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Tom Hardy Plays Coy About Star Wars 8 Casting Rumor
The still-untitled Star Wars: Episode VIII hasn’t been much in the news as of late – except for the occasional story teasing possible first-looks or how Lucasfilm might handle Carrie Fisher’s (General Leia Organa) death – but that hasn’t stopped the behemoth of a film from making a big splash in the rumor mill.
One of the most intriguing of these little nuggets has to do with mega-star Tom Hardy ( The Dark Knight Rises , Mad Max: Fury Road , the upcoming Dunkirk ) possibly playing a First Order stormtrooper in a key scene , just as James Bond himself Daniel Craig did in 2015’s Star Wars: The Force Awakens . (Just what makes this supposed scene so pivotal will be discussed down below, safely located under a spoiler warning.)
When speaking recently with The Hollywood Reporter , Hardy was confronted with the months-old rumor directly. His response is… comical. He said, “I don’t know if I can even say that. Where did you hear that?” When told the rumor originated from the internet, Hardy responded, “Ah, the internet is a glorious web of deceit and misinformation, isn’t it?” The actor concluded by answering whether the rumor is misinformation: “It could be, couldn’t it?”
What’s so interesting about the denial, just to get overly analytical on what is a fairly innocuous back-and-forth, is how the first part – “I don’t know if I can even say that” – seems to be a confirmation before the quote about the internet being “a glorious web of deceit and misinformation” would seem to deny it. That’s some skillful dodging – as has, of course, become an all-too-common requirement for actors up and down Hollywood – but it still leaves us with the general impression that it’s more of a yes-dodge than a no-dodge.
Now, let’s proceed with the SPOILER WARNING and get into what the rumored role Hardy might be playing is – and, more importantly, who that part would be interacting with.
Last chance: (POSSIBLE) SPOILERS ahead!
According to the earlier story, the scene in question has Finn (John Boyega) donning his stormtrooper armor once again to go on an undercover mission for General Organa’s Resistance, infiltrating a First Order base. Hardy is said to play a fellow trooper who happens to recognize the good ol’ FN-2187 and assumes he has become a double agent for the Order against the rebel scum. He congratulates Finn on the apparent promotion and goes about his business.
The part is a bit one, and a funny one (once again, much like Craig’s in Episode VII), but the potentially pivotal nature comes in the revelation that the neo-Imperials have no idea that one of their own has defected – which, in turn, could say a whole lot about how much control Supreme Leader Snoke (Andy Serkis) really does have over his homegrown movement. Maybe it even foreshadows a fate that is not unlike the one that befell Emperor Palpatine (Iam McDiarmid)…
Although Rogue One was ostensibly about a set of completely new heroes in the Star Wars story, the first ever standalone in the franchise wasn’t light on returning faces. Alongside the much-publicized returns of Darth Vader, Mon Mothma and Bail Organa (as well as a CGI Tarkin and Princess Leia), there were a host of surprise appearances by characters from across the galaxy.
One of the most effective, and definitely surprising, was the return of Red and Gold Leader, who appeared as part of the Rebel attempt to take down the shield gate during the space battle finale. While the methods used to recreated 1977-era Peter Cushing and Carrie Fisher were pretty obvious – short answer: mo-cap and computers – how this worked was a bit more intriguing. It was revealed shortly after release that Gareth Edwards and his team found unused takes of the actors from the original film and digitally restored them , but now Angus MacInnes, who played Gold Leader, has spoken about the experience.
Jamie Stangroom , an intrepid fan who’s tracked down many of the actors behind obscure Star Wars characters over the past year or so, decided to get to the bottom of the mystery and had a Skype interview with MacInnes in which the actor discussed the process of being put in a film 40 years after making it, which involved approving the use of the footage and re-recording dialogue:
“They contacted me sometime in early October and said they wanted to use the footage, and could they? And I said, “Well yeah.” Then they asked me to re-voice it. So I went into the studio here [in London] and re-voiced – we did a video link with San Francisco. We re-recorded the dialogue for the sequence. Just little tweaks here and there – but it was important to change it, because obviously you couldn’t use the same dialogue at Yavin as you could with this sequence.”
