Showing posts with label Film. Show all posts
Showing posts with label Film. Show all posts

Monday, May 17, 2010

Top 10 Recut Movie Trailers on YouTube

The recut trailer has become an art form in its own right, with the trend to mix-up existing trailer or film footage to give the montage new meaning taking off back in 2005 when a competition from the Association of Independent Creative Editors led to The Shining being recut as a family comedy.

We’ve picked ten of the best that add a horror angle to the most light-hearted of films, and show just what’s possible with clever editing, emotive music and of course, voice-over man’s authoritative input. See our selection below and let us know any of your favorites in the comments.

1. Mary Poppins

 
One of the original recut trailers shows just how powerful the technique is by taking the upbeat, song-filled Mary Poppins and turning it into “Scary Mary,” a bone-chilling horror. A spoonful of sugar, this ain’t.


2. Uncle Buck



If you thought the scariest thing about Uncle Buck was John Candy’s back-firing Mercury Marquis coupe, then this recut will make you see the John Hughes flick with new eyes — new, scared eyes.


3. Amelie



We always knew there was something sinister about Amelie, and this trailer edits the original film beautifully to show a darker side of the French waitress. Though we’re let down slightly by a poor voice-over, it’s nonetheless worth a watch.


4. Sleepless in Seattle



Nora Ephron takes an uncharacteristic stroll on the dark side when a call into a radio advice show looks to have triggered an obsession that will almost certainly end in tragedy for Seattle resident Sam Baldwin and his young son Jonah.



5. Office Space



All hell breaks lose at Initech in this clever recut that turns the geek fave into a chilling thriller. You’ll never look at a red Swingline stapler in quite the same way again.


6. Ferris Bueller’s Day Off



Gone are the fun teenage antics as Edward Rooney becomes a crazed killer in this version of Ferris Bueller, set on Friday 13th.


7. Toy Story



It’s not just Sid’s freakish playthings that will give you willies in this take on Toy Story. Sentient toys pose a threat to children, and in fact all mankind, in this animated horror fest from Pixar. Play nice…


8. Home Alone



Old Man Marley takes center stage as the shovel murderer in another re-imagined John Hughes movie.


9. Groundhog Day



There’s no cute marmot in this version of Groundhog Day, in which Bill Murray’s deja vu takes a decidedly darker turn.


10. The Shining



We’re ending the list with the classic The Shining recut that takes the opposite approach to the videos above, turning a terrifying thriller into a family-friendly romantic comedy. That Jack Torrance sure looks like a swell guy…

Bookmark and Share

Thursday, March 04, 2010

European cinemas join threat to boycott Alice in Wonderland

Alice in Wonderland

Contemplating a dark hole ... Mia Wasikowska in Alice in Wonderland. Photograph: Allstar/DISNEY/Sportsphoto Ltd./Allstar

Disney's plans for an earlier-than-usual DVD release prompt film exhibitors to consider pulling all Disney films.

Opposition to Disney's plans for an earlier-than-usual DVD release of Alice in Wonderland - after it has appeared in cinemas - has spread to mainland Europe, according to Variety.

  1. Alice in Wonderland
  2. Production year: 2010
  3. Country: USA
  4. Cert (UK): PG
  5. Runtime: 108 mins
  6. Directors: Tim Burton
  7. Cast: Alan Rickman, Anne Hathaway, Barbara Windsor, Christopher Lee, Crispin Glover, Helena Bonham Carter, Johnny Depp, Matt Lucas, Mia Wasikowska, Michael Sheen, Stephen Fry, Timothy Spall
  8. More on this film

As reported on this site last week, UK distributors are considering a boycott of Tim Burton's new 3D CGI fantasy over Disney's proposal to release the DVD within 90 days of its cinema release. Usually, there is at least a four-month window between a film's arrival in cinemas and its debut on home video.

Now Holland's four largest exhibitors are reportedly threatening not to show Alice In Wonderland unless Disney backs down. Together Minerva, Pathé, Wolff and Jogchems represent between 80% and 85% of all cinemas in the Netherlands.

Youry Bredewold, who represents both Pathé and Holland's National Board of Cinema Owners, said the distributor's decision was not one which had been taken lightly.

"We will lose money due to our decision," he told AFP. "We expected [Alice] to become one of the most popular movies of 2010. But we decided we need to send a message to the whole industry: If you don't accept our terms, we will never show your movies again."

