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Maybe they wanted to be there for FAT TUESDAY? Some last minute enjoyment before the hard work begins.
IMO
Kreuk and Klein on Street Fighter: The Legend of Chun-Li
Source: Heather Newgen February 24, 2009
In 1987, "Street Fighter" debuted in arcades and quickly became a cultural phenomenon with its vivid characters and unique fighting technique abilities. The videogame has since spawned sequels, spin-offs and two films based on the game - one in 1994 that starred Jean-Claude Van Damme and now 20th Century Fox's Street Fighter: The Legend of Chun-Li, which is rather different from the previous movie.
The story centers on Chun-Li (Kristen Kreuk), who gives up her privileged life to become a street fighter, helping those who can't help themselves. Her main focus is to stop Bangkok's most feared crime boss Bison (Neal McDonough), who has not only harmed her family, but has created a wave of unstoppable violence in the slums of the Thai capital. Throughout the course of her mission, Chun-Li meets Charlie Nash (Chris Klein), an Interpol cop who has chased Bison all over the world. The two combine forces to bring down one of the most wanted and ruthless criminals of his time.
ComingSoon.net chatted with both Kristen Kreuk and Chris Klein as well as the producers, Ashok Amritraj and Patrick Aiello:
Q: Are any of you gamesters?
Chris Klein: I've been known to play some videogames. I started my "Street Fighter 2" on Super Nintendo. That was the first "Street Fighter" that I played outside of the arcade. I wasn't good at it, not nearly as good as my peers, but I liked it. I remember it being the first one-on-one action fighting game that I really liked.
Kristin Kreuk: I've never been a gamer but I've seen a lot of "Street Fighter" and it was really popular when I was in late elementary school into high school so I'm very familiar with it. I've seen a lot of people play it.
Q: How did you approach the tone of the movie? How seriously did you take it?
Ashok Amritraj: When you have a franchise like "Street Fighter" which is kind of iconic and it's the 20th anniversary, the game company's very protective of the characters, so when we were developing the screenplay, Justin Marks was writing the screenplay, we chose the Chun-Li character to start what will hopefully be a movie franchise of its own. We had to be very careful and go back and forth with Capcom quite a bit to make sure that we were separating the game from the movie, and wanted to make sure the movie was really grounded, the characters, like Bison was from Bangkok originally, the legend and history of the game was kept intact.
Q: For the actors, how seriously earnest were you with your characters?
Kreuk: I think it's really important, at least in this story, to be earnest with the characters because you want people to relate to them while they go through the movie. I think it's really important that the fighting is really good. You want to be able to root for the individual and that means the character has got to be relatable in some way. If they're really over the top, it's harder to relate to them in this style of a movie. If it was something else, I think it would be different.
Q: Kristin, your character embarks on quite an emotional journey. Can you talk about that aspect of her?
Kreuk: Of course. She starts off in the movie very young and she loses both of her parents. I don't know how old she is when she starts as an adult. She's like 20, so she loses her mom around 20 years old and becomes very angry and wants to go and get revenge on the guy who took her father when she was just a young girl and then ends up on this spiritual path where she seeks out a master and she learns to let go of her attachments so she can see a greater good because her attachments are blinding her sight. That way she can go out and actually fight for something and understand what it is she's fighting for.
Q: Talk about your weapons training for this movie?
Klein: I guess the only way to ever know that is to actually participate in some form of the military which I never did. The only training that I had up until rehearsals for this picture was making "We Were Soldiers" a couple of years ago where I played 2nd Lt. Jack Geoghegan, but this was totally different. Charlie Nash is a run and gun guy, and I have very limited experience with handguns. I don't own a handgun and it's not a hobby of mine personally, so upon arriving in Thailand, I started training with some Thai and some Australian special forces that the guys brought in to teach me the appropriate way to use a handgun. We went from Glocks and Walther 9mms all the way through the arsenal to grenade launchers and stuff so we had a real ball doing that. For any dude to do something like that is pretty darn fun.