Compared to Tarkin or Leia this may not seem that arduous a task, but it’s great to hear that the production went to the effort to get MacInnes back and redo the lines (sadly Drewe Henley, who played Red Leader, died earlier in 2016 and thus only direct footage was used). It’s also great that they actually had him provide some contextual Scarif dialogue – those changes he talks about refer to Gold Leader’s announcement of beginning his attack run on the shield gate, which was obviously a new concept for Rogue One.
The conversation also hints at the behind-the-scenes motivations for the addition; that the actor was approached in October, just two months before the film was released, would suggest that the Red and Gold Leader footage was a last minute addition. This matches the theory that the massive space battle that caps off the film was a result of the creative decision that led to the highly publicised reshoots .
MacInnes also talked about the digital resurrection of Cushing, which he described as “kind of eerie, really bizarre.” However, when asked if he had any objections to a similar process being applied to him, he seemed game, saying, “I don’t see why not. Movies are about fooling people into believing there’s a reality going on and it’s all about how well you do that and it’s irrelevant if you’re actually there.”
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Marvel’s Inhumans Set Photos: Lockjaw & Crystal First Look
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After years of uncertainty regarding their future within the MCU, Inhumans are closer to taking the spotlight. While Agents of S.H.I.E.L.D. continues to explore the alien race and feature multiple enhanced individuals in prominent roles, it will be the next Marvel/ABC partnership that takes the property to a whole new level. Inhumans will not only be ABC’s new Marvel series come this fall, but it will also first debut in IMAX across the world.
Part of the deal in teaming up with IMAX is an enlarged budget with three companies working together to bring the Royal Family to life. With casting finished up and filming set to begin in Hawaii, there have already been sights of Lockjaw and Black Bolt (Anson Mount) on set. Now, the giant teleporting dog is back with a new companion.
Hawaii Isla 808 posted a few new photos from the set of Inhumans that reveal the first look at Isabelle Cornish as Crystal. Although the photo itself does not offer much in the way of detail, it does show that they will be sticking with her classic yellow colored suit — though it looks like some modifications to the design have been made. She is also featured in the same location as Lockjaw, showing him once again bringing the Royal Family to Hawaii.
Production of ABC and Marvel's filming at the Hawai'i State Capitol building today in Honolulu, Hawaii. #inhumans #lockjaw #theinhumans pic.twitter.com/p4d2MxkA9o
— hawaii isla 808 (@hawaii_isla808) March 13, 2017
Due to the quality of the photo, it is not clear whether or not Cornish’s hair is red/amber as Crystal’s traditionally is. They could allow her to keep her natural blonde look to better differentiate Crystal from her sister Medusa ( Serinda Swan ). As for the costume, the sleeveless look is new, as is the apparent brown top of her dress. As filming continues, a better look at Crystal’s costume will likely emerge, so even if some are not sold on the costume from this look, later pictures may sell it better.
With Crystal and Black Bolt so far literally traveling to Hawaii, it will be interesting to see whether or not the rest of the Inhuman Royal Family joins them. Medusa, Karnak ( Ken Leung ), Triton ( Mike Moh ), and Gorgon ( Eme Ikwuakor ) have yet to be shown, and the same can be said for the antagonist Maximus the Mad ( Iwan Rheon ). That said, should filming continue to take place in public locations, the chance for photographers to catch a glimpse of the characters will increase. But, if set photos do not reveal their looks soon, it won’t be long before Marvel, IMAX, and ABC begin to promote their new series and share an official look at all the characters involved.
Next: X-Men and Inhumans War Comes to a Shocking End
Inhumans comes to IMAX theaters for two weeks starting Friday September 1, 2017, prior to its television debut on Tuesday September 26, 2017 on ABC.