Meanwhile, Variety says that UK distributors have been mollified by a visit from Disney top brass last week, though an LA Times report today suggests that Vue and Odeon, two of the UK's three major cinema chains, remain undecided over whether to show the film. Disney has reached a deal with a third major chain, Cineworld, according to the newspaper. Industry insiders are said to be split over whether European anger will spread to the US or blow over before Alice in Wonderland's release on 5 March. No American chain has yet threatened to boycott the film, although some have said they will pull it from screens once it hits the home video market. Some Italian firms are also said to be considering their options.

The UK release is particularly vital for Disney because the movie has such strong British roots, and would have been expected to make £40m here. Burton, who lives in London, shot Alice In Wonderland largely in Devon and Cornwall. Apart from Johnny Depp as the Mad Hatter and Australian newcomer Mia Wasikowska as Alice, the film features a largely British supporting cast, including Helena Bonham Carter, Matt Lucas, Stephen Fry, Michael Sheen, Alan Rickman, Christopher Lee and Barbara Windsor.



Disney nevertheless feels that narrowing the release window is vital in the battle against home video piracy. It argues that most people see movies within two months of their theatrical release, but there is then another two-month gap before they can buy the film on DVD, which is exploited by pirates. However, distributors are concerned that they will lose business if the release window is allowed to narrow further, and are also said to be angry because they have recently spent millions of pounds upgrading thousands of screens to show 3D movies.

Bob Chapek, president of distribution for Walt Disney Studios, said on Friday that the company remained "committed to theatrical windows, with the need for exceptions to accommodate a shortened period on a case-by-case basis, such as with Disney's Alice in Wonderland.

"We feel that it's important for us to maintain a healthy business on the exhibition side and a healthy business on the home video side," he added. "We think this is in the best interest of theatre owners, because a healthy movie business is good for them and allows us to invest in high quality, innovative content."

--

Ben Child, The Guardian, 17 February 2010

Bookmark and Share

Friday, January 29, 2010

Wall Street v Wall Street 2: Battle of the Trailers!

Wall Street (the movie) is 23 years old. Now it's time for Wall Street 2: Money Never Sleeps. (The subtitle is a well-known line from the first film.)

The teaser trailer for the sequel has just been released - can it cut it in the big city?

You decide!



Bookmark and Share

Thursday, October 29, 2009

"Nowhere Boy": new movie about the young John Lennon

Peter Bradshaw
Friday October 30 2009
The Guardian
--
A man who has been the indisputable favourite of his mother keeps for life the feeling of a conqueror," wrote Sigmund Freud - and Sigmund Freud was never twirled by his mum lasciviously around in a coffee bar to the novel sounds of rock'n'roll on the jukebox, and furthermore gigglingly taught by her that "rock'n'roll" actually means sex.

This was the dizzyingly erotic experience of the young John Lennon - played by 19-year-old newcomer Aaron Johnson - in this account of his painful, messy teenage years in 1950s Liverpool, written by Matt Greenhalgh (the author of Anton Corbijn's Ian Curtis biopic, Control) and directed by Sam Taylor-Wood.

The mother in question is the legendary Julia, played by Anne-Marie Duff, a cheerful lover of good times and rock'n'roll in all senses, who had a mysterious breakdown after John's birth and surrendered parental control to her sister, the Tchaikovsky-loving and equally legendary Aunt Mimi, played by Kristin Scott Thomas, who brought him up strictly with genteel, middle-class values.

As adulthood dawns, John's increasingly rebellious discontent manifests itself in re-establishing contact with the dangerous Julia, who passionately introduces him to his musical destiny. She and John begin a strange kind of Oedipal affair, with Julia as the mistress and Aunt Mimi the wronged wife. John's story is the story of the duel between these two women - an intolerable situation for which music is the only way out.

Taylor-Wood interestingly begins her film with the opening, jangling chord from A Hard Day's Night, left hanging in a protracted silence until its potential for implied menace and even tragedy has been allowed to float free. It's a witty opening, but apart from pointed references to "nowhere" in the script and in the title, to a glimpse of Strawberry Field children's home and to a schoolbook doodling of "Walrus", Greenhalgh notably avoids cute prophetic touches. However, it has to be said Julia does hang around a bit possessively backstage, to the unease of both John and the young Paul McCartney, played by Thomas Sangster. Heroically, Greenhalgh avoids gags about John letting a woman get between him and the band.

