and Radha Mitchell as FBI agents Greer and Peters. It's a utopian world in which technological breakthroughs allow people to live vicariously as their minds are downloaded into replicants—or "surrogates" of themselves—while their bodies remain at home. There should be no crime and no one should die, but the problems start when a pair of surrogates are murdered, leading to the remote deaths of their human operators.

Mostow, in working with screenwriters John D. Brancato and Michael Ferris (who together wrote Terminator 3 and also Terminator Salvation), attempted to capture the essence of the graphic novel rather than try to replicate it in its entirety. The reason was simple and understandable: The Surrogates is not Spider-Man.

"This is not an iconic property," Mostow said. "So we weren't bound by [the feeling] that anybody would be disappointed if we did something different or changed an element of the story. At the time we decided to do this as a movie I don't think there were more than 5,000 copies sold. Obviously the book is a little bit more known now. But Rob has been totally supportive of all the stuff we've done."

Mostow added, "Movies and graphic novels, like novels, ... they're very different mediums. You can't have everything in, and there's a lot you need in for a movie to work that wasn't in the graphic novel. So there was a lot of invention required, but the spirit of the book, I think, is totally intact."
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Hancock 2 Spoiler From Director Peter Berg

Hancock 2 Spoiler From Director Peter Berg

I still remember Peter Berg in Cocky Romano. What a Bad Movie. Peter Berg, director of the superhero movie Hancock, has some ideas for a sequel if one ever comes to pass, and he shared his ideas with SCI FI Wire. (Spoilers ahead!)

At the end of last year's Hancock, it was revealed that Will Smith's superpowered character was actually an immortal god who became vulnerable only when in the presence of his goddess companion (Charlize Theron). Berg confirmed that a sequel would elaborate on the film's mythology.

"There might be another god out there," Berg said in an exclusive interview last month in Pasadena, Calif. "Might be another one."

If two gods render each other mortal, imagine what kind of wrench a third would throw into the mix. Also, imagine the casting to match up with Will Smith and Charlize Theron! In the mythology of Hancock, all the gods supposedly died out except for our heroes, so a third deity would tweak the mythos.

Berg also confirmed that the subplot of Jason Bateman's publicist character should pick up where it left off in Hancock, where he's starting his charity campaign.

Of course, Columbia Pictures would love another Will Smith blockbuster for the earliest possible summer position. Smith and Berg, however, are in no rush. "They like to fast-track it, but Will's busy, I'm pretty busy," Berg continued. "We're excited to do one, but we want the script to be right and the movie to be right. We don't feel a burning imperative to go right back into it."
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Source-SyFy

Monday, August 17, 2009

Behind the Scenes of The Expendables

A behind the scene of The Expendables.

In the scene you can see UFC Fighters Randy Couture, Antonio Nogueira and Anderson Silva . Antonio Nogueria and Sylvester Stallone are talking about how Nogueria is going to fight Couture This month at UFC® 102 COUTURE vs NOGUEIRA. The fight is scheduled on Aug-29-2009 7pm PT / 10pm ET on Pay Per View.

You also get quick glance of Sylvester Stallone,Randy Couture,Jason Statham, Dolph Lundgren and Jet Li in the Video. Also from our Friends Over at The Arnold Fans. The gillinator Reports:It has been confirmed Bruce Willis confirmed to cameo in "Expendables"! That makes it official: Arnold, Sly, and Bruce in a movie together at last! We have been waiting for this 20 years.

A team of highly-trained, deadly combat mercenaries goes on a mission to South America to overthrow and execute a villainous dictator and his army, who has been causing devastation and chaos for the last 20 years.

Due to the high level of anticipation of the online community and overwhelming positive reaction to early test footage, producer Avi Lerner has reported that there is already talk of making two more sequels, and a longer franchise, depending just who makes it to the end of the first film intact.
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New Trailer for Twilight New Moon. Ladies Start Screaming!!

New Trailer for Twilight New Moon. Ladies Start Screaming!!

This is all I have to say. Start to go crazy Ladies.
New Moon
The Volturi are first introduced in New Moon.
Near the beginning of the book, Edward says to Bella that irritating them was a sure fire way to get yourself killed. When Edward thought Bella was dead, he went to Volterra to ask the Volturi to kill him. The Volturi refused, Aro in particular wanted Edward to join them, and Edward decided to force their hand by exposing himself to the humans of the city. Bella and Alice, however, were able to arrive in the city and find him before he revealed himself. Several guards brought the three of them back to Aro, Marcus, and Caius. Aro was intrigued when he saw Bella and when she was immune to all mental powers. After Edward, Alice, and Bella declined the Volturi's offer to join them, the Volturi told them that Bella, because she knew their secrets, had to either die or become a vampire, which Edward will not allow. But Alice was able to convince them to let them go when she said she saw a vision of Bella becoming a vampire in the future.

