Posts tagged Movie
WC 11: Green Lantern Movie Preview
Apr 2nd
The hottest movie panel on WonderCon’s opening day was the presentation for Green Lantern. The Warner Bros. panel included new footage from the DC Comics adaptation and appearances by stars Ryan Reynolds, Blake Lively and Peter Sarsgaard.
Fans gathered inside the Esplanade Ballroom of the Moscone Center watched with rapt attention as the Green Lantern footage was screened. Here’s the breakdown of the series of scenes that were shown (SPOILER WARNING):
It began with a shot of space and Abin Sur’s ship with a subtitle letting us know what quadrant it’s in. Inside the ship, Abin-Sur is communicating with a holographic projection of Sinestro when the ship comes under attack from Parallax. Abin-Sur valiantly wards off Parallax, a monstrous, almost formless creature of energy, but must ultimately flee his vessel via escape pod. Abin-Sur sets course for the nearest life-sustaining planet in the hopes of continuing his original mission: to find another deserving being to join the Green Lantern Corps.
His ship’s crash-landing on Earth is witnessed by test pilot Hal Jordan (Reynolds), who rushes to the glowing wreckage to discover the mortally wounded Abin-Sur. The dying alien gives the confused Hal his ring and tells him to recite the oath before dying.
Back in his apartment, Hal has the green lantern/power battery sitting on his coffee table where, amusingly, he tries reciting the oath … but what’s the oath? He was never told, so he starts a modified version of the Pledge of Allegiance (to the lantern rather than the flag) when suddenly the power battery bursts to life. Hal’s eyes glow green as he begins to recite the Green Lantern’s oath. (“In brightest day …” you know the rest.) The battery and ring have formed some sort of psychic bond with Hal, imparting information to him.
Then the ring’s power envelops him in a green cloud and he soars into space, past astronauts on a spacewalk, through the cosmos and finally to Oa, the homeworld of the Green Lantern Corps. There Hal, garbed in the green energy “uniform” and mask of a Lantern, is met by Tomar-Re (whose voice was done by Geoffrey Rush; yes, he’s already recorded his lines). Tomar-Re will serve as his first mentor in the ways of the Corps.
From there, Tomar-Re and Hal hover down to an amphitheater carved out of rock to witness Sinestro, now the greatest of the Lanterns following Abin-Sur’s death, address the troops. His speech is about the coming doom that is Parallax and, at the end of the speech, the Lanterns let loose their battle cry of “The Corps!” as the green light of their collective ring projections beam off Oa and into space.
They then showed a new trailer, which will be attached to the May release of Thor. This trailer showed a lot more special effects, action and Oa awesomeness, including much more of a mutated Hector Hammond. My favorite bit from the trailer was Hal using his power ring to create badass .50 caliber guns out of green energy and then letting loose on his off-screen enemy.
So what did I think of the new Green Lantern footage? Check out the embedded video below for my reaction.
Green Lantern opens June 17.
From movies.ign.com
Henry Winkler’s son makes a movie
Apr 2nd
Thanks to Reitman’s encouragement, Winkler stands on ‘Ceremony’
When USC film school graduate Max Winkler submitted his first screenplay to Jason Reitman, the Oscar-winning filmmaker advised the young writer to script a more personal story. Winkler complied.
“I locked myself in the office and wrote the first draft of ‘Ceremony’ in two weeks,” recalls the son of Henry Winkler. “It was this crazy, marathon therapy session.”
“Ceremony” follows a young man (Michael Angarano) who attends his former college roommate’s wedding intent on winning over the bride-to-be (Uma Thurman). As for the woman who inspired Winkler to write the romantic comedy, he says, “I don’t think she’s seen the movie, but let’s hope she will.”
For his directorial debut, Winkler reassured financial backers by putting together a scrapbook of sorts outlining his vision for the film. “A lot of people are afraid to give a first-time director the reins to make a movie, so I tried to answer as many questions as I could before we started shooting by creating a big visual blog. It had pictures showing costume and production design, what I wanted the house to look like, how I wanted the characters to look. I made a CD of all the music I wanted to use and handed that out. That sort of helped paint the picture.”
