Way back in 1990, The Simpsons were still a new phenomena and, even more importantly, the show was still funny. Today, it can be easy to forget that The Simpsons were once considered to be cutting edge. Of course, they were also a merchandizing bonanza and this lead to the release of an album called The Simpsons Sing The Blues. The first single and video released from that album was Do The Bartman, which had nothing to do with the blues but which was a big hit nonetheless.
The video, which features Bart up to his usual tricks, was directed by Brad Bird. At the time, Bird was a former Disney animator who had helped to develop The Simpsons after animating some of the original shorts that aired during The Tracey Ullman Show. Long after Do The Bartman, Bird would find fame and acclaim for his work with PIXAR, in particularly The Incredibles. He would also move into live action directing with Mission Impossible — Ghost Protocol.
Bart Simpson, of course, was and is voiced by Nancy Cartwright. Later episodes of The Simpsons would poke fun at both The Simpsons Sing The Blues and the Bartman. That probably wouldn’t happen today but, back in the 90s, The Simpsons were still funny and the show was still capable of poking fun at itself.
The following is a Mini Review for Ratatouille, written on June 17, 2007, taken word for word from my old Livejournal.
“The absolute worst thing I could ever say about Disney / Pixar’s “Ratatouille” is that I have to wait 2 whole weeks until I can see it again at the official release.”
The Movie: “Ratatouille”
(cast list borrowed from the IMDB)
Patton Oswalt … Remy (voice)
Ian Holm … Skinner (voice)
Lou Romano … Linguini (voice)
Brian Dennehy… Django (voice)
Peter Sohn … Emile (voice)
Peter O’Toole … Anton Ego (voice)
Brad Garrett … Gusteau (voice)
Janeane Garofalo … Colette (voice)
This review may be biased, as I’m a Pixar Nut. I have no idea how they do it. Right now, they’re 8 for 8 in my opinion (or maybe 7 for 8 only because anyone who hates or doesn’t understand Nascar may have had problems relating to Cars, like myself).
This place has to be the most enjoyable and creative working establishment on the planet. The absolute worst thing I could ever say about Disney / Pixar’s “Ratatouille” is that I have to wait 2 whole weeks until I can see it again at the official release. Yesterday, Disney hosted a Special Sneak Peek around the country of the film. A one time showing that didn’t quite fill all of the seats in the theatre (and I think that’s only because not too many people were aware of it – about 20 -30 in my audience), but amused and amazed everyone who did show. We had laughter, applause and even a few happy murmurs in the audience. 🙂
Ratatouille is the story of Remy, a rat who adores food. Not just eating it, but actually creating meals with it. Walking in the footsteps of a great and renowned chef Gusteau, Remy wants to cook (with the assistance of his brother Emile), but his father feels that his place is with the rats he lives with. After finding himself in need of job, Linguini is brought on as the newest worker at the famous Gastau’s restaurant, which has seen better days. Linguini wants to fit in, but the staff have regulated him to something of a low position. Together, Remy and Linguini are able to help one another, in quite a few funny ways.
Like all of the Pixar stories before it, the themes are universal. One of Ratatouille’s themes is a “being brave enough to go after what you want most, despite the changes that may occur” and under director Brad Bird’s leadership (who also directed “The Incredibles” and my favorite Amazing Stories episode, “The Family Dog”), this comes across really well. All of the main characters are made to grow in some way (even the ones that appear to not really have a sense of direction).
The graphics (if you can even call them that) are wonderful, and Paris is rendered in a near picture perfect look. According to the film, it’s 100% animation, without any motion capturing whatsoever (which makes sense, considering that Brad Bird has gone on record as stating that animation is an art form and not a genre). The food looks great, and the a lot of the smoke effects (fire, steam, hair getting wet) have improved since The Incredibles. The sound (at least my theatre) was also very good, sounds typically jumped around the speakers for the most part.
As a kids film, Ratatouille works, but parents may want to be on the lookout. The word ‘dead’ comes up quite a bit, and if you’re one of those parents that haven’t had that talk with your kids, I’m just warning you now. There’s some animated violence throughout, but considering my movie theatre had parents that were taking their kids to see Hostel II, I don’t think it’s too bad. It’s up for the viewer to really decide.