Click Here for more Info on the movie.
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Brewster's Millions Getting Remade, Another Great 80's Movie Getting a Face Lift

Brewster's Millions Getting Remade Another Great 80's Movie Getting a Face Lift

Now do they really have to remake this movie? Especially since this movie was remade in 1985 Which Starring Richard Pryor and John Candy . It was a great movie from my childhood and I Still enjoy watching it to this day. I have never seen the Original movie from 1945 Starring Dennis O'Keefe.
It just seems like a trend right now to remake Classic Movies. Most of them are nowhere near as good as the Original movie. Since they are going to remake the movie who should they pair up in the movie? I would like to see Danny McBride and Terry Crews maybe. I have been a Huge Fan Of Danny Mcbride since I saw The Foot Fist Way, And he is the Man in HBO's Eastbound and Down. If you have never seen or heard of the show On Demand this NOW! As for Terry Crews, Yes I watched White Chicks . I loved him in this movie. The best part was when he started to sing the Vanessa Carlton Song . He was also great in Everybody Hates Chris TV Show.

Michael Diliberti and Matthew Sullivan have been tapped to pen "Brewster's Millions," the latest take on the George Barr McCutcheon novel set up at Warner Bros.

The 1902 novel, which became a play in 1906, has proved to be a popular film subject, with this project being the eighth incarnation. Popular versions include the 1945 film starring Dennis O'Keefe, directed by Allan Dwan, and the 1985 comedy starring Richard Pryor and John Candy and directed by Walter Hill.

The story centers on a man who inherits $1 million from a rich grandfather. When a rich uncle who hated the grandfather also passes away, the will leaves the young man $7 million -- but under the condition he spends the grandfather's million within a year and not end up with any assets from the spending spree.

Diliberti and Sullivan got the gig coming off the buzz generated by their spec "Comic Con." That buddy comedy revolves around two friends who form a justice league of comic geeks to plan and execute a daring heist at Comic-Con in order to save their beloved neighborhood comic shop from the clutches of an evil corporate takeover. Principato-Young is attached to produce, and New School Media, which reps the duo, is exec producing.

The scribes met while attending the Johns Hopkins University. Sullivan segued into stand-up comedy, and Diliberti spent several years as an assistant to Scott Rudin, acting as an associate producer on the Rudin-produced "Stop-Loss." Diliberti, who got married over the weekend, also was a creative exec at Paramount.
Source-THR

Are The Wonder Twins Coming To Smallville ?

Are The Wonder Twins Coming To Smallville Season Nine

Well the Rumor is that they will be appearing in The fifth episode Smallville. The two characters that many are suspecting will be the Wonder Twins - Zan and Jayna.Is Gleek going to make an Appearance too?

David Gallagher will be playing the role they are casting as "Tanner" which many are expecting as a code for "Zan." Gallagher is best known to WB/CW viewers as "Simon" on the long-running 7th Heaven.

Allison Scagliotti, who recently appeared on Warehouse 13 and includes One Tree Hill and Drake & Josh among her past credits, will be playing Twyla - er, Jayna..

The ninth season of Smallville premieres Friday, September 25 on The CW. The season's fifth episode, "Idol," airs in late October. Read more...

Sunday, August 16, 2009

Sony Hires Screen Writer for Spider-Man 5 & 6

Sony Hires Screen Writer for Spider-Man 5 & 6
Let's See if Michael Papajohn Who is an all round Good Guy and and a friend of mine, will be making an appearance in any of the new Spider Man movies. We over here at Sandwichjohnfilms can only hope so.

As Sony Pictures Entertainment preps a fourth installment of "Spider-Man" to begin production early next year, the studio has quietly engaged screenwriter James Vanderbilt to pen "Spider-Man 5" and "Spider-Man 6."
Vanderbilt was the first writer on "Spider-Man 4." Director Sam Raimi brought on "Rabbit Hole" playwright David Lindsay-Abaire to rewrite him, and Gary Ross is now rewriting that script. The studio is enthusiastic about where it stands as the picture begins prepping for an early 2010 production start for a May 2011 release.

Raimi didn't embrace all of Vanderbilt's ideas, but execs at Columbia Pictures and Marvel Studios have. Vanderbilt has been hired to pen the fifth and sixth movies, which have an interconnected storyline. That's what was originally discussed when Vanderbilt signed on to write "Spider-Man 4," but the idea of shooting a fourth and fifth film back to back with the original cast was scrapped.

Sources said it was unclear whether Raimi, Tobey Maguire and Kirsten Dunst will be back. If they aren't, Vanderbilt's script would be the blueprint for a franchise reboot. After committing to his fourth "Spider-Man" film, Raimi signed on to direct a new franchise based on the massively multiplayer role-playing online computer game "World of Warcraft" for Legendary Pictures and Warner Bros. Maguire and Dunst were locked into the first three pictures and made a new deal for "Spider-Man 4." It's unclear how long they want to continue with the series.

Then again, Raimi was initially doubtful for "Spider-Man 4" because he expected to direct "The Hobbit," but returned after Guillermo del Toro got the job.

Why is Vanderbilt writing when so many variables are undecided?

The most important thing is for Sony to prime the "Spider-Man" pump more frequently. The lapse between films has grown with each blockbuster. The second film came only two years after the first, but it took three years for a third installment, and four years will have passed when "Spider-Man 4" opens in summer 2011.
Source-Variety

DC/Vertigo Comics Midnight Madness Being made into TV show For NBC

DC/Vertigo Comics Midnight Madness Being made into TV show For NBC

Looks like everyone is trying to get their hands in to the Comic Book Cookie Jar. With the success of Iron Man, Watchmen and X Men Franchise. Everyone is trying to get a piece and find that Golden Nugget.