Citing character-driven pieces from the 1960s and ’70s as key influences, Winkler explains, “I consider ‘The Graduate’ to be a romantic comedy, yet it’s also filled with drama and dark stuff. Getting the right tone is such a difficult thing because you have to walk the balance between humor and sadness and emotion. When it’s done right by somebody like Woody Allen, you feel all kinds of things. But if a movie commits to much to one genre, either it’s too broad and you don’t get the emotions, or else it’s too romantic and the funny doesn’t land.”
New Bingen book looks at MGM during the studio’s heyday
Movie historian Steven Bingen earlier chronicled the behind-the-scenes action and drama that unfolded during Warner Bros.’ golden years. Now he has co-authored “MGM: Hollywood’s Greatest Backlot” (Santa Monica Press; $35), which uses a collection of archival photographs to offer fresh insights about the studio that produced “The Wizard of Oz” and many other classics.
The 312-page hardcover volume illustrates how MGM artisans recycled props and transformed the studio’s huge sun-baked back lots into settings for Paris (“An American in Paris”), ancient Rome (“Ben-Hur”) and other locations for iconic films.
AT&T hopes Team Coco will carry the day
The “Conan O’Brien Can’t Stop” documentary got picked up for distribution last month at Austin’s South by Southwest Film Conference and Festival in a multiplatform deal involving a relatively new player in the film distribution business: AT&T.
On the eve of the movie’s theatrical release, the media giant will show the movie to TV viewers and mobile phone users who subscribe to its AT&T U-verse plan.
Abramorama Films is handling the theatrical release. CEO Richard Abramowitz says he’s not worried that small-screen exposure will cut into box-office revenues when the movie opens this summer.
“Conan O’Brien sold 130,000 tickets to his live show with one tweet – that’s a rabid fan base,” Abramowitz says. “Conan is so visible that I’m convinced people will go see this film in a theater, first night.”
Rodman Flender‘s warts-and-all documentary follows O’Brien during the tumultuous period when the red-haired talk show host left NBC and channeled his need to perform by touring 42 American cities.
Abramowitz, who distributed last year’s Oscar-nominated Banksy doc “Exit Through the Gift Shop,” says he’s happy to play ball with new media conglomerates but has no plans to abandon the traditional theatrical model. {sbox}
E-mail Chronicle correspondent Hugh Hart at pinkletters@sfchronicle.com.
This article appeared on page Q – 25 of the San Francisco Chronicle
From www.sfgate.com
Movie review: You won’t want seconds of “Happythankyoumoreplease”
Apr 1st
“Happythankyoumoreplease,” a Manhattan rom-com starring, written by and directed by Josh Radnor (Ted on TV’s “How I Met Your Mother”), is a case of when bad scripts happen to good actors. Given its similarities to a bygone sitcom, one might call it “Friends” without benefits.
The film shares much in common with Radnor’s character, Sam, a gifted short-story writer who has yet to master long form. While individual scenes are appealing, the movie does not cohere.
Its three central characters are at that awkward age: too old for casual relations and not ready to commit. Sam is a writer circulating the manuscript of his first novel, a one-night-stand kind of guy. His friend Mary Catherine (Zoe Kazan) has a boyfriend who wants to move to L.A. His best friend, Annie (Malin Akerman), isn’t over her ex.
Sam is irresponsible on so many levels that it sabotages the movie. On the subway to meet with his literary agent, he rescues a young boy, Rasheen (Michael Algieri), separated from his companions. When Sam finds that Rasheen is at odds with his foster parents, he takes the boy in without notifying authorities.
Rasheen is not a character, but a plot device. Sam uses Rasheen to ingratiate himself with Mississippi (Kate Mara, sister of Rooney), a flirty redheaded bartender, and to create third-act complications.
The performers are likable and their attitude is fundamentally sunny. But in “Happythankyoumoreplease” (which takes its title from a cabdriver’s affirmation of gratitude)the plausibility quotient is so low that though you like some of the characters, you don’t believe in them.