Q: When you have a franchise like this that has so many supporting characters, how do you decide which ones will be in the cut for the movie?
Amritraj: That was a decision we made that this is the direction we wanted to go in. We of course then talked to Capcom about it and they went along with the decision, and then as we came up with the outline and started flushing it out, they were involved with us at every step of the way. Luckily, we also had a writer who's a total "Street Fighter" aficionado. He was terrific and so he knew the background of every character. The Capcom guys were fabulous. They went along with a lot of the stuff we wanted to do.
Q: You didn't have Ryu and I know that's mentioned at the end. Was that ever a problem with Capcom?
Amritraj: No, we specifically decided on this character and it being her journey and so Ken and Ryu who were the other two characters were sort of left for another day.
Patrick Aiello: And this is an origin story so we wanted to start off with a group of people that we could manage, and we begin with Bison's story as we do with Chung-Li's as well, and we'll grow from there. Now we are into the world of Bison and we'll see what comes of it from that point.
Q: How did the movie rights go from Universal in 1994 to ultimately with Fox now?
Amritraj: Universal did not own any movie rights. Capcom owns all of the underlying rights to the game, the movie, the characters. Universal distributed that single picture. We, along with Capcom, in a joint venture made this film and we have a deal with 20th Century Fox. Under our deal with Fox, the movie gets distributed.
Q: Was there thought about how much time had passed since the last incarnation of "Street Fighter" and that it was time to make a new one?
Amritraj: I think there has been enough time [since the last "Street Fighter"], and that was such a different movie. Jean-Claude Van Damme played Guile, and Raul Julia was a slightly different kind of Bison, and it had all of these different characters that was very close to the pop feel that the game has. This one is quite a lot different--the look, the feel, the visuals--all of it is very different. The cast was so wonderful all through the shoot, and I think they underplay sometimes all the things they went through. Kristin and the training she did, [being] strung up on wires and thrown through doors and windows, and Chris with the guns, and Neil McDonough, Moon, everybody, it was just a phenomenal cast and they went along with what was a very tight shoot and working 90 days in a 45-day period. They were terrific.
Q: Were there any injuries during the gun training or on set?
Kreuk: Nothing serious I don't think. I got punched and thrown into a couple of things but nothing that was lasting or permanent that I know of. (laughs)
Aiello: No, we had very strict set safety because we had so much going on.
Q: Kristin, I imagine your work on "Smallville" helped you. What additional martial arts skills did you learn on this because you've done wirework before?
Kreuk: Yeah, but only minor and I only got seven hours to really practice that stuff on "Smallville" which is nothing and five weeks even feels like nothing for what we did. Doing wires well isn't easy and I think all the hand to hand stuff is challenging as well but the wirework, to make it look good and natural, it's a whole different way of figuring out how to make your body move. I learned so much more on this than on "Smallville" where I only got bits and pieces of it. Normally with "Smallville" I get the choreography and they're like, "Okay, action!" So there's no time. It's like, "Here we go!" It was somewhat different on this. (laughs)
Q: For the producers, what did you seen in Kristin and Chris and why were they chosen for the roles?
Amritraj: We saw Kristin on "Smallville," and then we met, but I think the main thing about this character was that there's a strength and also a vulnerability, and I think that's exactly what Kristin brings to the character and the Asian background as well, all of those things. It was just a perfect match. And with Chris, all you have to do is look at him and you can see why. It was love at first sight.
Aiello: Chris is a strong leading man and could handle the character well and really stick out in the group.
Q: How difficult was it to shoot on the crowded streets of Hong Kong?
Aiello: The location was chosen by Ashok on purpose. There's a lot of activity there and that really adds to the production value of a picture. You really absorb all the grit and grime of that city into the picture and it shows.
Klein: What's great about it is we had the opportunity to shoot in the actual place that our story is set, and you know how rare an opportunity that is. So you take that and run with it, because it is absolutely the ultimate practice in environmental theater, and you're right there with the grit, with the grim, with the people of Bangkok, with the food of Bangkok, and it becomes a character in and of itself in our movie. And that is such a special opportunity that so few movies have and it definitely makes it work in this movie.