"Midnight, Mass." is headed to television.

NBC has picked up a live-action drama adaptation of the comic book series from DC Comics' Vertigo imprint.

Gretchen Berg and Aaron Harberts are on board to write the project for Warner Bros. TV and studio-based Jinks/Cohen Co.

"Midnight," which has received a script commitment with penalty from the network, revolves around Adam and Julia Kadmons, a sophisticated, sexy, globe-trotting husband-and-wife team who solve mysteries and crimes of the supernatural.

John Rozum's "Midnight, Mass." has been among the most heavily pursued of DC Comics' properties for a TV series adaptation by sister company WBTV.

Over the years, almost a dozen producers at the studio had taken a stab at the comic, but this is the first time such a project has been set up at a network.

Berg and Harberts are executive producing "Midnight" with Jinks and Cohen.

ICM-repped Berg and Harberts serve as executive producers/showrunners on NBC/UMS' new medical drama "Mercy" with creator Liz Heldens.
Source-THR

Is The WWE The New Talk Show Circuit?

Is The WWE The New Talk Show Circuit?

Hollywood is trying something new and it's working.I like the Idea of Hollywood adding to wrestling and giving it a like spice to the shows, also adds a flare to the WWE that has been lacking in years.
WWE has been lacking the superstar power with Personality that once ruled the show "The Rock, Stone Cold and Hulk Hogan " And I think that this will be bring back the Old School audience like myself that gave up on the WWE years ago.

Celebrities and their handlers may have found an unusual alternative to the traditional talkshow circuit when promoting projects: a wrestling ring.
For the past two months, World Wrestling Entertainment has essentially handed over its "Monday Night Raw" show on USA Network to guest hosts, who arrange matches and interact with the WWE's wrestlers while touting their new movies, TV shows, books and other fare.

Jeremy Piven recently stepped into the ring to promote his laffer "The Goods: Live Hard, Sell Hard," for Paramount Vantage, while Seth Green pushed "Robot Chicken" on DVD, and Shaquille O'Neal sold his new ABC reality show "Shaq Vs."

Tonight, Freddie Prinze Jr. takes over the show to hype his joining Fox's new season of "24."

WWE has long been keen on identifying ways to increase the audience of its live events, TV shows and pay-per-views. Last year, it decided to make all its TV programming PG in order to become more family friendly. Now, rolling out the red carpet for celebs is a way to make WWE's roster of athletes more pop-culturally relevant.

"We wanted a different way to get our product out there and talked about," Stephanie McMahon, WWE's executive VP of creative development and operations, told Daily Variety. "Tying us in with celebrities in Hollywood raises our awareness and gets a variety of people talking about us, which is always a positive place to be. Hopefully it will translate to new viewers."

The move is starting to pay off.

Overall viewership for "Raw" is up 10% since the hosts were introduced in June and is averaging an audience of 5.6 million each week. That's considerable given that "Raw" already was one of USA's strongest performers each week, especially among the lucrative younger male demo it attracts.

"They have something to promote, and we have the platform they need," said Chris McCumber, USA Network's executive VP for marketing and brand strategy.

Outside the ring, WWE is gaining considerable exposure, with ESPN having heavily covered O'Neal's appearance on "Raw." Clips from the show were played when Piven and Green did interviews on yakkers like "Live With Regis and Kelly," "The Tonight Show With Conan O'Brien" and "Late Night With Jimmy Fallon." Wrestlers are also getting invited onto the shows as a result of the tie-in with Hollywood talent.

Naturally, USA isn't complaining about any of the extra exposure, considering that any new viewers for "Raw" may stick around and watch one of the network's other shows.

Given how successful the guest hosts have been, WWE plans to continue having them appear on "Raw" at least through the end of the year, and possibly up to WrestleMania 26 next March.

"For right now, it's really working and clicking," McMahon said. "But it's just the beginning."

Upcoming booked talent includes former gameshow host Bob Barker, the Rev. Al Sharpton, "Access Hollywood" co-host Nancy O'Dell, boxer Floyd Mayweather and basketball player LeBron James. Fall Out Boy's Pete Wentz, Ashlee Simpson, the Osbournes, Danny DeVito, Regis Philbin and Kelly Ripa, Jimmy Fallon, Rachael Ray, MC Hammer, Woody Harrelson, Serena Williams and Ashton Kutcher also are in talks for hosting gigs.

While embracing the PG rating has helped WWE attract new advertisers like 7-Eleven and Pepsi, the extra star wattage is only expected to help keep sponsors happy.

"We're letting them feel safe with the PG environment," McMahon said. "By bringing in the celebrities, we're saying, 'If it's OK for them, it's OK for you too.' "

All of this is ironic, of course, because it almost never happened.

The idea came about when the plug was pulled, earlier than planned, on a fictionalized storyline that had Donald Trump buy "Raw" from WWE's colorful chairman Vince McMahon. WWE and USA, however, made it seem a little too real for Wall Street, confusing investors, and creating a small PR headache.

But the resulting media attention gave the McMahons the idea for the guest hosts and the company quickly began booking talent and plastering them all over its shows, websites and magazines.