Also note that before the movie starts, the animated short “Lifted” also appears, which was hilarious and may cause one to remember their first few driving lessons. I’ll leave it at that. ☺ “Ratatouille” is a marvelous triumph by Disney and Pixar, who always seem to remember that that the story (above all), comes first.
The film doesn’t contain any ACP’s (I call them After Credit Pieces – those little snippets of film that show up right after the credits are done – see Pirates of the Carribean (any one of them) to understand what I mean), though the credits themselves are cute, complete with a new set of Pixar Babies. Michael Giacchino was also on board with the Soundtrack, which is a mix of mostly french violin/piano pieces. Quite a jump from the Incredibles and Mission Impossible III for him, but sweet, nonetheless.
There’s always a little bit of risk involved in making a list of the 16 worst films of the year. People take movies very seriously and, often times, the crappiest of films will have very passionate (and very ignorant) defenders. I was reminded of this in November when I wrote my review of The Leisure Class and I discovered that there actually are a few misguided dumbfug toadsuckers who actually enjoyed that movie.
But you know what? Even with that risk, I always enjoy making out my worst-of-the-year list. Let’s be honest: stupid people tend to like stupid movies. And it’s important to point out that stupidity. Only by pointing it out can we hope to defeat it. I’m sure that some people will disagree with some of my picks. After all, people initially disagreed with me when I announced that Man of Steel was the worst film of 2013. However, just 2 years later, most people now realize that I was right. There were also people who insisted, in 2011, that Another Earthwas a great movie. Again, they now realize that they were wrong and I was right.
So, with all that in mind, here are my picks for the 16 worst films of 2015! For the most part, 2015 was a pretty good year for cinema. However, there were still a number of terrible films released and here’s 16 of them.
Here are 6 films that I saw during the first half of 2015. Some of them are on Netflix and some of them were major studio releases. Some of them are worth seeing. Some of them most definitely are not.
Avengers Grimm (dir by Jeremy M. Inman)
Obviously made to capitalize on the popularity of Avengers: Age of Ultron, Avengers Grimm opens with a war in the world of fairy tales. Evil Rumpelstiltskin (Casper Van Dien) uses Snow White’s (Laura Parkinson) magic mirror to cross over into our world and he takes Snow White with him! It’s now up to Cinderella (Milynn Sharley), Sleeping Beauty (Marah Fairclough), and Rapunzel (Rileah Vanderbilt) to cross over into our world, save Snow White, and defeat Rumpelstiltskin. Also sneaking over is rebellious Red Riding Hood (Elizabeth Petersen) who is determined to kill Rumpelstiltskin’s henchman, The Wolf (Kimo Leopoldo).
Got all that?
Avengers Grimm is another enjoyably insane mockbuster from The Asylum. The budget’s low, the performances are intentionally melodramatic, and it’s all lot of fun. Casper Van Dien has a lot of fun playing evil, the women all get to kick ass, and Lou Ferrigno is well-cast as a labor leader named Iron John.
Avengers Grimm is currently available on Netflix.
Bad Asses On The Bayou (dir by Craig Moss)
Apparently, this is the third film in which Danny Trejo and Danny Glover have respectively played Frank Vega and Bernie Pope, two old guys who kick ass in between worrying about their prostates. I haven’t seen the previous two Bad Asses films but I imagine that it really doesn’t matter.
In this film, Trejo and Glover go to Louisiana to attend a friend’s wedding. When she’s kidnapped, they have to rescue her and impart some important life lessons to her younger brother. It’s all pretty predictable but then again, it’s also pretty good for a film called Bad Asses On The Bayou. This is a film that promises two things: Danny Trejo kicking ass and lots of bayou action. And it delivers on both counts.
In fact, I would say that Bad Asses On The Bayou is a better showcase for Danny Trejo’s unique style than the better known Machete films. Danny Trejo is a surprisingly adept comedic actor and he gives a performance here that shows his talent goes beyond mere physical presence.
Bad Asses On The Bayou is currently available on Netflix.
Hayride 2 (dir by Terron R. Parsons)
I should admit up front that I haven’t seen the first Hayride film. Luckily, Hayride 2 picks up directly from the end of the first film and is filled with so many flashbacks and so much conversation about what happened that it probably doesn’t matter.