Q: Kristin and Chris, what about Bangkok was what you thought it would be and what was the big surprise?
Kreuk: I knew Bangkok would be busy. That's all I knew coming into the city. What was a surprise to me--this seems strange to say--were the size of the malls. Bangkok's malls are so big and elaborate and there are movie theaters I went to where I was like, "Whoa! This place is crazy!"
Q: We don't see any of that in the movie?
Kreuk: No, because we stick to the more poor side of things. But the malls there are insane. The food is amazing. I expected the food to be amazing and I thought it was really good.
Klein: I had never been to Southeast Asia before so I was very, very excited to go to Bangkok and to have the opportunity to spend that much time in such an exotic location is a gift for anybody that appreciates traveling so I did my best not to go in with any preconceived notions of what Bangkok was going to be simply so that I could take it in and keep as open a mind as possible. And I definitely have to agree with the food. The food there is absolutely outstanding.
Q: Kristin, what kind of films have you been looking at and was action something you wanted to get into?
Kreuk: It's funny, it probably is not the genre that I was going "That's what I want to do," but it made a lot of sense for me where I'm at in my career, and coming out of "Smallville," it was a really good move to move into a character who was very proactive and that's something I wanted to do. I want to help empower young women and I thought this was a really great role to do that.
Q: Chris, your character has been tracking Bison for some time and it seems personal now. Why is it so important to your character to capture this guy?
Klein: The first thing that I ever learned about Charlie Nash, that Justin Marks, our screenwriter, showed me, was that Charlie Nash, his likes, he's got two, justice and scotch, and his dislikes, he's got one, injustice. So that's where we started with this character and anybody that knows the world of "Street Fighter" knows Charlie Nash's back story and knows why he's there, and I love that we pick it up with the energy of Charlie arriving in Bangkok and then explaining to Cantana what he's doing there, chasing Bison all over the world trying to find him, and at this point it is personal because justice needs to be served, and Charlie Nash is just the guy to do it.
Q: Charlie Nash reminded me of a lot of past action actors. Are there any past roles that inspired you or that you channeled for this?
Klein: As far as other actors? That's a gift that I don't have. Channeling another actor's performance, I don't even know where I'd start doing that. A lot of the people that I grew up idolizing are in action movies and the men that I grew up idolizing on screen, of course, loving the movies ever since I can remember and this being one of my favorite genres, there's absolutely no question about it. We can just run down the list of my favorite movies. There are three action movies in that list, one might not necessarily be an action movie, but the first one is "Indiana Jones and the Raiders of the Lost Ark," you know, Harrison Ford. How can you not be a kid growing up and idolize him? "Braveheart," Mel Gibson, along with any of the "Lethal Weapon" franchise, he's fantastic. And "Romancing the Stone," Michael Douglas, bringing a perfect combination of action hero and comedian. I think that performance is brilliant so those are three good examples.
Amritraj: Pretty good examples. I'd throw in a little Clint Eastwood.
Q: With all the fun, over-the-top action sequences you guys had to do, was there a particular one that was the most fun to do?
Kreuk: For me, I think the alley fight sequence was really fun as well as there's a crane fight in the whole thing that was really scary and fun at the same time for me as well. Those two are my favorites.
Klein: I think my favorite action sequence is when the Port Authority office blows up and all hell breaks lose on the top of the harbor pier. That was incredible. There was so much noise and so much going on. It comes off really good on screen, it was absolute mayhem. I remember right before we did the jump stunt, I looked at Patrick and said, "It all starts right now. This is going to be three nights of mayhem." And he goes, "Don't get hurt." (laughs) I'm blasted out of that building.
Amritraj: He was right in the middle of it.
Klein: You see my face and everything. I'm blasted out.
Aiello: We actually blew it up, but we did it in two steps. We blew him out the door with the smoke and debris and then we did an additional explosion with fire.