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Fans of Brendan Fraser’s The Mummy movies disappointed by the Tom Cruise reboot may be in luck – an Easter egg suggests Rick O’Connell, Imhotep, and co. are still canon.
Although the Dark Universe is ostensibly based on Universal’s 1930s classic monster films, the instigating creature – the resurrected Mummy – is better remembered for a previous remake. Back in 1999, Stephen Sommers delivered one of the best summer blockbusters of a disappointing decade by taking a character best known for being an easy last-minute Halloween costume and putting it in an Indiana Jones-hued action-adventure.
Fun, creepy and full of great characters, The Mummy was a massive success, leading to two direct sequels and spin-off series The Scorpion King that, despite not being great, still ran for four movies between 2002 and 2015. There were once talks of a fourth film in the main series, but they died with the emergence of the Dark Universe (and its scathing reviews). Or did they?
The Mummy 2017 is mostly very removed from what’s come before. It’s set in the modern day (the previous remake took place in the 1920s), moves the action from Egypt to England (with the instigating tomb in Iraq), and while its villain is, again, primarily motivated by using one of our heroes to resurrect an ancient force, the story goes off in a completely different direction.
But Alex Kurtzman isn’t totally ignoring the O’Connells. In the film’s second act, Tom Cruise’s Nick Morton finds himself the headquarters of Prodigum, a secret organization that collects and catalogs rare antiquities related to a variety of strange creatures. When he discovers their motives aren’t totally pure he gets in a tussle with Russell Crowe’s Dr. Jekyll (or rather his dark side) while Annabelle Wallis’ Jenny Halsey tries to find a way to break them up. When scrabbling for a weapon, she uses one of the Prodigum’s acquisitions – a golden book with a strange lock.
This is the Book of Amun-Ra , a mythological item first introduced in The Mummy ’99. It was one of two essential MacGuffins in the film along with the obsidian Book of Death; the latter was able to resurrect ancient forces, while the former sent them back to the afterlife. The golden version was seemingly lost forever in sequel The Mummy Returns when a cult surrounding Imhotep tossed it in a pit of scarabs to get rid of their master’s only weakness.
Of course, even though the Dark Universe appearance looks to be the same prop, or at the very least a near perfect recreation, it’s more intended as a neat easter egg for long-time Mummy fans. But could it be something more? Is Kurtzman actually saying the original films happened in continuity?
The big difference between Fraser and Cruise’s Mummy is that while the former was just a rollicking one-off summer movie (initially), the latter is the springboard to one of Universal’s biggest gambles, a shared universe that – if box office and critical failure doesn’t crush it first – will unite Morton (now a Mummy) and Jekyll with Frankenstein, the Invisible Man, the Wolf Man, the Creature from the Black Lagoon and maybe even the Phantom of the Opera and Hunchback of Notre Dame . As such the film is full of setup for the future, with easter eggs and world building galore. Is the Book of Amun-Ra part of it?
Here’s where those aforementioned differences between remake series come into play – there’s very little if anything to contradict the two Mummy films being in the same timeline, with different cursed Egyptians, tomb locations and, indeed, magic explanation, all separated by the better part of a century. To say that Fraser’s films work in Dark Universe going forward is very simple; the writers just need to make sure they don’t contradict a few simple things. To be sure, it’s not even hard to explain the Easter egg; the Book was lost, not destroyed, and as a pivotal artifact is unlikely just get left to the sands of time. If Prodigium really is as maliciously far-reaching as presented, they’re sure to have hunted it down at some point – the Imhotep incident may even be what instigated the organization.
In fact, this would be a rather nice move for other remakes to follow through on – because these are contemporary, action-based versions , it’s not too damaging to pay homage to the 1930s classics and other efforts by making them officially in-continuity. Imagine Frankenstein saying he’s following work of an ancestor or the Invisible Man being a hereditary affliction. Heck, while the film itself is despised, people would surely be pretty excited to have Hugh Jackman’s Van Helsing pop up (if The Mummy hasn’t already introduced another version of the character). Ironically, the only film that couldn’t work in this vein due to the character’s immortality is Dracula Untold , once intended to be Dark Universe’s progenitor.