It's a handsomely made film, with a very game lead performance from Johnson, hampered perhaps only by the fact that Lennon is really a rather callow figure at this stage; unlike, say, the more interesting, more grownup Lennon that Ian Hart played in Iain Softley's 1994 film Backbeat. When John shows Julia an EP record of Screamin' Jay Hawkins, she asks where he got it, and John says he swapped it with a bloke at the docks. "Swapped it for what?" Julia asks sharply, and John has no idea what she's implying.

Throughout the movie, I had the sense that Lennon was really a supporting turn and the stars were Julia and Mimi, but that, frustratingly, we were only ever allowed to see them from John's lairy and semi-comprehending point of view. John has to be the focus, and part of the movie's point is his youth, his poignant inability to appreciate how much these women love him.

And the film does contrive a tearful crisis in which the awful secret origins of the Mimi-John-Julia love triangle are laid bare. But for me, this finale was a little stagey, is resolved too easily and disconcertingly discloses a more intense story which has been happening, as it were, behind the movie's back.

None the less, this is an accomplished feature debut from Taylor-Wood, and a satisfying follow-up to her likeable short film Love You More.

--

(c) Guardian News and Media Limited. 2009

Bookmark and Share

Monday, September 14, 2009

Tribeca Film Festival: Review of "Queen to Play"!

-

In a world where a chess game is equivalent to a night of steamy passion, you have to be a little skeptical. In Caroline Bottaro's first feature, chess is played up to the extreme, turning the game into an excruciatingly obvious motif throughout the film.

Set in the ever-scenic French Riviera, Queen to Play tells the story of a maid, Hélene (Sandrine Bonnaire), who becomes obsessed with the idea of learning chess—and soon does, with the help of her client (Kevin Kline), a snobby retired doctor. As she spends more of her time "checkmating" the Doctor, she drifts away from her cleaning duties... and her husband. In a way, her chess-playing indulgence is like an affair—and, frankly, it could rightfully be one. According to Bottaro, her film depicts "a real romance" between the mentor and the student, and their chess matches are equivalent to love scenes.

Meanwhile, the idea of the game of chess completely engulfs Hélene's world, rendering her a one-track-minded pawn. Everything from checkered tiles to square tablecloths transforms into a chessboard in her subjectivity—and thus ours too. The problem, besides the fact that this sort of imagery is entirely too obvious and forced, is that at the film's core, it's nearly impossible to connect with this woman. Our leading lady is constantly sullen, mostly expressionless, and uncommunicative. She appears to desire her husband, but then rejects his affection and empathy. But yet, she's consistent in her rendez-vous with the doctor, who (in a pretentious "I'm Kevin Kline but playing a smart doctor who's speaking only in French hah!" kind of way) plays the part of the reluctant teacher who soon falls in love with the soft spoken working class maid in a strange condescending (and maybe metaphorical?) way.

In fact, this marks Kline's first role performed entirely in French, which is apparently depreciating his English skills—at the Q&A after the film screened, he sometimes couldn't find words to verbalize in his native tongue.

You can basically guess how Queen to Play will conclude within the first 20 minutes of the film. You just have to sit through the next hour of hit-you-over-the-head chess metaphors and aloof characters. The film is not an unpleasant experience on the whole—it just doesn't illustrate anything extraordinarily fresh to really care about.

Recommended: Maybe, with reservations

Look out for: Chess pieces thrown in your face...so to speak

Check out Tribeca Film Festival schedule to find the next screening.

Share


E-mail this to:

You may enter as many addresses as you want; separate them with commas.

Your e-mail address:

Add a personal message, if you'd like:









Chess, Film, tribeca film festival, tribeca, Matt Fullerty, Paul Morphy, The Pride and the Sorrow, F Street Review

Bookmark and Share

Sunday, September 13, 2009

"Queen to Play" - film review - checkmate!

Film Reviews
Queen to Play -- Film Review
By Frank Scheck, April 27, 2009 05:39 ET



Bottom Line: Some good moves, but no cinematic checkmate.
More Tribeca reviews

NEW YORK -- Chess as metaphor for life is the theme of Caroline Bottaro's French drama starring Sandrine Bonnaire as a maid who rediscovers herself thanks to her newfound love for the game and Kevin Kline as the misanthropic recluse who teaches her. While "Queen to Play" boasts an admirable dramatic subtlety and several strong performances, its overly familiar ideas and lugubrious pacing, as well as the fact that chess is not exactly the most cinematic of subjects, will make it a tough sit even for dedicated art house audiences. It recently received its world premiere at the Tribeca Film Festival.