From www.denverpost.com
New ‘Monsters, Inc.’ movie to be directed by Dan Scanlon
Apr 1st
Pixar has found a director for the upcoming Monsters, Inc. movie. Dan Scanlon, will make his full-length movie debut with the recently announced Monsters University.
But Scanlon is no stranger on Pixar grounds. He worked as a writer on Cars, and co-directed the short Mater And The Ghostlight. He also worked as story artist on Toy Story 3 and produced Up.
According to TotalFilm.com, Pixar’s chief creative officer John Lasseter confirmed Scanlon’s involvement in a press release: “Yes! Dan Scanlon is directing Monsters University! We’re very excited about it. Kori Rae is producing.”
Scanlon will follow-up Pete Docter, who directed Monsters Inc. in 2001.
Previously, The Daily Blam reported that the animation movie will function as a prequel, following Mike and Sulley during their tenure at the University of Fear, where they started off as enemies.
Monsters University will hit theaters in November 2, 2012, with Billy Crystal and John Goodman returning as the voices of Mike and Sully.
From thecelebritycafe.com
Movie review: Hop
Apr 1st
by Alex Bentley
Easter movies aimed at kids are in short supply. Now we know why.
In the grand tradition of commercializing making movies about holidays, there’s nothing quite as underrepresented as Easter. Christmas, of course, far and away leads the pack, but everything from Halloween to Valentine’s Day to freakin’ Groundhog Day has gotten their turn at the cinematic bat. Easter, of course, has been well-represented in the religious sense, but watching The Passion of the Christ again is almost no one’s idea of a good time. And when the “best” movie featuring the lighter side of Easter is It’s the Easter Beagle, Charlie Brown, it was only a matter of time before someone decided to fill that void.
Jumping at the chance to do so is Hop, a half animated/half live action comedy about the origins of the Easter Bunny. Turns out that it’s a tradition handed down from generation to generation of bunnies living on, naturally, Easter Island. The island contains a massive factory where chicks (as in tiny chickens) oversee the production of any kind of Easter candy you can imagine, from chocolate bunnies to jelly beans. The current Easter Bunny (voiced by Hugh Laurie) is all set to hand the reins to his son, E.B. (voiced by Russell Brand). The only problem? E.B. has no interest in the job, preferring to spend his days lazing around, playing the drums, and dreaming of a life far from his own.
When he’s about to be forced to take up the Easter Bunny mantle, E.B. hops in the magical portal used to deliver all that candy around the world to transport himself to Los Angeles, where he soon makes the acquaintance of human slacker Fred O’Hare (James Marsden) – insert groan here. The duo teams up for a series of nonsensical events, with an extended cameo by David Hasselhoff and the continued pursuit of E.B. by a trio of mercenaries known as the Pink Berets being the highlights.
Some will question why this needs to be said, but Hop is first and foremost a movie for children. It’s silly fun that only has a passing interest (a stop at the front gates of the Playboy mansion here, an appearance by the actual Russell Brand there) at engaging adults on any level. “So what?,” you may say. “Kids deserve their own entertainment, right?” Well, yes and no. I have no objections to filmmakers taking direct aim at kids’ sensibilities. But when two of the writers, Cinco Paul and Ken Daurio, were also responsible for one of 2010′s best animated films, Despicable Me, which offered plenty for both kids and adults, the bar should be raised a bit higher. On the other hand, Hop is also directed by Tim Hill, who helmed such other animated/live action combos as Garfield: A Tail of Two Kitties and Alvin and the Chipmunks, so things kind of balance out there.
None of the actors fare very well. Everybody who appears in human form is given free rein to overact, the only natural thing to do when you’re trying to converse with a talking bunny. Marsden takes advantage of this the most since he’s the one who’s in the majority of the scenes with E.B. Brand seems to have a ball as E.B., but given his normal comedy persona, it’s hard to see him as anything but overly restrained with most of his lines.
Whether Hop is successful at the box office or not depends on whether families are willing to tolerate a film that thinks that blasting random pop/rock songs is a way to generate excitement, that drops key plot points shortly after bringing them up, that views the height of cleverness as having an egg-shaped globe. Some may not expect more from their “kids” movies, but I sure do.