Alex Kurtzman has actually discussed the Easter egg with Digital Spy and while admitting it is primarily just a wink, the director said its ambiguity leading to a discussion such as this is intentional:
“You have to pay homage and tribute to everything that came before. I have nothing but respect for all the films that have been made, and the filmmakers who’ve made them. To deny their existence in any way, I think would have been incredibly rude. So, all of those films are part of the history of the Universal monsters, and as such I thought, rather than say it’s not part of the canon, let’s say, ‘No, it is part of the canon; we’re just taking it somewhere new’.”
When pressed, Kurtzman even jokingly said “Sure! Why not? You’re free to quote that.” Of course, this is all a bit cheap – it’s tying in beloved movies with no purpose beyond appeasing fans – but then who actually expected O’Connell to turn up?
Even if it is just a bit of fun, there’s no avoiding what it means: yes, the Brendan Fraser movies are canon. Now if only we could replace the Tom Cruise version with them…
NEXT: How The Mummy Sets Up The ‘Monster Avengers’ of Dark Universe
Source : Screenrant
※ 編輯: Ctea 時間: 2017-06-12 10:28:26
What Makes Marvel's Movie Posters So Bad?
Let’s not mince words: The most recent Spider-Man Homecoming poster is awful. It’s overcrowded, messy on a basic design level, and it doesn’t capture the mood or tone of the film or its main character. Indeed, he is barely the central feature, as your eye is more drawn to glowing Tony Stark in the top-right corner or Iron Man on the opposite side. This proved especially disappointing since the teaser posters for the film were so striking in their simplicity, showing Spider-Man himself, front and center, both on the job clinging to the side of Avengers HQ and relaxing on the city’s outskirts with his headphones on. You immediately know the two sides of Peter Parker from these posters – the crime fighting superhero and the teenage boy with dreams on his mind.
For the vast majority of moviegoers, the quality of the poster isn’t going to influence them on whether or not they’ll see the film – at this point in time, the output of Marvel Studios is essentially review-proof, let alone shoddy photoshop-proof – but this does highlight an area where the company has slipped in terms of marketing. For a company so precise and calculated in every element of their promotional campaigns, Marvel can’t be pretty bad at making movie posters .
So many of Marvel’s problems on this front can be traced back to a simple need to market to the widest possible audience. While the studio can now basically slap their name on anything and make a billion dollars, that wasn’t always the case, and they had to drive home at every possible moment exactly what they were selling to prospective audiences. That means slapping everything on the poster for maximum coverage, so, to use the first film in the Marvel Cinematic Universe as an example, you don’t just get Iron Man front and center, but you get the now iconic suit to the left, with the serious faces of the most bankable stars on the right, including Robert Downey Jr, Jeff Bridges, Terrence Howard, and the top half of Gwyneth Paltrow’s body to the backdrop of soaring jets chasing Iron Man into the skies, while Obadiah Stane’s giant metal suit is surrounded by flames. There’s a lot going on here. Iron Man himself is featured no less than three times in one sheet if you include Stark. On top of reminding potential viewers of the big stars in this shiny new film, it hints at the plot of the story. It’s on the nose, but effective, which is all it needs to be.
Arguably the messiest example of this Marvel has created is their main poster for Avengers: Age of Ultron. The “everything but the kitchen sink” approach is in full effect here, with nine major actors in action mode vying for your attention (expectedly, Iron Man is in the center), and a sea of debris and bodies flying in the backdrop. There’s no cohesion in terms of the color scheme, nor is there anything truly interesting to look at. It’s Advertising 101, which has its benefits, but fails to create the necessary sense of scope beyond “more people equals more epic”.