Q: Besides possibly more "Street Fighter" movies, what other productions do you have coming up?
Amritraj: We have a movie called "Dead of Night" which starts shooting in April with Brandon Routh. Kevin Munroe, who did "Teenage Mutant Ninja Turtles," is directing it. That shoots in New Orleans. And then we have a festival movie called "Leoni" which Emily Mortimer is doing for us. We haven't announced it yet.
Q: What is "Dead of Night" about?
Aiello: "Dead of Night" is about Brandon's character from Chinatown who's a detective and private investigator for the underworld in the sense that he is investigating werewolves, zombies and vampires in the spirit of "Lost Boys."
Amritraj: It's a best-selling comic book from Italy called "Dylan Dog" that's very popular. Platinum Comics are our partners on it.
Q: How close visually are you going to the comic book and do you have any other cast that you can announce?
Amritraj: Not yet. We're just casting. We're going to be pretty close. I mean, it's going to have that look to it.
Q: The famous outfit?
Amritraj: Yes. And the car.
Q: What's next for each of the actors?
Kreuk: I'm building a company for teen girls called Girls By Design which is an online social network and content creation site so that's been my focus. I've got a weekend retreat coming up in March here in L.A. so I've been prepping for that as well. We're in the process of building beta right now, so what we have out there isn't what the site will be, but it's project oriented and it encourages them to go out in the world and create and then come back together and share those experiences.
Klein: For me, right now, it's all about getting this (film) out on Friday. I had so much fun on this movie and that's what I want to talk about. I love "Street Fighter."
Street Fighter: The Legend of Chun-Li opens in theaters on Friday, February 27th.
http://www.comingsoon.net/news/movienews.php?id=53194
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FYI Reminder: Wondercon 2009 February 27-Mar 1 2009.
http://www.comic-con.org/wc/
http://www.comic-con.org/wc/wc_exhib.php
I see some film companys and other good entertainment groups. At least worth a walk around to cut some deals. IMO
Ohhhhhhhh, I get it.
Sounds to me like they already started. Maybe some test shots?
IMO
Thanks Dan,
Is there a way, and this is just a suggestion, that you use the data from that blog to create a possible comic, omitting some of the good stuff, in the comic, called "The making of Dylan Dog" the movie, besides just a comic of the movie itself. It would be interesting to see this in Comic form, using your example of combing Brandons hair, in a panel. If you think it would work. Just a suggestion.
Can anybody log in to the DD blog. I cant even with a password. Why lock it if you want people to read about how the movie is done or progressing? IMO
I see advertising and marketing is ready to go in Europe.
http://www.cplg.com/properties/view/77
http://www.cplg.com/who_we_are
I dont know? Maybe someone on this board lives close by and could get a job as an extra, giving us another view of what its like. Wonder if there going to use the townspeople for that. Good question to ask on the blog. IMO
Sounds to me like one of those story I see on the news. A couple pays their rent on time, but the landlord doesnt pay with the money, defaults and ends up in forclosure. 3 month later, eviction notice on the door of the people who pay, forcing them to move. Sad but true story. In todays economy,unless you own the building yourself, which there is some good deals, it is just part of being a renter I guess. But even owning it doesnt guarantee default anymore too (unless paid in full).
IMO
Nice to hear money coming in.
First post on the DD Blog: Just saying you guys should be just looking at this page to see whats up and coming. It could be interesting to see how a movie is developed and how the cast and crew communicate. Looks like there working closely with Bonelli and starting development. IMO
Things I never thought I’d deal with in my life…
Posted in Uncategorized with tags adapting, Bonelli, Brandon Routh, comic books, Dylan Dog on February 18, 2009 by deadofnightmovie
I never actually sat down and made such a list, but if I had, I’m pretty sure on the top of it would be the length and style of Brandon Routh’s hair. Suddenly, I’m the (former) Man of Steel’s stylist and I’m not really sure how that happened. To be fair, it’s not like I was asked to style it myself. I’m not sure anyone in their right mind would ask that. I did, however, receive an email informing me that we’d soon be taking pictures of Brandon with his hair set as it will be in the movie and sending them to the Bonelli folks for their approval.