"We've gotten the point across that we are fun, we are entertaining and you are guaranteed to have a good time," Stephanie McMahon said. "We've become a complement to the traditional circuit."

Source- Variety

Is the Weinstein Brothers Ship Sinking?

Is the Weinstein Brothers Ship Sinking?
I sure hope that Bob and Harvey Weinstein get their shit together. They have made some great movies in the past. But not putting any money behind them to promote the movies is Horse shit. You spend all this money to make the movie and then don't put anything into promoting it. Real Smart. Get it together and bring back the old magic that made this team on of the best out there.
IN the wee hours of Friday morning, Quentin Tarantino stood in a West Village bar that had opened for him and his entourage — cast members of his new movie, “Inglourious Basterds,” and his longtime producers, Bob and Harvey Weinstein. Swinging a blue cocktail in one hand, he held forth about the time that Harvey told him he’d like to invest in a restaurant.
The goal, Harvey explained to Mr. Tarantino at the time, wasn’t to schmooze, or to get the best table. New York City had just banned cigarettes from restaurants and Harvey, then an avid smoker, didn’t approve.

“He said, ‘I want to light up in my own restaurant and blow smoke in the fire marshal’s face,’ ” Mr. Tarantino recalled.

Vintage Harvey chutzpah. The story killed, and when the laughing died down, Bob smiled, waited a beat and added another punch line.

“A million dollars,” he sighed, “for a cigarette.”

Ah, the flush years. They must seem kind of distant now. Because four years after Disney bought the Weinsteins out of Miramax, the company that first ushered indie films into the multiplex, the brothers are under serious stress.

A full accounting of their agita begins, naturally, with a batch of underperforming movies. Since opening its doors in 2005, the Weinstein Company has released about 70 films, and more than one quarter of them failed to break the $1 million box-office mark in the United States. Thirteen of these took in less than $100,000.

To complicate matters, the company’s beloved reality television show, “Project Runway,” was until recently sidelined by litigation. Harvey decided last year to move the show from Bravo to Lifetime, prompting NBC, which owns Bravo, to sue, contending that it had the right to match Lifetime’s bid and keep the program. In April, the Weinstein Company settled for an undisclosed sum, and those backstabbing fashionistas will return to the air, at long last, on Thursday night.

Yes, the brothers have had triumphs as well. Bob, who handles the lowbrow genre stuff, scored with the supernatural thriller “1408” and “Scary Movie 4.” (These brought in $72 million and $91 million, respectively.) Harvey showed a bit of the maestro’s touch with “Hoodwinked,” and with “The Reader,” which has taken in $101 million around the world, despite some tepid reviews, and won Kate Winslet an Oscar.

But the Weinsteins’ flop-to-jackpot ratio has been high enough to prompt the brothers to hire Miller Buckfire & Company, financial advisers who help troubled clients restructure. Last week, the firm finished its review and is urging Team Weinstein to release and promote only 10 movies a year, unload unpromising titles from its film library and avoid empire-building.

To shore up their finances, the brothers received a bridge loan a few months ago estimated at $75 million from Ziff Brothers Investments, according to two people familiar with the loan who requested anonymity because they weren’t authorized to speak publicly about it.

“We are a private company and aren’t going to comment on unsubstantiated claims from unnamed sources,” Harvey says of the bridge loan. He points over and over to what he describes as a robust pipeline of film, theater and television projects, not to mention a library of 250 films. Sit tight, he advises, and don’t bet against us.

But some backers of the Weinstein Company say they’re getting anxious. They were corralled in 2005 by Goldman Sachs, which helped raise $1 billion for the company. At the time, filmmaking had acquired a certain cachet in private equity circles, and here was a chance to bankroll what were arguably two of the greatest movie producers in modern cinematic history.

Starting in the late ’80s, the Weinsteins produced “Pulp Fiction,” “Shakespeare in Love,” “The English Patient,” “My Left Foot,” “Good Will Hunting,” “The Piano” and hundreds of other movies, garnering 249 Academy Award nominations and three Oscars for best picture. In one 11-year stretch, they racked up 13 best-picture nominations.

SO what happened? In part, the Weinstein Company is coping with the same problems facing every other studio, most notably the grim slowdown of the DVD market. But plenty of the Weinsteins’ wounds are also self-inflicted. Instead of using their lush, Goldman-fueled pile of start-up money to focus on filmmaking, the brothers ventured into such new realms as fashion (buying part of Halston, the once-storied label), online social networking (through A Small World, known informally as MySpace for Millionaires) and a piece of Ovation, the cable network.

These were all Harvey’s ideas — his attempt, he says, at a Barry Diller-style conglomerate. The problem wasn’t just that the companies failed to generate vast profits. It’s that they took Harvey’s eye off the film ball, which is why he kept whiffing.

“What happened was, I got more fascinated by these other businesses and I figured, ‘Making movies, I can do that in my sleep,’ ” he says in an interview in his office in downtown Manhattan. “I kind of delegated the process of production and acquisitions. Yes, I had a say in it, but was I 100 percent concentrating? Absolutely not. I thought I could build the company and delegate authority, and that’s where it went wrong.”