This is hardly a problem unique to Marvel. For many decades, poster design was considered a criminally underrated art, with the work of acclaimed designers and artists like Saul Bass and Drew Struzan pioneering the field. Struzan, who is responsible for some of the most famous film posters ever made, including but not limited to Star Wars, The Thing, the Indiana Jones series, and Big Trouble in Little China, is beloved by icons of the film world, including Guillermo Del Toro, who said of him, “There is one artist for every couple of decades that encapsulates what the film experience was for a couple of generations, and I think for my generation and for the generation right before me, Drew Struzan was the movies.” There’s even an entire documentary about Struzan’s work, entitled Drew: The Man Behind the Poster . In that film, Struzan provides arguably the most succinct explanation for why his artform is dying off in the modern film age, as he discusses the cost cutting measures most studios take on marketing. A process like Struzan’s, which is detailed and time-consuming, is not worthwhile for a studio that can simply photoshop together a few actors’ faces (preferably to a blue and orange contrast background) and call it a day. They just won’t
A process like Struzan’s, which is detailed and time-consuming, is not worthwhile for a studio that can simply photoshop together a few actors’ faces (preferably to a blue and orange contrast background) and call it a day. They just won’t allot the time or funds to such ventures unless it’s a special situation, as was the case when Struzan himself was asked to design a poster for Star Wars: The Force Awakens , thus allowing him to complete the set (that beautiful poster took around seven months of work, which also explains why studios are less willing to invest in such work nowadays).
That doesn’t seem like it would be a huge problem for Marvel, who, as part of the ever powerful Walt Disney Company, are hardly short of a few dollars. Yet it’s clear that the studio has to be more focused with their cash, particularly when it comes to the ever-important marketing. With an international market remaining a key area, especially in Asia, posters are less effective in spreading the message than television and online campaigns. Marvel has never been shy about going for the biggest audiences possible, such as the Super Bowl, where, at this year’s game, a 30 second slot in the ad break cost a whopping $5 million . That’s a worthwhile investment, as it not only provides a captive audience but immense social media buzz in the aftermath, as was the case for this year’s release, Guardians of the Galaxy: Vol. 2 . A nice poster can do its job well enough, but it’s not going to be the trending topic the trailer will.
That’s not to say that all of Marvel’s posters suffer from this issue. While most range from perfunctory to every graphic designer’s worst nightmare, there are some that are striking in their simplicity and establish a mood with little fuss. The recent teaser poster for Black Panther is an excellent example of that, at least in conception, giving audiences a taste of T’Challa (Chadwick Boseman) in costume and alone on his throne to the backdrop of the Wakandan Kingdom. It’s a crisp, clean design that’s still full of little details for the discerning viewer to analyze (and a brilliant historical parallel ), and it introduces something very new to the Marvel slate. Then again, the lack of budgeting is once again apparent, as poor photoshop work shines through and the color balance and lighting of T’Challa’s head clearly clashes with the rest of the poster – imagine what a proper artist could have done with that concept. There’s no doubt that in a couple of months time we will also get a more crowded poster that will slap on the floating face of every major name in the movie, just to remind you of its impressive star power.
That’s obviously a good idea for any film, so it can hardly be dismissed as merely rushed marketing. Still, it’s a shame that a studio that is so excellent at making this franchise and packaging it for maximum efficiency seems to view the art of the poster as a frivolity. So many fan made posters have more accurately captured the tone and genre trappings of the series than anything the studio themselves have released. Perhaps this is one area where Marvel could learn a thing or two from its supporters. Poster design is a dwindling art in the industry, and it would be a shame to see its creativity become solely a fan pursuit.
NEXT: BLACK PANTHER FAN POSTER EDITED TO INCLUDE ACTUAL BLACK PANTHER
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吸血鬼之舞Tanz der Vampire (完食)
這部也有電影版，中文翻《天師捉妖》(這片名滿滿cult風格)，另外也有改編法版Le Bal des Vampires
人生第一部德劇，沒有很喜歡所以後面好長一陣子不敢看德劇XD
但有幾首蠻好聽的w https://youtu.be/6Sxf_DQ1Gls