From www.pegasusnews.com
‘Hop’ director Tim Hill: Our movie almost didn’t make it
Apr 1st
Unlike most of their peers, directors of animated-live action hybrids live largely in the Hollywood shadows. Their names are rarely front and center, even though they have among the the trickier jobs in the movie business, balancing studio demands, creative needs and effects logistics.
Tim Hill learned of these issues firsthand when he got behind the camera for this weekend’s “Hop.” The buddy (bunny?) comedy tells of a slacker twentysomething (James Marsden) and the Easter Bunny’s reluctant heir apparent (an animated rabbit voiced by Russell Brand). The Universal movie is the second offering from Illumination entertainment, the “Despicable Me” production company headed by Chris Meledandri.
Even by hybrid standards, the challenges didn’t let up on “Hop” — to the point that the movie almost didn’t make its Easter-themed release date. On a recent afternoon in the production offices of the movie, Hill, who previously directed “Alvin & the Chipmunks,” opened up on those challenges.
24 Frames: Part of what’s tricky with a hybrid movie is that you’re essentially directing two films for the price of one. Does that make for a difficult experience for a filmmaker?
Tim Hill: It does. You shoot half your movie, and then when you stop it’s kind of a false summit. You think, “Whew, that’s over.” And then the mountain’s so much higher. There are 10 or 15 minutes of full CG in this movie that hadn’t even been conceived until after we stopped shooting. And we only had 10 or 11 months to make the movie and, once we stopped shooting, six months.
And you had the added issue of the Easter tie-in — it wasn’t like the film could get pushed to Christmas.
TH: The way you calculate this kind of movie [coming in] is you say, “What’s the most time-consuming, what am I going to get screwed on” and you start to identify the hotspots that are really going to kill you. And in this case there were a lot of them. Animation you can change as you go — it’s not like live-action. You’re spitballing way after you should be, and that’s when we got into the “Oh [crap], are we going to make it?” And they [animation and effects studio Rhythm & Hues] finally said, “We’re not going to be able to deliver your movie.”
Yikes, did it actually get to that point?
TH: It was a crisis, basically. I think what they were doing is drawing a line in the sand. So we got it to them and then we said, “Where are we?” And they said, “This we can do and this we can’t do.” So there were a lot of things we still wanted to do and they would say, “We can’t do that.” They had hundreds of people working, but there wasn’t enough time. They have to animate and go through so many processes. That’s why it takes animated films two or three years to make instead of less than a year. They said, “You can throw all the money you want at us. We can’t do it.”
So it wasn’t about them hiring more people?
TH: No, they had people in India, they had a worldwide effort to bring out this movie. It was crazy. It really felt for a while like something was going to suffer. I got really worried. Either the acting would suffer or the characters would suffer, or everything would come out of the oven too soon. It would need a couple more passes that would make it better. Because I am pretty picky. So I’d say that there are a few shots in there where, I don’t necessarily cringe, but I’m like “Oh, I remember we had to final that one because of the time.”
When did you first get the sense this would be such a crunch?
From latimesblogs.latimes.com
Movie Review: ‘Insidious’
Mar 31st
The makers of “Insidious” — who have, by the way, done a shrewd and scary job — cite various supernatural titles as inspirations, including “The Exorcist,” “Poltergeist,” “The Sixth Sense” and the great, supple nightmare “The Innocents.” From such a list we can only glean that director James Wan and screenwriter Leigh Whannell admire all sorts of fright, from the blatant to the insidiously subtle. This one lies at an effective halfway point between those extremes.
New home, new life: That’s what the couple played by Patrick Wilson and Rose Byrne want from their relocation to a handsome, wood-trimmed bungalow. With three kids in tow and boxes still unpacked, however, the family slowly realizes it’s playing reluctant host to supernatural guests. First, a few bumps in the night, a missing keepsake or two. Then comes a frightening voice on the baby monitor. And before long, son Dalton, played by Ty Simpkins, suffers an “accident,” and lands in an unexplained coma.
