3:58 PM PDT 9/13/2013 by Graeme McMillan 4 Comments Lucasfilm will alternate new trilogy installments of “Star Wars” with “origin story” movies each year, according to a Disney executive. Well now it’s official: Lucasfilm will alternate new trilogy Star Wars movies with what Walt Disney Co. CFOJay Rasulo called “origin story” films each year, starting with 2015’s Star Wars Episode VII, directed by J.J. Abrams. our editor recommends ‘Star Wars’ TV Series Reveals Concept Art, Logo (Photos) Rasulo confirmed the long-standing rumor during an investor conference call Thursday, prompting speculation that earlier rumors of a Yoda movie would also turn out to be true. (Other characters mentioned when the prequel rumor first appeared earlier this year were Han Solo and Boba Fett. Apparently no one has the foresight to demand the Young Lando Calrissian cinema so desperately needed.) RELATED: Source: J. J. Abrams Building ‘Star Wars’ Postproduction Facility in L.A. (Exclusive) There are two immediate reactions to this particular confirmation: Obviously, Disney is very intent on making sure that the Lucasfilm purchase turns out to be as lucrative a business decision as possible, even if it ultimately harms the long-term value of the Star Wars franchise. (Seriously, can the franchise support an annual movie? Guess we’ll find out somewhere around 2017, when we’re three movies in.) Obviously, Disney didn’t realize that the math of Star Wars + Prequel tends to result in fear from the fanbase, thanks to Episodes I through III. Over the next few years, Star Wars is going to go through a fascinating shift from fondly remembered mass-market movie series with smaller, more dedicated fandom to well, something else that’s not entirely clear yet. Will it turn into a second Marvel (Surely Disney’s hope), a second Star Trekor somewhere in between? At this point, who can tell.
Cool book alert: Leanne Shapton’s ‘Sunday Night Movies’
Sent! A link has been sent to your friend’s email address. 1 To find out more about Facebook commenting please read the Conversation Guidelines and FAQs Cool book alert: Leanne Shapton’s ‘Sunday Night Movies’ Whitney Matheson, USA TODAY 3:24 p.m. EDT September 10, 2013 The cover of Leanne Shapton’s new book, ‘Sunday Night Movies.’ (Photo: Drawn and Quarterly) SHARE 8 CONNECT 4 TWEET 1 COMMENTEMAILMORE With her new book, author, illustrator and former art director Leanne Shapton can add a new title to her resume: film preservationist. Sunday Night Movies (Drawn and Quarterly, $19.95) contains more than 75 of Shapton’s lovely watercolors inspired by her favorite black-and-white movies. I love how she chooses moments from these films that aren’t always the ones we remember; for instance, she’ll paint a shot of the credits sequence or a fleeting glance. Classics and cult faves are represented here, from Busby Berkeley’s 42nd Street to the Dylan doc Don’t Look Back to Godard’s Masculin Feminin. Originally collected by the New York Times , Drawn & Quarterly has published them in a lovely paperback. I’m including a few of the images below; before you read the captions, see if you can guess the name of the film! In this image from ‘Sunday Night Movies,’ illustrator Leanne Shapton captures an image from Woody Allen’s ‘Manhattan.’ (Photo: Drawn and Quarterly)
Videodrone MOD Movies: The real B-movies
Michael Fassbender, Benedict Cumberbatch, Paul Dano, Paul Giamatti and Brad Pitt co-star. CARRIE: Chloe Grace Moretz takes over for Sissy Spacek as the bullied teen with telekinetic powers in this reimagining (aka Dont Call It a Remake!) of the Stephen King novel. Director Kimberly Pierce (Boys Dont Cry) reportedly consulted with Brian De Palma, who made the 1976 original, before shooting began. Julianne Moore co-stars as Carries fanatically religious mother. ESCAPE PLAN: Sylvester Stallone and Arnold Schwarzegger co-star for the first time (no, The Expendables movies dont count) as convicts who attempt a daring prison break. Directed by Mikael Hafstrom (1408, Evil). THE FIFTH ESTATE: Having finally put the Twilight saga to rest, director Bill Condon (Kinsey, Showgirls) gets back to real movies with this drama about the price WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his partner Daniel Domscheit-Berg (Daniel Bruhl) paid after they starting posting classified documents online. OCT. 25 THE COUNSELOR: Revered novelist Cormac McCarthy (No Country for Old Men, The Road, Blood Meridian) makes his screenwriting debut with this thriller about a lawyer (Michael Fassbender) who dabbles in the drug trade and quickly finds out you cant just dabble in the drug trade. Ridley Scott directs the falls most formidable cast, which includes Brad Pitt, Javier Bardem, Cameron Diaz, Penelope Cruz, Bruno Ganz and Dean Norris. JACKASS PRESENTS: BAD GRANDPA: Johnny Knoxville stars as an 86-year-old grandfather who takes his 8-year-old grandson on a cross-country trip, stopping at every inappropriate spot possible (including strip joints, funeral homes and biker bars). Shot largely with hidden cameras using real people, a la Borat. NOV. 1 ENDERS GAME: Filmmaker Gavin Hood (Tsotsi, X-Men Origins: Wolverine) adapts Orson Scott Cards popular sci-fi novel about an unusually gifted boy (Asa Butterfield) drafted into military school by two officers (Ben Kingsley and Harrison Ford) who are helping defend Earth against an alien invasion. LAST VEGAS: Four lifelong 60-something friends (Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Kline) head to Las Vegas for a bachelor party.
Fall movies nudge aside superheroes, shoot-’em-ups
It generally ran between 55 and 70 minutes and featured up-and-comers, has-beens, or any number of players who simply found a familiar niche in stock genres, and were made cheaply and sold at a flat rate. To make money, they had to keep costs below the going rate. To keep making money, they had to make something audiences liked, or at least didn’t mind sitting through. A lot of these movies found some level of fame and cult awareness — Charlie Chan mysteries, Roy Rogers and Gene Autry westerns — and in some cases could actually be a star attraction in their own right. Those films tended to find their way to home video. Most of the rest were forgettable and many of them pretty awful, but there are always exceptions and plenty of interesting items. It became its own cinematic ecosystem, with directors, producers, and stars who found a career in these films, but it could be a training ground for young directors and writers and a proving ground for new performers (like John Wayne, who spent almost a decade learning how to be a movie star by cranking out westerns for Republic). And while these films lacked resources and time, they also often get made with little front office oversight, which could lead to interesting subjects and approaches. Case in point: the 1943 “Women in Bondage” (Warner Archive). It is not a prison picture, as the title might suggest, but one of Hollywood’s most harrowing anti-Nazi pictures. Gail Patrick is a proud and moral paragon of German womanhood who returns to the homeland after years abroad and finds her country under the spell of Hitler.