Essentially, Pitchfork (Wayne Dean) is a murderous urban legend who turns out to be real. He killed a lot of people in the first film and he stalks those that escaped throughout the 2nd film. Like all good slasher villains, Pitchfork is a relentless killer. He’s also an unrepentant racist, which leads to a genuinely unpleasant scene where he attacks a black detective (Corlandos Scott). Say whatever else you will about the film, Hayride 2 deserves some credit for being on the side of the victims. No attempt is made to turn Pitchfork into an anti-hero and the movie is relentlessly grim.
Hayride 2 is an odd film. The film’s low-budget is obvious in every single scene. The pacing is abysmal and the performances are amateurish. And yet, when taken on its own meager terms, it has a dream-like intensity to it that I appreciated. Then again, I always have had a weakness for low-budget, regional horror films.
Hayride 2 is available on Netflix.
Insurgent (dir by Robert Schwentke)
Insurgent is both the sequel to Divergent and was also 2015’s first YA dystopia film. Shailene Woodley is as good as ever and I guess it’s good that she has a commercially successful franchise, which will hopefully inspire audiences to track down better Shailene Woodley films like The Spectacular Now.
When a family (led by Sam Rockwell and Rosemarie DeWitt) move into a new house, they discover that everything is not what it seems. For one thing, they come across a bunch of creepy clown dolls. They also hear a lot of scary sounds. They discover that the house was built on an old cemetery. Their youngest daughter vanishes. And finally, someone says, “Isn’t this like that old movie that was on TCM last night?”
Okay, they don’t actually say that. However, as everyone knows, the 2015 Poltergeist is a remake of the 1982 Poltergeist. Since the 1982 Poltergeist still holds up fairly well, the 2015 Poltergeist feels incredibly unnecessary. It has a few good jump scenes and it’s always good to see Sam Rockwell and Rosemarie DeWitt in lead roles but ultimately, who cares? It’s just all so pointless.
Watch the wall-dancing original. Ignore the remake.
Tomorrowland (dir by Brad Bird)
Welcome to the world of tomorrow! Wow, is it ever boring!
Actually, I feel a little bit bad about just how much I disliked Tomorrowland because this is a film that really did have the best intentions. Watching the film, you get the sinking feeling that the people involved actually did think that they were going to make the world a better place. Unfortunately, their idea of a better world is boring and almost oppressively optimistic. There is no room for cynicism in Tomorrowland. Bleh. What fun is that?
Anyway, the film basically steals its general idea from the Atlas Shrugged trilogy. Tomorrowland is a secret place that is inhabited by inventors, dreamers, and iconoclasts. Years ago, Frank (George Clooney) was banished from Tomorrowland because, after learning that the Earth was destined to end, he lost “hope” in mankind’s future. Fortunately, he meets Casey (Britt Robertson), who is full of hope and through her, he gets to return. They also get a chance to save the world and battle a cartoonish super villain played by Hugh Laurie. (Why is he a villain? Because he’s played by Hugh Laurie, of course!)
After all the hype and build-up, Tomorrowland turned out to be dull and predictable. What a shame. The Atlas Shrugged trilogy was at least fun because it annoyed the hipsters at the AV Club. Tomorrowland is just forgettable.
Brad Bird and Janeane Garofalo have a sit down at the Tribeca Film Festival to discuss film, animation and the mediums in between.
This is going to be a long one, ladies and gents. My apologies if this becomes TL;DR material.
Here’s the short of it:
I was able to see Brad Bird speak at The Tribeca Film Festival. For the hour, he discussed the changes and challenges he faced with moving from animation to live action features. The audience was shown a set of clips – one from Ratatouille, one from Mission: Impossible – Ghost Protocol, and one from his latest film, Tomorrowland. Near the last half of the interview, Bird fielded questions from the audience. I had a great time.
And here’s the Interstellar 3-Hour Neverending Edition:
When I was a kid, there used to be this show on network television called Amazing Stories. Produced by Steven Spielberg’s Amblin Entertainment, it ran for about 2 years or so between 1985 and 1987. It was kind of like a cross between Darkroom, Tales From the Darkside, and The Twilight Zone. One of my favorite episodes was “The Family Dog”. The big push with The Family Dog was that it was produced by Tim Burton and the animation style was the basis for his future films The Corpse Bride, The Nightmare Before Christmas and Frankenweenie. I loved it. It was weird and funny, about a family that adopts a dog only to find that their house is robbed, with the dog inside and failing to stop the intruders. The dog is sent to a canine boarding school, where he’s reforged into a “white hot ball of canine terror” by Miss LeStrange (voiced by The Exorcist’s Mercedes McCambridge). There’s more to it, but after recording the show and watching it a zillion times, I paid attention to who wrote it.
And that’s how I started following Brad Bird.
Bird would later go on work on Batteries Not Included, and spent some time on the Simpsons before directing and writing The Iron Giant for Warner Brothers. While the movie wasn’t the commercial hit everyone hoped, it put Bird on Disney / Pixar’s radar, who brought him on to do both The Incredibles and Ratatouille. Pixar would end up adding Bird to their Brain Trust, that includes Pete Docter, John Lassiter and Andrew Stanton. Bird’s big jump from Animation to Live Action would come with 2011’s Mission Impossible: Ghost Protocol. Next month (as of this writing), he’ll release Tomorrowland, which he shared writing responsibilities with Prometheus / Lost writer Damon Lindelof.
Bird was on hand at the Tribeca Film Festival’s Director Series in an interview hosted by his Ratatouille star, Janeane Garofalo. I was able to attend this, and took as many notes as I could. Some of this may be a little sketchy, based off of both what I wrote & how I interpreted it, to which I apologize beforehand. Although we were able to use phones for pictures, we couldn’t record anything. Assume that most of the questions and answers here are somewhat paraphrased.More than likely, you can find recaps of the interview at the Tribeca Film Festival website.
At first, Janeane was a little curious about what she should ask, opening the floor with her humor, which had everyone laughing.
Question – So you said something about a tour taken as a child?
Bird spoke about a tour he took of Disney Studios, back when he was about 11. He saw the Jungle Book as a kid and just loved it. He also realized that there were all of these cool jobs in animation. According to Bird, he owned an album with some of actor Jonathan Winter’s voiceover work and would listen to that as well. Though his parents who knew a composer at Disney, they were able to meet with Frank Thomas and Ollie Johnston. Both Ollie and Frank were two of the original animators responsible for most of the Disney Classics, known as the Nine Old Men. Unexpectedly, Bird went home and ended up creating a 15 minute film for the animators. After that, they were eager to mentor him.
Garafolo praised Bird on how he’s taken Narrative storytelling to another level but asked about technical challenges in Animation.
Bird noted that from a tech standpoint, The Incredibles was a harder film to create because the design abilities were just being born. An example of this is the wet hair textures after the plane crash sequence. At the time, that was one of the latest things that Pixar learned to do. By the time Ratatouille came along, there were a number of improves, which made things easier. Bird went on to say that “People think there’s an easy “Make Movie” button that will produce work.” However, if you want imperfections, the computers had to be taught this. In Ratatouille, Bird described how working on the floors, the lighting needed to have a variant because tiles may be higher or lower than others or have damages. The computer would normally smooth out the surface, but they had to reprogram the system to support natural flaws. A later question that came up dealt with focus, where Bird found that CGI Cameras can act like real cameras. When you normally focus on something small with a regular camera, the depth of field becomes small. The computer would assume that the director wanted a high Depth of Field throughout, but again, Bird and Pixar had to train the machines to un-learn that.
At one point, Janeane started a question and asked about different genres in Animation to which Brad replied “Animation is a medium, not a genre.” There was a bit of back and forth chuckling between them, and their chemistry is just cool.
“With the actors you choose, how much control do you have in that?” Bird’s response was along the lines of it all being about actor interest. He had to “woo” Peter O’Toole for Ratatouille. Some actors thing that voice acting is easy, but it can be difficult. What takes an actor 5 minutes to say may take an animator weeks to come up (with regards to facial animations and the like, I’m guessing). Patton Oswalt would say sometimes that he was beat after a run. My personal speculation on this is that with animating, sometimes re-recording needs to happen to get a phrase sound right. I could be off here, but that was my interpretation of the statement. The audience was presented with a clip from Ratatouille where Linguini is introduced to Collette for the first time.
