Back before Tim Miller was directing his record-breaking smash hit Deadpool, he was one of the guiding forces behind developing the animated adaptation of Eric Powell’s comic series The Goon.
David Fincher signed on to produce the film in 2008 , working off a script from Powell himself, and recruited Miller to co-direct the project along with Jeff Fowler. The effort eventually culminated with a trailer length release of some test footage in 2012, not unlike the video that gained a large enough viral following to get Deadpool off the ground. However, unlike what happened with Deadpool, that was the last anyone heard about the project.
Ever watch a movie and see the name Alan Smithee pop-up as the director, or maybe the writer in the credits? Wonder how this one person could possibly write and/or direct so many varied films, and they all…well, happen to not be very good? You may find my questions coy as most of you already know that Alan Smithee is an alias usually regulated to a filmmaker who wishes to have their name removed from a project. This name-change is usually the result of a long, strenuous battle between filmmaker and studio, or when cuts and edits are made to a director’s film against their wishes. Whatever the case, here at Grizzly Bomb it got our gears moving on a new list, this one focusing on the many films in which a director disowned their own film, sometimes using the Smithee alias, storming off set, or staying silent about the film altogether. Some even had the clout (either at the time or later on) to lock the film up away from the public altogether.
To show the importance of staging in filmmaking, director Steven Soderbergh reworks Steven Spielberg’s classic adventure Raiders of the Lost Ark into a moodily, affective black and white silent film. The film is essentially stripped of many surface elements to highlight the deeper ones (at least for Soderbergh). No more color or witty banter from Harrison Ford, and we lose John Williams iconic score. Soderbergh replaces all of the soundtrack with Trent Reznor and Atticus Ross’ score from The Social Network, not to draw comparisons between the two films but rather to provide audible accents to the staging.
David Fincher can do anything he wants in my opinion. If he wants to do Star Wars, let him do Star Wars. If he wants to tackle a full season of HBO television like True Detective, by all means do it. Fincher has this beautiful, yet blunt ability to dig deeper into a story and draw out every wonderful or excruciating detail and throw a spotlight on it. Okay, maybe more excruciating than anything, but his ability to present several angles fleshes out all this stories and makes them memorable at the very least. Gone Girl is no exception. This movie resonated with me for hours after I left the theater. This dark portrait on a marriage, first impressions and snap judgements in a media dominated society enthralled me for the two hours plus in the theater. While it may not ever hit that final gear in gripping the audience, you will walk out of the theater eager to discuss with your fellow moviegoers.
There was a time when people sat around and listened to shows on the radio. There was a time when silent films became “talkies”. There was a time when cable came around and all of a sudden you had hundreds of channels at your disposal. There was a time when The Sopranos premiered on HBO and changed the way premium cable was regarded. Netflix is hoping that someday the statement “there was a time where people didn’t watch ‘television’ shows on the internet” will find it’s way onto that list. The upcoming Arrested Development may be getting all the news, and Lilyhammer may have been the first, but House of Cards is no shrinking violet by any means.
Eric Powell, creator of comic book property The Goon, took to the Internet to answer questions via Reddit’s AMA (ask me anything) subreddit. While his intro and answers were mostly in relation to the in-progress Goon Movie Kickstarter, he was candid and forthcoming about plenty of his other work as well.
For fans of the Halo universe, these past few weeks have been nothing less than a conglomeration of anticipation and teasing. The Forward Unto Dawn series released its first full-length episode instead of the short vignettes we’d received before, and NewEgg.com ran an incredible sale of $15 off the pre-order (if you missed out, sucks to be you).
Now the live-action trailer for Halo 4 is out, and like the previous live-action trailers before, it does not fail to grip the viewer with its intensity even in such a short amount of time. The trailer, entitled “Scanned,” features a captured Master Chief being tortured in some way by the new enemy gamers will face in Halo 4:
The trailer was produced by David Fincher, that guy who made those awesome films like Fight Club, Se7en, and The Girl With the Dragon Tattoo. Tim Miller directed the trailer, pairing with Fincher as he had previously worked on special effects for Fincher’s Tattoo. The two delivered Halo fans an impressive piece of artistry here that again only makes us more anxious for the game’s release.
Though we love these live-action trailers, the question amongst gamers still remains; will this new “ancient enemy” be a worthy foe like the Covenant have been for the past 10 years, or will they just be something to roll our eyes at? The enemy leader in this trailer appears to be quite threatening (anyone who can capture Master Chief definitely shouldn’t be underrated). Hopefully, the game creators have integrated the race deftly into the timeline, canon, and framework of preceding Halo lore.
We’ll find out how everything is presented in only two weeks. If you haven’t already, make sure to ask off work for November 6, when the regular and limited editions of Halo 4 will be released so you can game the day away.