"'I’m very proud of John Carter. Box office doesn’t validate me as a person, or as an actor. [...] I’d love to go do John Carter 2. I really would. It’s just shitty I don’t get to work with the [John Carter] family. It really was a special thing." [EW]
Some years from now, after the dust around the megabudget John Carter debacle settles, and the heads that do wind up rolling in its aftermath come to rest, some expert arbiter of Hollywood travails will survey the carnage and write the definitive tale of what went wrong with Disney and director Andrew Stanton's sci-fi gamble. And you know what? I'd bet $10 right here and now that the real story won't deviate much from the one depicted in this no-budget animated retelling.
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Stephanie Zacharek already kind of addressed this phenomenon in her review, but as John Carter postmortems go, yeesh: "[W]hat's really sad is when you look at the Rotten Tomatoes pages for The Lorax and John Carter. Among 'top critics,' The Lorax has a 48 percent fresh rating, and most of the reviews I've seen have been pretty respectful. (Except for the New Yorker, which says 'The badness of the picture is a shock,' and the New York Times, which called it 'a noisy, useless piece of junk.') And critics pretty much piled onto John Carter — among 'top critics,' it's at 35 percent fresh, with people outright gloating about how expensive it was and how much it falls short. It's like there's a collective agreement that The Lorax is too big and too much of a mainstream juggernaut to call out — but the herd decided it was okay to feed on John Carter." [io9]
Biggest. Bust. Ever: "In light of the theatrical performance of John Carter ($184 million global box office), we expect the film to generate an operating loss of approximately $200 million during our second fiscal quarter ending March 31. As a result, our current expectation is that the Studio segment will have an operating loss of between $80 and $120 million for the second quarter. As we look forward to the second half of the year, we are excited about the upcoming releases of The Avengers and Brave, which we believe have tremendous potential to drive value for the Studio and the rest of the company." [Disney via Deadline]
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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I had fun at John Carter. Just not $250 million worth of fun, which leads us to the central and vexing problem: Moviegoing pleasure can no longer be casual. We’re now acutely aware of how much every movie cost, how much every studio – in this case, Disney – has riding on every given project. “What does Disney need to make its money back?” becomes the overriding question, when what we really should be asking is, “Did you see how John Carter slashed his way out of that big, blubbery whatsis and came out all blue and shit?”
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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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Negative speculation and prognostication has been brewing for months for Disney's sci-fi actioner John Carter thanks to dismal tracking and rumors of bloated budgets, but Disney's finally released their review embargo for the March 9 would-be blockbuster. So what's the early buzz from the first critiques of Andrew Stanton's take on the Edgar Rice Burroughs saga, about a Civil War veteran named John Carter (Taylor Kitsch) who lands in the middle of a civil war on Mars?
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It's no secret that Disney's been scrambling to counteract bad tracking and mixed word of mouth on their mega-budgeted March actioner John Carter, so it's worth a look to see what they've done with the latest (and "final") trailer for the Edgar Rice Burroughs adaptation. And behold! A trailer filled with nearly everything that makes John Carter worth going to see: Alien creatures, political intrigue, Taylor Kitsch in a loincloth, Lynn Collins as Dejah Thoris, and lots of inventive, fantastical action.
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Edgar Rice Burroughs created the planet-hopping hero John Carter of Mars way back in 1912 in his serialized novels about a Southern gent transported to an alien world. So why does the new trailer for John Carter, directed by Pixar vet Andrew Stanton, feel so familiar? Shades of Avatar and Attack of the Clones distract from what should be nonstop ooh-ing and aah-ing over giant CG creature effects and Taylor Kitsch in a loincloth. Then again, Taylor Kitsch in a loincloth... thank you for that, Mr. Stanton.
Oscar-winning composer Michael Giacchino (Alias, LOST, Star Trek, Up, Super 8) has created some of the most memorable aural film and television moments in the last decade, notably working time and time again with a chosen few close collaborators including J.J. Abrams and the folks at Pixar. So on the eve of his latest film, the globe-trotting sequel Cars 2 (his fourth Pixar score since 2004's The Incredibles), Movieline asked Giacchino to share his pro tips for mastering the film-scoring game.
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