The script initially carried the title “The Further,” which is the otherworldly realm where the young boy’s mind takes him in comaland. In a “Poltergeist” nod, the distraught parents turn their son-recovery concerns over to a seasoned occult expert, played by Lin Shaye, who travels with a pair of comic-relief paranormal investigators. As the movie progresses the story grows more and more baroque and horror-movie-y. I prefer its earlier, more indirect and atmospheric scares, but “Insidious” represents a sound compromise of instincts, straddling the need to grab teenagers interested in PG-13 gotchas and the collaborators’ desire to rework an old haunted-house formula, honorably.
One of the producers, Oren Peli, was the young phenom behind the stripped-down, daringly uneventful “Paranormal Activity.” I liked both “Paranormal Activity” pictures; for millions of teens jaded and pummeled and clobbered by “Saw” and “Hostel,” they were among their first movie lessons in the virtues of slow-burn tension over high-volume viscera. It’s a matter of taste, of course. But “Insidious,” nicely acted by all and photographed in creepy, cold, underlit tones by John R. Leonetti and David M. Brewer, restrains itself in terms of technique sufficiently to appeal to an uptight middle-aged fud like me.
mjphillips@tribune.com ‘Insidious’
MPAA rating: PG-13 for thematic material, violence, terror and frightening images, and brief strong language
Running time: 1 hour,
42 minutes
Playing: In general release
From www.latimes.com
Film downloads, better TVs will not kill movie theaters, execs say
Mar 31st
Las Vegas, Nevada (CNN) — “Movie theaters will never, ever go away,” despite improved and cheaper home theater systems and the quicker availability of new film releases on DVD and online, producer George Lucas says.
The “Star Wars” producer’s optimism about the future of community cinemas was shared by other producers and industry executives interviewed by CNN this week at CinemaCon, the theater owner’s annual convention.
“It’s been human nature over centuries, going back to the Greek tragedies, to seek out the communal entertainment experience,” said “Titanic” and “Avatar” producer Jon Landau.
The arrival of digital technology is saving the community theater, DreamWorks Animation CEO Jeffrey Katzenberg said.
“People want a special experience in the movie theaters and today we actually, more than ever before, have the technical and the artistic tools to be able to do that,” DreamWorks Animation CEO Jeffrey Katzenberg said. “I actually believe we’re going to have a renaissance in terms of the theater experience.”
The “communal experience” of watching with others in a theater makes a movie better, Katzenberg said.
“Funny movies are funnier, scary movies are scarier, actions movies are more exciting. There’s an energy,” he said. “There’s a connectivity that happens when people get together, and that’s what movies and movie theaters do.”
Animated 3D blockbusters are about to get easier to create because faster computer tools are being developed for animators, Katzenberg said.
Director James Cameron, who pushed 3D movies to a new level with “Avatar,” said 3D on the screen will get even better by the time “Avatar 2″ hits theaters.
“People are complaining some of the 3D theaters are dark. Well, I’m going to talk to the theater owners about getting those light levels up,” Cameron said. “That’s really important, because when you put the glasses on the screen gets a little darker.”
The next “Avatar” will also be dramatically sharper because Cameron will increase the 24 frames projected on the screen every second to 60 frames, something made possible by the conversion of theaters to digital technology, he said.
John Fithian, president of the National Association of Theatre Owners, predicts that within two years all American movie theaters will have converted from film reels to digital projectors.
“The transition from cinemas using film technology to digital is happening really rapidly,” he said. “Probably by the end of 2013 it won’t make economic sense to use film anymore, so we’ll be a completely converted business by then.”
Box office receipts, thanks to blockbusters such as “Avatar,” have been “pretty stable” in past five years, despite video downloads and better home theater systems, Fithian said.
The only technology that actually had a negative impact on theater admissions was when televisions first entered homes in the late 1940s and early 1950s, he said.
“Since then, however, with each advent of a new technology in the home, our theater business has continued to grow,” he said. “Through VHS and DVD and Blu-ray and now video on demand, people who like movies in the home are the same people who love to come out to the cinema to watch movies because movie lovers are movie lovers everywhere.”