This is exactly the kind of input we crave from our collaborators and want to get from them at every turn. Sometimes, things get in the way and we can’t but we always strive to. In my opinion, and it’s an opinion shared by a lot of people here, why wouldn’t you? It was the creator’s vision that this great idea sprang forth, so we try to stay true to that vision as much as humanly possible. Sometimes, compromises have to get made, but if people loved it in the first place, we want to stay true to whatever it was that that creator brought into the world in the first place. Sometimes that is possible and sometimes it isn’t, as we’re often not the 800 pound gorilla in the room, but we always try.
But luckily on this project, we’re in the driver’s seat for a lot of this. And we’ve got an amazing resource in Gioy Demarco, our foreign library specialist. Gioy is Italian and speaks about 5,000 languages (slight exaggeration, but not by much), grew up reading Dylan Dog in Italy and has a more all-consuming love of the Bonelli library than I’ve ever had about any comic. Gioy is currently in contact with the folks at Bonelli on a daily basis, getting their opinion on a variety of different things. You can often find Gioy in the office at 4am to best accomodate the time difference and be able to go back and forth with them on everything under the Dylan Dog sun.
So when we receive an email from production folks, letting us know photos are coming, it’s Gioy who will be on the phone as soon as possible to get the creators input on them, probably at 4am. This is how much we love this source material and the deep respect we try and show to the creators we work with.
And this is how silly my job is sometimes that I not only received an email about Brandon’s hair, I sat at wrote a blog post about it. Life can be downright silly at times.
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http://deadofnightmovie.wordpress.com/
LOL. Im sure its going to be good. Looking forward to it. Saw those posts on yahoo board. Maybe someone shot over a youtube video to SS on Nathan Never to give them some ideas of a product they already paid for? Hummmmm
Thanks for responding. It was nice to see your blog. Our investors here like to keep up with the most current events and with the most current info we can find, although not as direct as you will get. I read your intro and understand the work that you do, will do, have done, how your dreams start to come to reality. Most of our info is direct from articles or interviews that usually just came out within a day/two. If you never been here before, have a good look around. I've added your blog in my Dylan Dog Movies file and a link in the Misc column. Feel free to check us out anytime and keep us in the loop. Were always looking for info. Sometimes, we ocassionally do pull out a scoop here and there, of course it is not all Dylan Dog related. Were all looking forward for production to start.
Now that we know your here, we will be visiting. Thanks for stopping by.
Mickee
Heres something new: How come they get to be the official blog? We get alot of good info here too. But if they get Brandon, Monroe and others to talk about their movie over there like they say, then they really do deserve the term "official". IMO
The Official Dead of Night Production Blog
The official production blog of the upcoming feature film adaptation of Dylan Dog
http://deadofnightmovie.wordpress.com/
10c here shortly.
BTW, if there was no interest in Nathan Never, here is a few Youtube videos. I think I read somewhere he has a big following too, like DD. But here, Im guessing somebody is probally just showing off. Still, something new. Sure some characters and videos are European or Italian, but hey, isnt their money now a higher value than ours and spends just as easy. LOL
IMO
still looking for that info. Dreamworks still has a hold on Nathen Never, which if Dylan Dog does well, they should look at doing this one. I would have reminded SS of this project, but thats just me pushing the envelope. Use it or lose it I say. Anything else, I havent seen search wise. I think you know but cant/wont say which is cool. I respect that.
IMO
http://www.ubcfumetti.com/international/nnmov_en.htm
http://en.wikipedia.org/wiki/Nathan_Never
Disney's excellent adventure
Studio welcomes unlikely new tenant
By MARC GRASER:
It makes sense for Hollywood's biggest kid to move to the Happiest Place on Earth.
Steven Spielberg makes the kinds of movies Disney loves to fill its slate with: high-profile tentpoles that can generate considerable coin companywide for years to come.