Bonnaire plays Helene, a chambermaid at an upper-class Corsican hotel who's dealing with financial problems, a rebellious daughter and a less than ideal marriage to a handsome but not particularly sensitive blue-collar worker (Francis Renaud).

When she sees a glamorous, barely clothed couple (including Jennifer Beals in a cameo) intensely playing chess on their balcony, it stirs something within her. She promptly buys a set, but her husband proves to be an unwilling player. Spotting a board in the home of Dr. Kroger (Kline), for whom she moonlights as a cleaning person, she implores him to tutor her in its intricacies.

Kroger, who has barely spoken to her in all the time she's worked for him, initially rebuffs. But sensing her passion, he eventually agrees, and the two begin weekly sessions in which the pupil soon starts overshadowing her teacher. By the time she's allowed to participate -- in underdog "Rocky" fashion -- in a local tournament, all the principal characters have undergone life-enhancing emotional changes.

That the film works to the degree that it does is largely due to the sensitive performances. Bonnaire delivers a beautifully modulated turn, delineating Helene's liberating transformation in quietly powerful and convincing fashion. Kline, in his first entirely French-speaking role, intriguingly underplays as the mysterious Kroger, and Francis Renaud strongly conveys the husband's complicated feelings of disdain for his wife's new obsession and concern for his marriage.

Production: Mon Voison Prods
Cast: Sandrine Bonnaire, Kevin Kline, Francis Renaud, Jennifer Beals, Valerie Lagrange
Director: Caroline Bottaro
Screenwriters: Caroline Bottaro, Caroline Maly, Jeanne Le Guillou
Producers: Dominique Besnehard, Micher Feller, Amelie Latscha
Director of photography: Jean-Claude Larrieu
Editor: Tina Baz
Production designer: Emmanuel de Chavigny
Music: Nicola Piovani
No MPAA rating, 96 minutes

Queen to Play -- Film Review

By Frank Scheck, April 27, 2009 05:39 ET
Bookmark and Share

Wednesday, September 02, 2009

Dominick Dunne, Chronicler of Crime, Dies at 83

Published in The New York Times: August 26, 2009
--

Dominick Dunne, who gave up producing movies in midlife and reinvented himself as a best-selling author, magazine writer, television personality and reporter whose celebrity often outshone that of his subjects, died Wednesday at his home in Manhattan. He was 83.

The cause was bladder cancer, a family spokesman said. The spokesman had initially declined to confirm the death, saying the family had hoped to wait a day before making an announcement so that Mr. Dunne’s obituary would not be obscured by the coverage of Senator Edward M. Kennedy’s death.

In the past year Mr. Dunne traveled to the Dominican Republic and Germany for experimental stem-cell treatments to fight his cancer, at one point writing that he and the actress Farrah Fawcett, who died in June, were in the same Bavarian clinic.

He sprang to national prominence with his best-selling novels “The Two Mrs. Grenvilles” in 1985 and “An Inconvenient Woman” in 1990, both focused on murders in the upper realms of society. He later chronicled high-profile criminal trials and high society as a correspondent and columnist for Vanity Fair magazine.

He achieved perhaps his widest fame from his reporting of the O. J. Simpson murder trial in 1994 and 1995 and later as the host of the program “Dominick Dunne’s Power, Privilege and Justice,” on what was then Court TV (now TruTV).

Last year, as a postscript to his Simpson coverage, Mr. Dunne defied his doctor’s orders and flew to Las Vegas to attend Mr. Simpson’s kidnapping and robbery trial.

Mr. Dunne’s magazine career was weighted toward the coverage of sensational murder trials. He made no secret of the fact that his sympathy generally lay with the victim, and he was vocal about what he considered the misapplication of justice.

Sympathetic Stance

He never hesitated to admit that his sympathetic stance stemmed from the murder of his daughter, Dominique, by John Sweeney, her ex-boyfriend, in 1982. Ms. Dunne, a 22-year-old actress, was found strangled, and Mr. Sweeney, who was found guilty only of voluntary manslaughter and a misdemeanor for an earlier assault, served less than three years.

“I’m sick of being asked to weep for killers,” Mr. Dunne often said. “We’ve lost our sense of outrage.”

During the trial, Tina Brown, who was the editor of Vanity Fair at the time, suggested he keep a journal. The account, “Justice: A Father’s Account of the Trial of His Daughter’s Killer,” was published in Vanity Fair in 1984.