Bob, meanwhile, has disavowed his goal of becoming the next king of African-American urban comedies, an unlikely ambition for a Jewish guy from Queens. But a few years ago, he took note of Tyler Perry’s success, and it looked like easy money. Bob produced “Long Shots,” with Ice Cube, and “Soul Men” with Bernie Mac and Samuel L. Jackson.

“Did like $15 million gross,” Bob says of “Soul Men,” “and it was a relatively expensive, $20 million movie. And for an African-American movie, there’s no foreign business. So those were two bad missteps, definitely.”

For months, the brothers have ignored media requests for comments, leaving lots of “Are the Weinsteins goners?” articles and blog posts with boilerplate denials offered up by their representatives. The two broke their silence to deliver this very simple message: We’re back to what we know. Bob is planning three new “Scream” films, the most profitable franchise in the Weinsteins’ history. Harvey has sworn off interest in the nonmovie parts of his business, sounding a bit like a married man lamenting a fling.

“I’m going to just do this and nothing else,” he says.

At minimum, the brothers are focused on the director who gave them “Pulp Fiction,” Mr. Tarantino. “I’ve got their undivided attention, I can honestly say that,” Mr. Tarantino said in a phone interview. “They want ‘Inglourious Basterds’ to be a hit even more than I want it to be a hit. Even in the grand scheme of things, it’s more important to them than me.”

Born promoters, the brothers have timed their mea culpas for maximum impact. “Inglourious Basterds” is one of several must-wins on a slate of roughly 10 Weinstein films on their way in coming months. The others are “Nine,” a film version of the Broadway musical, starring Daniel Day-Lewis and Penélope Cruz. There’s also “Halloween II” and an adaptation of Cormac McCarthy’s post-apocalypse bummer, “The Road,” starring Viggo Mortensen. For some of these films, “Inglourious” among them, the brothers had to bring in partners to split production and promotion expenses, which means they’ll split profits, too.

Will these guys be around to shepherd all these movies into theaters? The question has the sort of final-reel drama that the Weinsteins, in other circumstances, might savor. What’s certain is if there aren’t a few blockbusters in the near future, these guys are going to have to find new jobs.

Of course, rivals and reporters have issued dire predictions like that throughout the Weinsteins’ career. But there’s a difference. This time, it’s a Weinstein making the prediction.

“The ship’s riding on the slate,” Harvey says, sounding remarkably buoyant, all things considered. “If by February, when we release ‘Hoodwinked 2’ ” — he playfully thumps a hand on the table, dramatizing the sound of failure — “I’ll be driving you, or making cheap hamburgers, or selling trailers, or refrigerators, or something. If the slate works, we’re right back to plan.”

THE Weinsteins — Harvey is 57 year old, Bob is 54 — will not discuss how much money they have left in the bank, but just calling up and asking for an interview, you could get the impression they’re running low. A few years ago, you’d barely have the receiver off your ear before public relations specialists would call to vigorously frisk you about your intentions. Your request for a sit-down would initially be denied, but if you persisted, you would eventually be summoned to Harvey’s office, where he would praise your work and offer you some goodie — a book deal, for instance — if you wrote about something else.

Not now. The Weinstein Company doesn’t keep the same phalanx of P.R. pros on retainer, lost perhaps in a downsizing that included an 11 percent staff cut last year. Once you get into Harvey’s office, the most you can expect by way of enticing offers these days is a well-brewed cup of coffee.

That said, the brothers were downright generous with me when it came to screening their coming movies. In fact, they shared as much of their slate as was ready — six movies in all, as well as ads, DVDs and rough cuts of unfinished products.

The goal, they said, was to demonstrate the strength of these films. For Harvey, it also seemed as if the screenings were supposed to bolster his case if — or, perhaps in his mind, when — he had to complain about this article. We showed him everything and he still said we’re doomed, was the subtext. If there is such a thing as prevenge, this is it.

“You see this?” Harvey asks, pounding a finger against a sheet of paper. It’s a Nielsen NRG tracking poll, a gauge of public interest in coming movies. He points to figures besides “Inglourious Basterds.” Here’s the G-rated version of what he says next: “This is called ‘smash hit’!”

Behold the charming Harvey, a plumpish, easily excited man with ink-dark eyes, two days’ worth of facial stubble and a trace of a New York accent. He is self-deprecating, chatty and usually in a rush. He has about him that magnetic field of charisma that you recognize as soon as you pass through his orbit.

Happily, we won’t meet the irate Harvey, but those who have encountered him describe a combustible, thin-skinned creature who belongs in the Extreme Mammals exhibit at the American Museum of Natural History. In Hollywood, he is known for outbursts that elevate profanity and rage to a kind of performance art. He says that age, his daughters from a first marriage, and his second wife, the 33-year-old British clothing designer Georgina Chapman, have mellowed him. But even after decades at the epicenter of the film business, he and his brother seem to consider themselves gatecrashers at a party where everyone wonders how they got past the bouncer. They tend to believe that many people are rooting for their demise — reporters in particular.

“We should send all journalists to Kamchatka, this place where nothing grows,” he jokes at one point, invoking a Siberian backwater. He laughs and adds, “That’s where they’re going to send me.”