But last week, Disney didn't just make a deal with Spielberg. It brought on board his company DreamWorks -- which could create one of Hollywood's more awkward partnerships over the next five years.
The Mouse House is a different animal from studios.
Anyone following Disney recently has been hammered with one message: That's it's focused on the Disney brand.
That means keeping its studio pipeline filled with family fare that will not only generate millions in ticket sales but also move a lot of DVDs, videogames, merchandise, increase traffic to its websites, and boost attendance at its theme parks with a new attraction or two. At least that's been the hope since 2006, when the Mouse House underwent its big corporate reinvention.
At a lavish all-day showcase last year, studio chairman Dick Cook rolled out the company's 2009 slate, saying "We are going to concentrate on doing what we do best. And that is: Being Disney!"
Meanwhile, Disney CEO Robert Iger insists "demand for the Disney experience" remains strong and recently told Fortune, "I don't care if a Touchstone movie does $100 million on $30 million of cost, its success doesn't breed any other success in the company."
So imagine the surprise when Disney agreed to distribute 30 of DreamWorks' films through its Touchstone banner over the next five years. The first six start unspooling in 2010.
With a rigid corporate culture, Disney is notorious for opposing partnerships. It won't co-finance pics with other studios and recently parted ways with Walden Media and the "Chronicles of Narnia" franchise. The disappointing B.O. of the second installment and the expensive pricetag of the third were cited as reasons, but one of the main deal killers was that Disney couldn't fully own the pics and exploit them companywide -- especially at its theme parks -- without having to pony up a hefty check to Walden. Similarly, Disney only began fully integrating Pixar's properties into its parks after the studio bought the toon shop in 2006.
So why the sudden change of heart?
While Disney has been able to rebuild its family brand -- through the "Pirates of the Caribbean" and "National Treasure" franchises, as well as talent from its Disney Channel and, of course, the purchase of Pixar -- it's struggled with its more adult fare.
Disney has long used Touchstone to distrib pics for older audiences, but recent releases like Spike Lee's WWII drama "Miracle at St. Anna" and Kevin Costner's political comedy "Swing Vote," both co-financed through other sources, have struggled at the B.O.
It needs DreamWorks' more commercial pics to rebuild that banner and has provided the studio with a loan of around $100 million to help keep its doors open, as well as P&A support.
In development are six pics DreamWorks bought from Paramount after the distribution deal with that studio dissolved last year.
They include the drama "The Trial of the Chicago 7," Secret Service actioner "Motorcade," the Steve Carell comedy "Dinner With Schmucks," comicbook adaptation "Atlantis Rising" and "The 39 Clues," based on a series of fantasy adventure books -- mostly pics that don't boast characters that can fill store shelves with toys. A flippant in-joke in town last week was the potential for "Chicago 7" to become the next great theme park ride.
But that's not the point.
Disney's global distribution machine is considered one of the best in the biz, but fewer films on its sked meant that it couldn't make as much money and realize as much profit as it could have.
Fewer pics also meant that its homevid arm had less to release. That division has been hit hard, especially with consumers buying less DVDs lately.
More output from DreamWorks will mean more coin in Disney's coffers, as long as it can rein in distribution and marketing costs. The Mouse House will collect 10% of the gross of each pic, under terms of its distribution fee.
While the financial aspects of the DreamWorks deal will certainly benefit Disney, there are still aspects of the relationship that could create rifts over time.
Disney now must keep a lot of egos happy: DreamWorks' execs can be demanding, but the Mouse House also needs to make sure that producers on the lot like Jerry Bruckheimer, Scott Rudin and Adam Shankman, as well as toon topper John Lasseter, are satisfied with the best release dates for their pics.
The Mouse House will be able to tout that it's in the Spielberg business without having to necessarily pony up the hefty backend he demands from the pics he directs and produces. He's never helmed a pic for Disney; even the Peter Pan-themed "Hook" was set up at Sony's TriStar.
Given the distribution aspects of the deal, