What's second unit? What's the 180 degree line? These questions and more were often answered by "King of the Bs" Roger Corman in his grindhouse movie heyday, when he famously took newbie future auteurs like James Cameron, Francis Ford Coppola, and Martin Scorsese under his wing while churning out B-movies left and right. In an exclusive deleted scene from Corman's World: Exploits of a Hollywood Rebel, almost a dozen of his former proteges, including Ron Howard, Peter Bogdanovich, Joe Dante, Jonathan Demme, and Penelope Spheeris recall the crash course in filmmaking he gave them at the start of their careers.
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Gary Ross may have been an unexpected choice to direct The Hunger Games, but his quest for the gig was no less obsessive than the fervor of the novels’ fans; it took him exec-stalking across the Atlantic, involved elaborate custom-made storyboards, and inspired him to make a video of actual Hunger Games fans and their love for Suzanne Collins’s sci-fi series. (Besides, who else could’ve brought on Steven Soderbergh to direct second unit on one of the film’s big scenes?)
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With John Carter currently drawing both mixed reviews and potentially catastrophic early box-office returns, Movieline today revisits our conversation with director Andrew Stanton and producer Lindsey Collins about the film's troubled back story — and what they and Disney really have to lose. - Ed.
A trade report last month suggested that Disney’s March sci-fi tent pole John Carter was in serious trouble owing to Pixar vet Andrew Stanton’s relative inexperience directing live-action film, citing rumors that production reshoots and late-game rejiggering had bloated the budget from $200 million to as much as $300 million. Speaking with press Thursday, Stanton called the report “a complete and utter lie,” insisting that he stayed on time and on budget – but it’s easy to see how the Pixar way of moviemaking may have made for a bumpy transition for the filmmaker.
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Taylor Kitsch is about to have a very big 2012. In addition to carrying Disney’s ambitious sci-fi adaptation John Carter as the titular Edgar Rice Burroughs hero, a Civil War veteran transported to Mars, he’s also fronting Peter Berg’s alien invasion actioner Battleship and starring in Oliver Stone’s Savages later this year. But as Kitsch revealed to Movieline, the John Carter job wasn’t easy to get — and the toll it took on him during production was a challenge in itself. So who better to offer pro tips on nabbing the spotlight and handling the pressure of becoming an action hero than Kitsch, on the eve of a new chapter in his career?
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Will Ferrell movies can usually be summed up as “Will Ferrell as a…” and you get it. Will Ferrell as a reporter? That’s funny. Will Ferrell as a NASCAR driver? Also funny. But Will Ferrell as a Spanish soap opera action hero? Casa de mi Padre is a Spanish language film starring Ferrell as a rancher’s son who goes to war with drug dealers to protect his brother’s girl (Genesis Rodriguez). Where, exactly, did he come up with this idea?
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Drive sound editor Lon Bender, up for the Oscar against The Girl with the Dragon Tattoo, Hugo, Transformers: Dark of the Moon, and War Horse, on director Nicolas Refn's unusual sound requests: “In the sound world, there often is a propensity to want, at least for things like car chases, guns or weapons, to use sounds of the real weapons or the real cars. But when I went to Nic to talk about car engines and the specificity of the kind of cars they were, he said, ‘I don’t even have a driver’s license and I’ve never driven a car. I don’t care what they sound like! They just have to sound exciting.’” [NYT]
Between the rise of digital media and the shortcuts many theaters have taken to alleviate waning profits – forgoing film rigs for digital projectors, replacing projectionists with button-pushers, lowering projection-bulb levels to cut replacement costs – many filmmakers are concerned about the state of their industry. Visual effects veteran and filmmaker Douglas Trumbull (2001: A Space Odyssey, Close Encounters, The Tree of Life), for one, is doing something about it: He hopes to bring back the spectacle of the theater-going experience – and revitalize the industry in the process -- with a project he’s shooting at 120 frames per second, in 3-D, to be projected at seven times the luminosity often seen in theaters today.
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"We must treat these dog characters with the same respect we show human characters... no condescension, no looking down, no breaking character for the sake of a gag." And that, my friends, is part of the reason why Walt Disney's legacy on film has stood the test of time. After the jump, find deleted scenes and a nifty video culling notes from Disney's story meetings with collaborators on 1955's Lady and the Tramp.
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Four lives, one fateful night -- tensions run high in this April's 96 Minutes, in which two college friends (Brittany Snow and Twilight's Christian Serratos) clash with a pair of Atlanta teens (Evan Ross and J. Michael Trautmann) after a carjacking gone wrong. Filmmaker Aimee Lagos makes her feature debut with 96 Minutes following her award-winning short Underground, again examining what happens when class and social lines collide; after the jump, Lagos takes us through 13 moments from the shooting of her film.
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It’s the biggest, most important question of the season, people: Whom will Reese Witherspoon choose, between pillow-lipped Brit Tom Hardy and confident playboy Chris Pine, in the spy vs. spy love triangle rom-com This Means War? While you won’t get any spoilers here for the Valentine’s Day release, let Hardy and director McG tease you with the envelope-pushing alternate ending ideas that didn’t quite make it to the final cut. (And no -- McG didn't learn from Terminator: Salvation, which he admitted he “pussed out on.” Hindsight, my friends.)
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Paul Thomas Anderson diehards have gossiped for months over reports that the filmmaker is shooting an undisclosed portion of his next film, known as The Master, on 65mm -- the IMAX film format used recently, and to great effect, by the likes of Christopher Nolan and DP Wally Pfister on The Dark Knight and Brad Bird and DP Robert Elswit on Mission: Impossible - Ghost Protocol. In a Twitter exchange yesterday, Pixar veterans Bird, Andrew Stanton and Lee Unkrich geeked out over the joys of 70mm film, dropping a bit of confirmation that Anderson is indeed shooting in the format.
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"I’ve done nothing wrong," director Michel Hazanavicius told CNN when asked his reaction to Kim Novak's recent comments lambasting The Artist for using the Vertigo love theme. "I used music from another movie, but it’s not illegal. We paid for that, we asked for that and we had the permission to do it. For me there is no real controversy...I feel sorry for her, but there’s a lot of movies with music from other movies, directors do that all the time and I’m not sure it’s a big deal." [CNN]
Candidates campaigning for the Presidential ticket usually opt for safe campaign songs carefully chosen to align themselves consciously and subconsciously with certain sets of values, but last night, Ron Paul went a different route: He and his supporters celebrated their second-place victory in the New Hampshire Republican primary to the sounds of "The Imperial March" from Star Wars. Yes, Darth Vader's theme song.
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Anyone who's seen Contagion (or, let's be honest, even just the trailer for Contagion) knows that Steven Soderbergh is not precious about keeping his biggest stars breathing for the duration of his films. And when you think about it, that is kind of an awesome against-the-tide trend that few directors -- okay, few studios -- have the wherewithal to attempt. Chatting with the UK's Independent about Contagion and Haywire, Soderbergh dropped some science on the art of manipulating the very essence of stardom in movies to great effect.
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Some of you may be tempted to BitTorrent the latest new releases this week (Were you one of those Fast Five pirates? Admit it, rascal!), but let indie filmmaker Ti West bend your ear with a personal plea as his latest film, the spooky ghost tale The Innkeepers, hits VOD on Friday (December 30). "It's not the money," he writes, admitting that he still hasn't made a dime from his excellent 2009 film House of the Devil. Pay to see indie films like West's, he argues, "because if the movie makes money... that's tangible evidence of a paying audience out there for movies like mine. For independent films. For something different. Not just bland remakes/sequels or live action versions of comic books/cartoons/boardgames." Hear, hear.
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