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Amy Adams is in final negotiations to star opposite Christian Bale and Mark Wahlberg in "The Fighter," which David O. Russell is directing for Relativity Media, reports THR.
Hey true believers, collider.com have the scoop on Stan Lee's cameo in Iron Man 2. A scooper send in the following message to the site revealing the cameo as a Larry King type chat show host:Hey guys,UPDATE: Superhero Hype! have news that Stan Lee also as another cameo in the Venom spin-0ff film according to Paul Wernick and Rhett Reese.
Big fan of the site. Since I hadn’t read this news anywhere, I wanted to let you know Stan Lee filmed his cameo for Iron Man 2. I was told Stan filmed earlier this week and he was dressed as Larry King. The scene has Stan asking Tony Stark when he’s going to be on his show.
Joseph Gordon-Levitt performance as Cobra Commander is sure to be the highlight of G.I. Joe when it is released in August. Information about the role so far has been kept well under wraps by Paramount, but in a recent interview with Nymag.com Gordon-Levitt revealed his thoughts on the role and his transformation to Cobra Commander:"Yeah. My face is in it. There's this crazy kind of getup that I wear. It's got makeup and it's got all this other stuff, and it's a mask, basically. You can hardly tell it's me. And that, to me, is the best. That's why I love Daniel Day-Lewis or Gary Oldman. Actors like that, where they're so different as each character, the actor disappears. Doing G.I. Joe made it real easy to disappear because of all the elaborate stuff on my face. And it demands a totally different kind of acting style. You sort of check your realism at the door.
I was thinking of Slava's Snowshow the whole time [Gordon-Levitt is a producer for the avant-garde Russian clown show]. In Snowshow, they put on makeup; it's old-fashioned makeup, totally different, of course, than what we did in G.I. Joe, but they put stuff on their face to create a character. Now, the guy who put stuff on my face, Kazuhiro Tsuji is his name, the protégé of Rick Baker — he's an artist, man! He's such an admirable artist, and to watch him do this work and have it be all on my face, it's just so fun. And then I get to play with that and create a performance out of that, instead of my own face. It's so much fun for someone like me who gets off on different acting styles, playing with the craft. That's what G.I. Joe is about for me."
In 2017, a plague transforms the world's population into vampires. With fewer humans to provide blood, the vampires seek to farm the remaining humans and to find a way to continue their existence. A secret team of vampires uncover a way that would rescue the human race.
Anime vice got to chat with Peter Craig, writer of the up-coming adaption of anime classic Cowboy Bebop:ANIME VICE: How did you come to be a part of the Cowboy Bebop project?
PETER CRAIG: I'm obviously not the most likely writer to land a great project like this. I began as a novelist, and was steered into writing screenplays when I adapted two of my own crime novels after they were optioned. Eventually, I earned a decent reputation for writing certain kinds of characters: disaffected men, dysfunctional families, poker-playing con-women, weathered ex-cops. A couple of things I've written are going into production this summer - but they've been circulating much longer. So studios and producers were familiar with my work here.
Even though I'd never written Sci-Fi, Emma Watts and Erwin Stoff really believed that I might relate well to Spike, Faye, and Jet -- as well as many of the minor characters from the episodes. When I heard I might have a chance for the job, I was thrilled. Fox sent me every episode of "Cowboy Bebop," including a few that had never aired in the U.S. I think I watched all of them consecutively one night until the sun came up - and by the end, I was obsessed with the show. I loved how it mixed genres, how it blended noir, Jazz, Yakuza movies, Westerns, and so much else into a vision of the future that worked. And so I entered that process of going after the job, giving my "take" on the movie, competing with other writers. Ultimately, I got the job because Erwin Stoff and Emma Watts had liked my work in the past -- and they saw that I was passionate about it.
AV: Had you seen Cowboy Bebop prior to coming onto the project? Is there anything about the series that particularly drew you in?
PC: I had seen the show on "Adult Swim" - but not enough to understand it as well as I do now. I had seen the ending first, unfortunately. Then I believe I saw "Honky Tonk Women" next, months later - the episode when Spike first finds Faye in the casino. I'd seen one of the Ganymede episodes at some point, too - Jet with his old girl. I remember being very impressed with it, though, even with limited exposure. I liked the pace, the wide-open space. I liked the extremely droll sense of humor. It was unlike anything I'd seen before.
But then, once I watched all of them in order, I really became a full convert to the show. I've probably watched every episode at least three or four times now - and I really adore what a complete world Watanabe and Nobumoto created. I was also extremely drawn to all of the characters' backstories: Faye's amnesia after being taken out of cryogenic freeze, and the con played on her; Spike's history in the Syndicate and with Julia; Jet's days as a cop on Ganymede, and his run-in with Udai Taxim. Every character was new and interesting, and I felt like I was looking at an encyclopedia of some imaginary world.
AV: It's been reported that the staff who made the anime-- the studio Sunrise --is going to remain involved in the film. Do you know at this point if this will include significant involvement in the script?
PC: Yes, they're very much involved. I met with all of them in Tokyo in December - at a long meeting with Keanu in the room. I thought there was an immediate rapport between all of us, particularly Shinchiro Watanabe and Keanu. I asked questions, presented scenarios, and they were very specific about their vision for the series, and how it might convert to a live-action film. They've continued to be in touch since then; and last month I received a very detailed letter, which I've consulted regularly. I'm close to finishing an early draft, and I believe they'll be very happy with it. Not only does the script stay extremely true to the show -- I also know that Erwin and Fox are already discussing production designers that can reproduce the "look" of Cowboy Bebop as closely as possible. They'll be reading the script soon... so my fingers are crossed.
Youth in Revolt is the 2009 feature film adaptation of the C.D. Payne novel of the same name about a cynical sex-obsessed 16-year-old's pining love for an intelligent girl and the things that stand in his way, including his ignorant divorced parents, his mom's boyfriends, and the boy the girl still likes.
Darren Aronofsky while speaking at the Edinburgh Film Festival said he is "unconvinced" by 3D film technology and thinks it is a "gimmick" he also found the experience of watching 3D movies "really annoying".
Directed by Tom Hall ('Bachelors Walk') and written by 'Father Ted' co-creator Arthur Matthews, 'Wide Open Spaces' follows the escapades of misfits Myles (Ardal O'Hanlon) and Austin (Ewen Bremner).
Steven Soderbergh's baseball film 'Moneyball' has been halted just days before the start of shooting.