“He never pretended to be objective in covering trials,” Graydon Carter, the current editor of Vanity Fair, said Wednesday. “He was always writing from the point of view of the victim because of what happened to his daughter, and he had a riveting way of knowing, almost like Balzac, what to tell the reader when.”

Mr. Dunne went on to cover the trials of Claus von Bulow, Michael C. Skakel, William Kennedy Smith, Erik and Lyle Menendez, and Phil Spector, as well as the impeachment of President Bill Clinton.

“I realized the power writing has, and it has also helped me deal with my rage,” he said in an interview with The New York Times for this obituary in 2000. “It gave me a lifelong commitment not to be afraid to speak out about injustice.”

Mr. Dunne’s brother was the writer John Gregory Dunne, the husband of the writer Joan Didion. He died in 2003.

High-Profile Clashes

Mr. Dunne’s speaking out led to a lawsuit for slander filed by Gary Condit, a Democratic congressman from California, over remarks Mr. Dunne had made on national radio and television in 2001. Mr. Condit had been scheduled to testify in a deposition about his relationship with Chandra Levy, a federal government intern who disappeared in May 2001 and whose body was found in a Washington park in 2002.

Mr. Dunne quoted a man who asserted that he had heard that Mr. Condit had talked about his relationship with a woman whom he had described as a clinger. Mr. Dunne said this had created an environment that led to Ms. Levy’s disappearance. Mr. Condit’s suit, originally seeking $11 million in damages, was settled for an undisclosed sum and an apology. A later suit by Mr. Condit was dismissed.

Mr. Dunne also clashed with the Kennedy family about his involvement in the 2002 trial of Mr. Skakel, a first cousin of Robert F. Kennedy Jr. Mr. Skakel was sentenced to 20 years to life in the murder of Martha Moxley in 1975. Her body was found beneath a tree on her parents’ property in Greenwich, Conn.

In 2003, in a 14,000-word article in The Atlantic Monthly arguing that the case against his cousin was flawed and had left reasonable doubt, Mr. Kennedy accused Mr. Dunne of intimidating prosecutors and helping to drive the news media into “a frenzy to lynch the fat kid.”

Mr. Dunne said in The Times interview that he had also been a source of information for a book that Mark Fuhrman was writing about the Skakel trial. He had met him when Mr. Fuhrman testified during the O. J. Simpson murder trial. “I had some hot information about Skakel,” Mr. Dunne said, “and I knew Fuhrman would bring it to attention.”

Mr. Dunne, known as Nick to his friends, was a ubiquitous figure in both American and European society. He attributed his success to his being a good listener. “Listening is an underrated skill,” he said in discussing his interviews with political figures and celebrities like Imelda Marcos, Elizabeth Taylor, Diane Keaton and Mr. von Bulow.

At Michael’s restaurant in Manhattan, a favorite gathering spot of the news media elite, Mr. Dunne could often be found at his regular corner table receiving admirers. Even as his health declined, he would show up in his trademark round glasses and a Turnbull & Asser shirt, with the proper white collar and large blue stripes.

With his appetite for gossip, a short stop at his table would usually yield some nugget. And the story would almost always start with, “Do you know what I heard?” and end with “Can you believe that!”

‘A Rotten Athlete’

Born in Hartford, Dominick John Dunne was one of six children of a fourth-generation Irish-Catholic family. His father, Richard, was a heart surgeon, and although the family was well-off, his childhood was not happy.

“I was a rotten athlete, I liked puppet shows and I was kind of a sissy,” he recalled in The Times interview. “Something about me drove my father crazy. He mocked me and often beat me with a wooden coat hanger, and although we belonged to WASP clubs, we were never a part of things. We were like minor-league Kennedys.”

Drafted into the Army during his senior year in high school, Mr. Dunne fought in the Battle of the Bulge and won both his father’s admiration and a Bronze Star for crawling past Nazi sentries and carrying back a wounded soldier. After his Army service, he attended Williams College, where he and a group that included Stephen Sondheim started a theater.

After graduating in 1949, he moved to New York, where he became stage manager for television shows and later an assistant to the producer of “Playhouse 90.” In 1954 he married Ellen Griffin, who was known as Lenny and with whom he had two sons, Griffin and Alexander, in addition to Dominique.