Janeane apologized for her French here. There was a bit of laughter as Bird shared a story of how with Janeane, she didn’t seem to take praise very well. He would have to pretty much tell her she sucked to motivate her, even though she did good. The conversation then moved on to Mission: Impossible – Ghost Protocol.
Ghost Protocol happened as Bird was working on a pet project he called 1906, the adaptation of James Dalessandro’s novel on the events surrounding the San Francisco earthquake during that year. He was very animated in discussing 1906. It was a rich project, but there were some problems getting all of the elements Bird needed into the story at the time. He didn’t want to make it a life project (without working on anything else), so he paused to jump onto Ghost Protocol. The audience was then shown the Hallway sequence from the movie, where Simon Pegg and Tom Cruise mask their entrance into a room in the Kremlin. The scene picked up some chuckles from the Audience with Pegg’s “face in the camera” moment.
A question came up on whether he was hindered in any way, working on a big project like Ghost Protocol. Bird wasn’t really hindered, but what attracted him to the film was that the franchise was willing to let him accommodate his individual style. The Brian DePalma version of the first Mission Impossible was different from John Woo’s work on the 2nd and J.J. Abrams work on the 3rd film. Bird added that he was given the chance to do “five out of six things” he wanted to do in a spy movie. Both Cruise and Abrahams were behind Bird on the film and he felt protected by them. On Cruise in particular, he praised his work ethic, pointing out that it was easy to have him climb the Burj Khalifa in Dubai because he keeps himself fit for every film. Garofalo took a moment to reference the HBO Documentary “Going Clear” with a “LRH” remark. “We could go on about that all day.” She said, though they moved on to their next topic.
Before continuing, Bird made a quick gesture to the screen and pointed out to the audience that he and Cruise talked about some Silent classic films and comedies. These were part of the influence for that particular hallway scene.
Janeane brought up a question on the toll with working on a big film (after doing animated features). Bird’s response was that it was like being thrown in the deep end of a shark infested pool. He jumped to work with Cruise and Abrams, and it was a lot of fun. “Big canvas stuff”, were the words used.
Control on Post Production came up (in terms of how much he had). So far, so good, was the reply. Bird stood up, leaned down to the floor of the stage and knocked on it. “Knock on wood.” He said as he sat back down with a smile before adding that he only had to bark a few times, if any.
With that, we were given a sneak peek at Bird’s latest project, Tomorrowland. In checking online, I found that it was an expanded version of the one showcased at Disney’s D23 Event last year. Unfortunately, the clip we were shown isn’t online in any form (at least I can’t find it online), so I’ll have to explain it here:
The scene opens with a young child sitting on a bus, holding quite a large bag. Screeching to a halt, the bus driver opens the door and announces the stop. The driver tells everyone to “enjoy the future”. As the patrons go to leave the bus, they’re suddenly blocked by the boy’s bag, which falls into the main aisle. The passengers give him some weird looks, but he smiles, apologizes and scoops up the bag, making his way off of the bus.
We’re given his perspective, a behind the character shot that showcases that he’s at the entrance of a festival. At the bottom of the screen, a caption appears, informing the audience that we’re at the 1964 World’s Fair, held in Queens, New York. We’re given a wider shot and it’s very much like Disneyworld, it’s bustling with people walking around and enjoying themselves. We focus on one area, with a name like The Hall of Invention. The boy enters and plops his bag on top a table where we find David Nix (Hugh Laurie) staring at him with a look of annoyance on his face. Note that his name isn’t given to the audience and that I’ve pulled it from the Internet Movie Database.
The boy unzips the bag, explaining that he had to partly disassemble it (it looking a lot like a vacuum cleaner) for transportation. As Nix looks on, he asks the boy who he is and what the contraption is supposed to be. The boy introduces himself as Frank Walker and states with pride that the device is a jetpack. He goes on to say that he’s still working on it, and as he says this, we’re given a quick cut to him standing in an open field. Wearing the jetpack, he dons a pair of goggles, a flight helmet and we see two sets of controls by each hand. The look is pretty much the whole James Bond Thunderball look.
The shot cuts back to the boy standing at the table, who adds…”though it doesn’t quite exactly….”
We’re back at the field, and the kid clicks the power button. Instead of shooting straight up high into the air, he is vaulted forward, bounces and taken through some cornfields about a good hundred yards out. The first thing I thought of was The Rocketeer (also a Disney Production).
“…Fly.” The boy says, finishing his pitch.
“And what would this be used for?” Nix asks, looking from the machine to Walker.
“It would be fun.” Walker responds.
Nix shoots him down, stating that fun isn’t what anyone’s looking for. Clearly, he seems to already be looking at the idea of monetizing or weaponizing it.
“If someone walked up to me and showed me a jetpack, I’d think that would be pretty fun.” Walker says something to this effect. A young girl in a dress comes into view just off of Nix’s left, who’s been watching this play out. She approaches Walker and asks him a few questions that leave him at loss for answers, which the audience seemed to really enjoy. After the stammering on Walker’s part, Nix interrupts the girl (who we find is named Athena) and sends Walker on his way. The girl watches on.
We find Walker sitting on a bench outside, clutching his bag. People walk back and forth around him. To his right, we see Athena take a seat next him on the bench, but facing the other direction. They talk for a bit without looking at each other.
“Look over there, at your five o’clock.” She says. Walker looks ahead and to his left and then to his right, a little unsure. She looks at him as if he’s little crazy and gestures to her left. “Don’t know what 5 O’Clock is, it’s that way.” Which brings more audience response of chuckles. Looking in the direction she points out, she sees Nix pass by with someone else. Athena asks him to follow them, “but not too close”. She then proceeds to put something in his hand and leaves. Opening it, it reveals one of the Tomorrowland pins before fading to black and cutting to a scene where he’s in his garage, arguing with his father (played by Chris Bauer, True Blood’s Andy Bellefleur).
“But I can make it work! I can figure it out!” Frank says. His father asks him to let it go and stop tinkering with these silly notions. There seemed to be a divide between the theme of Frank’s optimism and his father’s point of view before we fade to black again and the lights come up.
The audience loved it. On Tomorrowland, Bird pointed out that he and Lindelof asked “Why did the Future change?” The attitude of the world was “We can figure it out.”, Which seems missing today. The magic of World’s Fairs are dispersed. Janeane shot back that are a number of people out there that are changing things and used Elon Musk as an example. Bird added that the Zeitgeist is doom and gloom, and any hope of a bright future is somewhat stemmed. People seem resigned that we’re going down. “You have to do things, to change things.”, He said. On a personal note, there appears to be a lot of Optimism in Tomorrowland, something that Bird seems to carry with him.
Brad Bird took questions like Syndrome – “You! Up there in the back with the red hat! Your question, give it to me!!”
After all that, a few questions from the audience were given. This was fun, with Janeane started the picking and then Brad targeting the hands that flew up. It was like watching Syndome use his wrist lasers in The Incredibles. They included the following:
What was the Sixth Thing (for the 5 out of 6 things he was able to do in a spy film)?
“That would be giving up the idea.” Bird laughed. Most of the ideas are reusable somewhere else. He had a concept for an animated version of Will Eisner’s The Spirit, but some of the ideas for that feature ended up becoming part of The Iron Giant.
How do you handle lighting in Animation vs. Live Action?
– When dealing with lighting, it’s almost the same way. A shorthand of cinematographer’s work was used to build setups. I can kind of see where Bird is coming from there. If you look at How to Train Your Dragon 2, the cinematography there was assisted by Roger Deakins. Lighting’s just as important in animation as it is in any medium. It’s just teaching the computer to handle it or drawing from that (at least, that’s my thought on it all).
How different is TV Work from movies?
“If you slow down, you can get eaten alive.” Bird said. He used the I Love Lucy chocolate assembly line as a reference here, stating that he learned a great deal on his time with the Simpsons. TV forces one to make very quick decisions. Iron Giant’s budget was different from Ratatouille’s and there was room to build more from that.
On creating genuine peril:
Bird loved that Disney wasn’t afraid of creating general fear in children, citing Pinocchio’s donkey transformation as something that terrified him. If animation should do anything, it should try a “balls out horror movie”. Dead Space: Downfall came to mind, personally.
Ever consider doing a live action / animated feature (like Who Framed Roger Rabbit?)