We’re at a Friday-afternoon marketing meeting in the Weinstein Company’s offices in TriBeCa, on the third floor of a red-brick office building over a restaurant. Harvey sits at the head of a large table, sporting a black suit and white shirt, a uniform he wears every other day, when he isn’t in a dark blue suit with a white shirt. It’s a foolproof wardrobe strategy for a guy with little fashion sense, Harvey explains, the recommendation of his wife.

There are four employees at the table, with an additional three videoconferenced in from the Los Angeles office. Some of these people are relatively new to their jobs, because much of the senior staff has departed in the past year, including the head of acquisitions and the head of production. Former employees describe morale at the office as low. You half-expect people at this meeting to blink H-E-L-P in Morse code.

They don’t. They seem totally engaged and convincingly chipper, though one way to ensure that nothing revelatory happens at any event is to invite a reporter to eavesdrop on it. Harvey, though, seems eager to prove that the Weinstein Company is busily planning life after “Inglourious Basterds,” and perhaps he’d like to demonstrate how focused on movies he is once again.

Much of the conversation is given over to the release of “Nowhere Boy,” a biographical film about the teenage years of John Lennon.

“It’s our old-school wheelhouse a little bit,” says Francois Martin, a senior vice president.

“Like old Miramax,” Harvey says.

“Yeah, I didn’t want to say it.”

There’s brainstorming about “Shanghai,” a romantic spy drama set in China during World War II to be released in the United States in the late fall. There’s talk of Golden Globes and Oscar campaigns for Brad Pitt for “Inglourious Basterds” and Mr. Mortenson for “The Road.” Later, there is a screening of TV spots shot for “Project Runway” featuring Nicole Kidman.

The meeting ends with a talk about “Inglourious.” It’s a tricky film to market because it’s a one-of-a-kind hybrid of war, comedy, sadistic violence and fantasy. Yes, fantasy. It gives away little of the plot to note that Mr. Tarantino deviates rather wildly from the historical facts of World War II and that at some point the movie becomes a broadly comic and spectacularly violent exercise in wish fulfillment. Also, the Allies beat, scalp and chiffonade the foreheads of so many German soldiers that at moments, against your will, you feel sorry for the Nazis.

Harvey and his underlings know they need to prepare their audience, somehow, for the way “Inglourious” rewrites history. (“Somebody ought to talk and say ‘fantasy, fantasy, fantasy,’ ” Harvey tells the group.) There’s also some evidence in the tracking polls that teenage girls aren’t interested. So the company has created ads for that niche.

Harvey watches one of those ads for the first time, featuring a female star of the film. As soon as the spot is over, he weighs in.

“Almost,” he says. “The women aren’t empowered enough; you don’t see them doing anything. It starts out like something for females, but you want to see Mélanie Laurent do something.”

He’s right, or it sure seems as if he’s right. Harvey has an impresario’s gut about what will draw a crowd. When the topic of a photograph for this article came up, he had a concept in a flash: he and his brother, standing outside the office of Goldman Sachs, hats out, as if they’re asking for money.

As a sight gag it works because Goldman is unlikely to lend the Weinsteins any more money.

IN 2005, Joe Ravitch, a member of Goldman’s media group, cobbled together a group of investors for the Weinsteins’ new venture. At the time, the brothers were coming off of a contentious 12 years running Miramax as a subsidiary of Disney, a bumpy corporate relationship that yielded dozens of exceptional movies.

From the start of their improbable career, the Weinsteins have never taken orders very well, and they tend to keep their own counsel. They began in Buffalo, where Harvey went to college and was a concert promoter, and the pair segued into the movie business through a concert film of the band Genesis. He and his brother saw a niche in obscure foreign movies, like “Crossover Dreams” with Rubén Blades, which were ghettoized into small art house theaters in the mid-’70s.

They chose “Miramax” by conjoining the names of their parents, Miriam and Max, a diamond cutter who toiled in Manhattan for years. Harvey and Bob found truffles like “Sex, Lies, and Videotape” for Miramax, and they parlayed tiny movies into modest, mainstream hits. It helped that they were both genuine fans of cinema, a trait rarer than you’d think in the business. It also helped that they were willing to bluster, bully, threaten and sweet-talk with an intensity that few in Hollywood could match.

They were masterful guerrilla marketers, too. They brought a huge audience to “The Crying Game” with their keep-the-secret campaign, and they fine-tuned the art of winning Oscars, with the now-common practice of sending free copies of the movies to Academy members.

By the time they released “Pulp Fiction,” in 1994, every studio wanted to make Miramax-style films. But as part of Disney, the brothers clashed a few too many times with Michael Eisner, then Disney’s chairman. The release of Michael Moore’s anti-war film “Fahrenheit 9/11,” a moneymaker that was too controversial for the company behind Mickey Mouse, was the snapping point. Disney bought out the brothers, and they left to start their own company.

With hedge funds circling Hollywood four years ago, Mr. Ravitch’s pitch to investors, and his own bosses at Goldman, was a straightforward bet on two overachieving filmmakers.

But the problems started right away. A pay-TV deal with the premium cable channel Starz — which would have paid the brothers for the exclusive rights to show their films — fell apart, eliminating what would have been a steady source of revenue. Then Harvey began his buying spree: a “significant” investment in the social networking Web site ASmallWorld in May 2006, a piece of Ovation a few months later, a chunk of Halston in March 2007.