By 1957 he was in Santa Monica, Calif.; a year later he was producing at 20th Century Fox and living in Beverly Hills. By the 1970s he was a vice president of Four Star Television and produced “The Boys in the Band,” “Panic in Needle Park” and other films.

Dominick and Lenny Dunne became famous in the industry for their parties, the most memorable of which was a black and white ball, held in 1964 to celebrate their 10th anniversary. The guests included Nancy and Ronald Reagan and Truman Capote, who two years later used the idea for his own ball of the same name, at the Plaza Hotel in New York, a renowned event to which the Dunnes were not invited.

“My jobs never qualified me for the strata of Hollywood we moved in,” he recalled. “I always kept scrap books and saved everything. On some level, I knew it was not going to last.”

It didn’t. Devastated when his wife asked for a divorce — “She was the real thing, and I became a fake,” he said — he declined into “a hopeless alcoholic,” he admitted, and started to use cocaine. Returning from Mexico, he was arrested for drug possession at the airport in Los Angeles.

But his drinking continued, and though none of his films were box-office smashes, the denouement came in 1973 with the widely panned “Ash Wednesday,” a picture he produced starring Ms. Taylor. Compounding that failure was the publication in a trade newspaper of a joke he told, while he was drinking, about a Hollywood power broker.

“I kind of knew it was going to be my swan song,” he said of the remark. He became a nonperson in the industry.

At one point he sold all his possessions including, for $300, his dog, a West Highland terrier. He went on unemployment, all the while terrified that his friends would see him in the line.

In 1979, approaching his mid 50s, he left Los Angeles. “I got into the car and didn’t know where I was headed,” he said in an interview. “I drove north, stopped for a flat tire in Oregon and stayed there in a one-room cabin for six months.” There he started to write for the first time. The book was a novel of Hollywood, “The Winners.”

A New Chapter

He moved to New York in 1981. Reviews of “The Winners” were scathing, but his editor, Michael Korda, advised him to go in another direction.

“He told me there was nothing people liked more than reading about the rich and powerful in criminal situations,” Mr. Dunne said. “It was, like, ‘Boing’ in my head, and I made a genre out of the thing. I wrote ‘The Two Mrs. Grenvilles,’ about a social family whose son married a showgirl who was then accused of murdering him. Two million copies were sold and that book utterly changed my life.”

Other books followed, among them “People Like Us”; “A Season in Purgatory,” based on a rich Catholic family and murder; and “An Inconvenient Woman,” about a social couple and the murder of the husband’s mistress.

In 1999 he published a memoir, “The Way We Lived Then, Recollections of a Well-Known Name Dropper,” studded with photographs of the famous.

His increasing prominence as a reporter, writer, author and television personality made him a staple at fashionable dinner parties and social events.

“All the people who dumped me years before were now giving dinner parties for me,” he said during Mr. Simpson’s trial. “And I went.”

Although he had been divorced for two decades, he remained devoted to his ex-wife, who learned she had multiple sclerosis in 1972, until her death in 1997. He is survived by his sons Griffin, an actor and director of New York, and Alexander of Portland, Ore.; and a granddaughter, Hannah Dunne.

In 2000, Mr. Dunne was found to have prostate cancer. Six years later he was being treated in a hospital when, he said, he decided to leave. Disconnecting himself from the medical instruments attached to him, he walked out and took a taxi home.

“It caused a lot of commotion at the hospital,” he said. “But I was convinced I was going to die, and the room was not the right setting for my death scene.

“I stayed home for five days and did everything the doctor told me to do,” he added, “and a week later I flew to Europe.”
---
Copyright 2009 The New York Times Company | Privacy Policy
Bookmark and Share

Saturday, June 20, 2009

The Knight of New Orleans - world chess in the crescent city!

Bookmark and Share

Saturday, August 23, 2008

Writer v Studio!

Yesterday I read another story of how someone is suing the producers of the new movie Death Race (starring Jason Statham) claiming his ideas were stolen from an original script submittal. The writer's script had a different name but he is claiming his ideas were rejected, then adapted afterwards into the movie that got made. Check out this link!
Bookmark and Share

Friday, August 22, 2008

Stolen scripts!


To add to the Death Race stolen script story, the writer of new Kevin Costner movie Swing Vote is also claiminh his ideas were stolen - click here!

For an article on stolen scripts generally in Hollywood - admittedly a couple of years old - but setting the scene for these new claims and revelations, check out this link.

Hollywood is still pretty nutty, England! We wouldn't have it any other way!
Bookmark and Share