– Some of those work and can play together. Others come out pretty bad, like the Pagemaster. Bird wouldn’t be entirely opposed to doing one, but he didn’t appear to be too enthralled about it.
What are your processes for generating Ideas?
Here, Bird said that it’s different for each film. As an example, he wanted to do a film called “Ray Gun”. The idea came from a song he heard on the radio that he thought sounded like the Peter Gunn theme. Janeane smiled and caught the song right away – “Planet Claire” by the B52’s. Basically, it’s coming up with answers that entertain you.
With that, he and Janeane thanked the audience to tons of applause, and a bit of optimism. Below is the song that Bird was referencing:
I’ll be honest and admit that I wasn’t overly impressed by J.J. Abrams’ Mission: Impossible3 and when it was announced that a fourth film in the franchise was going into production my initial reaction was an emphatic “meh”. It didn’t help when Pixar veteran Brad Bird was chosen to helm this fourth film. This was a filmmaker who did a great job with Pixar animated films, but still an unknown quantity when it came to live-action projects.
As the months passed and news filtered out from the film’s production the news was positive with many who have seen some rough footage becoming convinced that Brad Bird might know what he’s doing outside the Pixar stable. Mission: Impossible – Ghost Protocol was soon being talked as being one of the most-awaited films of 2011. This newly-released first official trailer goes a long way into adding more positive buzz to a film already hyped up on it.
Also, it has Paula Patton in it, nuff said.
Mission: Impossible – Ghost Protocol is set for a December 16, 2011 release.
Now that Guillermo Del Toro has made it official that he’s leaving The Hobbit as director there’s now a scramble to find who will be replacing him on the project. Del Toro was universally hailed as the best choice the first time around when Peter Jackson made it known that he would only produce the two-part film and not get back to directing them. The many delays due to MGM’s financial troubles, script still not completed and casting still not done forced GDT to back away and could shelve the project for good.
The only thing keeping the project afloat is the fact that this project has a major fan-base already clamoring to see it made. With the huge success both critically and commercially of Jackson’s The Lord of the Rings Trilogy this two-part film adaptation of The Hobbit is pretty much a lock to do the same in the hands of the right filmmaker.
Jackson and studio heads holding the rights to the project will not want just any director. While Peter Jackson was still a little-known director and an outsider from the Hollywood scene when he began work on the original trilogy, this time around studio people will want a marketable name or, at the very least, a filmmaker who has the skills to follow Jackson’s work. Guillermo Del Toro was the perfect choice now someone else has to take up the baton.
Some have mentioned Peter Jackson as the only choice if he’d back off comments that he won’t direct but only produce. There’s a camp that say now’s the time to sign Sam Raimi who recently has left another mega-franchise and now available. Raimi is an interesting choice in that knows how to handle huge blockbuster projects and he definitely needs a home-run to follow-up a bad end as helmer of the Spider-Man franchise.
Another name to come up which I would welcome if Jackson doesn’t return as director is Guillermo Del Toro’s fellow countryman and one of his best friends: Alfonso Cuaron. Cuaron has shown himself to be one of his generation’s best. He’s done fantasy as helmer of the third Harry Potter film (universally seen as the best in the franchise) and may see tackling this blockbuster project as a major artistic challenge. I, for one, would hope Cuaron takes the job if offered.
The one dark horse name which has begun making the rumor mill about who may replace GDT is Jackson’s own protege, wunderkind filmmaker Neill Blomkamp. He’s worked with Jackson already and his first feature-length film, District 9, shows he has the storytelling and directing chops. The only drawback to him accepting the job if offered is that this will be a major-budgeted studio film which means it could turn into another Halo-clusterfuck where he commits and the project dies due to problems within the studio.
Other filmmakers have been mentioned like Brad Bird, Jean-Pierre Jeunet, Andrew Adamson, Tim Burton and Peter Weir just to name a few. In the end, my money is on either Jackson just taking the reins on the film if he thinks no one else would give the necessary commitment to the project it deserves, Cuaron takes on the job as a way to challenge himself or Jackson protege Blomkamp tackling something bigger as a way to add more cred to his growing reputation as one of the best young filmmaker of his generation.
Who do you think should take charge of The Hobbit now that Guillermo Del Toro has left?