At the time, Harvey’s idea was to outfit the celebrities in television and movie properties with dresses that Halston would sell.

All of these moves required board approval, but some investors read the news of these acquisitions and were flabbergasted. In Goldman’s 142-page initial offering, there were lots of boilerplate warnings, like “The Company expects to be highly leveraged, and the Company’s indebtedness could adversely affect its financial situation.” But nothing like: “Wild man atop flow chart will lose interest in movies and attempt cross-platform mogul status.” About as close as it gets is a promise to “opportunistically seek to form strategic relationships” and “consider ownership stakes in its partners.” It also predicts more than $160 million in profit by the end of 2009.

Backers were equally unprepared for the Weinsteins’ combative style, particularly when it came to dealing with each other.

“They fight incessantly,” said one investor, who requested anonymity because he didn’t want to poison his relationship with the Weinsteins. “They’d make more money selling tickets to the board meetings.”

Harvey says the brothers do tend to mix it up, and have done so “in the board room, in the family room, at mom’s house.” That said, he describes the notion that they had big fights in the board room as “ridiculous.”

Blame, this investor says, falls to Goldman Sachs as much as the Weinsteins. The imprimatur of the bank carried a lot of weight, and there was an assumption that Mr. Ravitch and others had done their homework. But there was at least one glaring oversight in their homework: nobody asked Michael Eisner what it’s like to work with the Weinsteins, according to two people who have discussed the subject with him.

Mr. Ravitch left Goldman Sachs this year and is now creating an investment fund in connection with the Hollywood talent agency William Morris Endeavor. He didn’t return calls. Goldman officials would not discuss the Weinstein Company but sent a statement praising the brothers: “Their strong track record was one of the key factors that attracted a great deal of capital, including from Goldman Sachs, into their independent film company.”

The first eight months of this year have been particularly dreadful for the Weinsteins. They have released only four films, in a limited number of theaters, and they have so far brought in a total of $1.3 million domestically. In their Miramax days, the brothers often earned many times that figure on a Friday night.

The problem is that in the years since the founding of the Weinstein Company, virtually everything about the movie business has become tougher. Margins at theaters have slimmed, so films are shuffled in and out faster. Nothing has replaced the revenue once offered by DVDs. And when the brothers finally signed a pay-TV deal, in July last year with Showtime, the network had decided that what drew and kept subscribers wasn’t movies, but original programming.

Traditionally, a cable network simply paid a studio for movies, providing a steady flow of revenue for the studio to finance more movies. But Showtime, according to a person with knowledge of the seven-year deal, required the Weinsteins to put up millions as a buffer against potential losses if the brothers are unable to deliver. Harvey flatly denies fronting any money to Showtime, providing one of those moments in reporting about this company when all signs point to X and he says “Absolutely not X.” He sees the arrangement as a “game changer,” one of the pillars of the Weinstein Company’s financial rebound and the perfect compliment to his regained discipline.

“In the end, I realized that I’m not a good C.E.O., I’m not a good manager,” he says. In addition to being too spread out, he was also in businesses he knew nothing about. “I had no idea what any of these companies were,” he says. “I just thought they were fascinating ideas, these were fascinating people and I think eventually these companies will all thrive. But I saw the result of everything not working.”

IF the Weinsteins have a game changer, it probably isn’t Showtime. It’s Bob Weinstein. Without him, the game for the company might already be over.

He never strayed from the movie business, and he seems incapable of anything but total focus. You got a hint at his attention to detail at a recent test screening of “Youth in Revolt,” a teenage comedy in the vein of “Juno.” The director, Miguel Arteta, said that for weeks he and Bob had lengthy back-and-forths over seemingly minor decisions, like this one: Does the last scene of the film need a voice-over?

Bob said yes. Mr. Arteta said no. Bob’s version screened on this particular night in an East Village theater in New York, and afterward, a focus group of 20 audience members were peppered with questions. Among them: How many of you liked the voice-over in the last scene?

Every hand but one went up.

Unbeknownst to the attendees, Mr. Arteta sat two rows away, and after that vote, he turned to Bob, who sat at the rear of the theater, offering him a grateful, smiling shrug that said, “You were right.”

“He’s not somebody who just hands you the money and says, ‘You better do good,’ ” Mr. Arteta says. “It makes you feel less lonely as a director. You feel like you have a partner.”

Bob is less extroverted than his brother, but in private he’s every bit as funny, expansive and sharp. Until it’s time to go on the record. At that point, his jocularity vanishes and he starts to sound like a politician at a press conference he’s attending against his will. None of the public parts of filmmaking come naturally to him, and he lacks the layers of smoothness that Harvey puts between himself and his temper. At the “Youth in Revolt” screening, the movie started with the soundtrack but no picture and Bob shot out of his chair, cursing and waving his hands until the projector stopped and the movie was rewound.

At moments during a half-hour interview, it seems as if he’s actively trying to keep his cool. Asked to name his greatest regret about the Weinstein Company, he pauses for just over 20 seconds, staring at the table, as though waiting out the impulse to explode or strangle someone with his bare hands.

“I think,” he says at last, slowly and in a modulated whisper, “we were a little too ambitious about trying to create the same model we had at Miramax. We didn’t have to start out that fast.”