Industry research shows that the more types of technology people have in their homes to watch movies, the more often they come out to the cinemas as well, he said.
One innovation that theater owners are fighting is the possibility that studios will narrow the time between a film’s release at theaters and when it can be downloaded at home or purchased on DVD.
Christopher Dodd, the former U.S. senator who took over last week as chairman of the Motion Picture Association of America, said the studios will never release movies on DVD or online the same day as a theatrical release.
“If it’s not in the theater first, and has that space, then it’s hard, in many ways, to imagine how well that product can do in the absence of that experience,” Dodd said.
Dodd’s group, which is composed of the major movie studios, is most concerned about the money lost from people stealing movies and selling pirated copies.
He said it is not a victimless crime, because it robs money from the paychecks of the 2 million Americans who work in movie-related jobs.
But no matter how many low-resolution copies of a movie are available, Lucas said the movie-going experience will not be diluted.
It is “a good night out, and you can’t get that on an iPhone,” Lucas said.
From www.cnn.com
Book Doctors Meet Script Frenzy, or: Can We Write a Movie Script in a Month?
Mar 31st
We love us some NaNoWriMo. NaNo what, you say? National Novel Writing Month. Since 1999, every November, writers from coast to coast have been writing 50,000 word novels. In a month. Last year, over 200,000 inspired lunatics took keyboard in hand and tried to perform this seemingly impossible task. Over the years lots of writers have gotten their NaNoWriMo novels published by major publishers, but that’s not the point. NaNoWriMo is about chasing your dream, letting your creativity run wild, having a blast, ingesting massive amounts of caffeine and ignoring your family.
Five years ago, the nonprofit behind NaNoWriMo launched a sister event, Script Frenzy. And this year, we’ve decided to take the plunge and write a script. In a month. While on tour. With a three-year-old. So we asked Chris Baty, founder of NaNoWriMo, co-founder of Script Frenzy and author of No Plot? No Problem: A Low-Stress, High-Velocity Guide To Writing a Novel, to tell us what the event is all about, why it’s attracting so many participants, and, most importantly, give us some tips on how to write a movie script in 30 days while not losing our minds.
The Book Doctors: How did Script Frenzy come about?
Chris Baty: We had been running NaNoWriMo for six years and it had grown
larger than we’d ever dreamed. We’d witnessed the power of combining a terrifying creative deadline with a supportive community. And we were getting more and more requests to do an event that helped people write movies and plays. Once we had enough staff to support an event outside of NaNoWriMo, we launched Script Frenzy.
The Book Doctors: What do you find most exciting about Script Frenzy?
Chris Baty: Scriptwriting has the reputation of being impenetrable by amateurs. People think you have to have expensive software, an MFA in directing, and an insider knowledge of complex scriptwriting jargon. We see scriptwriting as a great, rewarding writing adventure for people of all ages and experience levels. It’s been exciting watching thousands of people spending April discovering one of the awesome movies or play we all have within us. If you love movies, plays, TV shows or graphic novels, you really should be writing one. And even if you don’t see yourself as a scriptwriter — I’m thinking of novelists here — writing a movie or play is an unbeatable exercise in stripped-down storytelling, and a fantastic way to sharpen your dialogue.
The Book Doctors: What’s the main difference between NaNoWriMo and Script Frenzy?
Chris Baty: In NaNoWriMo, everyone writes their own novels, and collaboration is punishable by visitation from our flying guilt monkeys. In Script Frenzy, we leave the guilt monkeys at home and encourage participants to share writing duties with a partner. Script Frenzy also encompasses a bunch of different formats: Folks write screenplays, stage plays, shorts, graphic novels, radio dramas, musicals… you name it.
The Book Doctors: When you analyze your statistics related to Script Frenzy, is there anything that stands out as interesting?
Chris Baty: For one, it attracts more women than men. And it also attracts a lot of people outside of LA/NY. We have volunteer-run Script Frenzy groups in over 100 cities and towns around the world, including big bases in the Bay Area, Chicago and London. Interestingly, Germany and Mexico also field a lot of Script Frenzy participants.
The Book Doctors: Is it true that you also have first graders writing scripts?!
Chris Baty: It is! We have a Young Writers Program for Script Frenzy. We provide Common Core-aligned curriculum, scriptwriting kits, downloadable workbooks, and an online boot camp for K-12 classrooms — all for FREE — to prepare kids for Script Frenzy. This year, we have hundreds of classes tackling the challenge together. Some of the favorite plots we’ve heard so far are a musical where pirates battle ninjas (while singing, of course), a math-based crime caper, and a tale of everyday kids getting transmogrified into time-traveling Romans. One middle school in Kentucky has 190 students all writing scripts — they even made a video documenting their school’s preparation for the challenge.
The Book Doctors: Is it true that you’re not only the co-founder, but also a participant?! And what do you plan to do with these babies?
Chris Baty: You bet — I’ll be writing my third screenplay for Script Frenzy this April. The first script I wrote was a zombie thriller about an evil pharmaceutical company that was a kind of unthrilling mess by the end of the movie. But I still loved the writing process and learned a ton from it. Last year’s script was much better (thanks largely to having a great collaborator who did most of the work). We’re hoping to send that one out into the marketplace this year.
The Book Doctors: May we ask what your Hollywood pitch is?
Chris Baty: It’s High Fidelity meets (500) Days of Summer.
The Book Doctors: Now that’s a movie we want to see!
If you’re clueless about how to write a script, learn how in less than an hour by clicking here. On Friday, we’re going to start our own script that we’ve been talking about forever. Right now, here’s our pitch: Ferris Bueller meets American Graffiti. But we’re still working on it. Check out our blog to find out our whether we finish our script, lose our minds, or both. Happy writing!
David Henry Sterry and Arielle Eckstut, a.k.a. The Book Doctors, are the authors of The Essential Guide to Getting Your Book Published.
Follow David Henry Sterry on Twitter: www.twitter.com/@sterryhead
From www.huffingtonpost.com
Justin Bieber To Star In Movie With Ashton Kutcher?
Mar 31st
Justin Bieber To Star In Movie With Ashton Kutcher? As JB announces the DVD release date for his 3D film, Never Say Never…
Justin Bieber may have made his big-screen debut with 3D flick, Never Say Never, but reports have now claimed that JB could be starring alongside Ashton Kutcher in a new movie.
The 17-year old, who has also appeared in CSI as troubled teen Jason McCann, is allegedly close to signing a contract to play the lead role in buddy comedy, What Would Kenny Do?, opposite Kutcher.
GOT BIEBER FEVER? CHECK OUT PICS OF JUSTIN IN OUR GALLERY HERE!
According to the Los Angeles Times, the Biebster will play a younger version of Ashton, as a source revealed to the publication that the film delves into the relationship between a 17-year old and his 30-something self.
It is thought that the film will be produced by Kutcher’s Katalyst Entertainment and Will Smith’s Overbrook Entertainment, with rumours suggesting that Justin is “eyeing” the role.
Despite the U Smile singer not being available to shoot the flick until 2012 because of his touring commitments, an update has since stated that the project has been under development “for months, with Bieber both in mind and on board.”
This is not the first time JB and Ashton have tried to hook-up, following reports in January that Kutcher wanted Biebs to host a revamped version of his hit MTV show, Punk’d.
WATCH OUR EXCLUSIVE JUSTIN BIEBER LIVE SESSION HERE
In other Justin Bieber news, the Baby hitmaker has announced that the DVD of his movie, Never Say Never, will be released on 13th May.
Taking to Twitter to tell his followers the news, Justin confirmed: “So here is the big news they were waiting for me to announce to u once off stage … Thanks to everyone for seeing #NSN3D around the world! so we are … OFFICIALLY getting #NEVERSAYNEVER3D to Blu-ray & DVD May13th. Preorder NOW.”
He then tweeted that some lucky Beliebers will be able to purchase a special version of the movie, adding: “And I’m signing some for my fans! #MUCHLOVE.”
Watch MTV News on the hour every hour on MTV – Sky Channel 126 and Virgin Channel 311
From www.mtv.co.uk