The Weinsteins have a complicated relationship, one that is a little mysterious to people around them. They manage to seem inseparable and wholly separate at the same time. They work in different offices, a block apart, but speak constantly to each other on the phone. They extol each other’s accomplishments and talents, but as with many brothers, they are also competitors. When I vowed to Harvey that I would crush Bob in a Ping-Pong match — there’s a table in Bob’s office — Harvey cackled and promised to publish an ad hailing the defeat if his brother lost.

Ultimately, Bob begged off, saying that his elbow was in too much pain to play.

It’s one of the few contests that either Weinstein has ever ducked. For most of their careers, the they have regarded movie promotion as a form of warfare. They see themselves as leaders in a series of sustained, tactical strikes against a surrounding enemy. In the Miramax days, they reached their audience with clever, cost-efficient marketing and sheer force of will. Miramax employees were famous for working long hours, over weekends, through vacations.

But without Harvey on a bullhorn, the Weinstein Company was no longer an irresistible force. Which Harvey realized, at last, soon after the release of “Miss Potter,” a Renée Zellweger movie in 2006 about the life of the children’s author Beatrix Potter. It was exactly the sort of quiet, literate film that the brothers turned into gold at Miramax, and Harvey thought that it would gross $40 million, at least, and almost surely win an Oscar nomination for Ms. Zellweger.

But MGM was in charge of distribution of Weinstein Company movies at the time and Harvey was minding other stores. Before he knew it, the film had grossed only $3 million and was gone from theaters.

It seems like a preventable error to him now: “Sometimes with a movie like ‘Miss Potter,’ the theaters are saying ‘Take it off the screen!’ and you have to say: ‘No, no, no! One more week, two more weeks!’ Whatever you have to do to hold on, you have to hold on.”

The distractions of his other companies led to some memorable film fiascos, like “Fanboys.” The movie had a catchy premise: “Star Wars” fanatics drive across the country, break into the home of George Lucas and steal a copy of an coming “Star Wars” movie. But Harvey didn’t love the finished product and he didn’t fight with his usual combination of charm, guile and cajolery to persuade the director to change it. It was released the movie in a small number of theaters and with little promotion. It earned less than $700,000.

To Dana Brunetti, who produced “Fanboys,” the whole episode was a blown opportunity.

“I don’t think the Weinsteins understood that they had this stalwart audience of ‘Star Wars’ fans in their back pocket,” he says. “They just wanted the movie to be whatever had been hot the previous weekend. It was ‘Superbad’ one weekend, something else the next.”

WHICH brings us to some worst-case scenarios for the Weinsteins. What if the problem isn’t just that Harvey neglected his bailiwick? What if it’s deeper than that?

At the start of their careers, the brothers found ways to package the sort of skillfully made, modestly financed films that Hollywood ignored. Inevitably, Hollywood started paying attention, and conventional studios like Fox Searchlight now churn out movies like “Juno.” Yet the surprising part isn’t that old, bloated Hollywood adopted the methods of the Weinsteins. It’s that the Weinsteins adopted the methods of old, bloated Hollywood, rather than finding a new way to again outfox the majors. “Fanboys” aside, Harvey has been gravitating to more star-driven vehicles with larger budgets.

The genius of a movie like “Pulp Fiction” is that it grossed more than $200 million worldwide and cost just $9 million to make. (Yes, the movie had stars, but Mr. Tarantino had so much juice, they worked for a pittance.) “Inglourious,” on the other hand, cost nearly $70 million. The cheap, inventive marketing campaign is impossible for a movie of that scale. But the pricey, carpet-bomb approach to promotion has never been the Weinsteins’ forte.

WHEN the director Kevin Smith released “Zack and Miri Make a Porno” last year, he says, it was impossible to get Harvey to spend enough to promote the movie, which cost about $24 million to make. And Harvey seemed truly scattered at the time, Mr. Smith says. At the premiere, he introduced Mr. Smith to the actress Sarah Chalke, which was awkward because the woman was actually Traci Lords, a co-star of the movie.

“The old Harvey would never would have made those kinds of mistakes,” he says. “He just wasn’t as present, he wasn’t minding the farm, so to speak.”

Despite some good reviews, “Zack and Miri” earned just $34 million, which Mr. Smith found disappointing. Harvey says the problem wasn’t a lack of promotion; he says the company spent more than $30 million marketing the movie, a budget that is several times Mr. Smith’s best guess. Harvey also says the movie will ultimately earn a $10 million profit, factoring in all the ancillary revenue like DVD sales.

Mr. Smith sounds more wistful than angry. He remembers the Miramax days as a golden age, and he lauds the Weinsteins as the only producers he’s met who care about the quality and originality of their work. The weird glee that attends every murmur about the Weinsteins’ financial woes baffles him.

Which is a refrain you hear time and again from directors who’ve worked with Harvey and Bob: when these guys are engaged, nobody is a fiercer advocate for your movie. And if they were to fold, film culture would be poorer for it.

“They had impeccable taste when they were hungry,” Mr. Smith says. “The problem is that they’re not really hungry anymore. They’re starving and desperate.”


  © Site Graphics by Randy Jennings by http://www.artfreelancer.com/ 2009

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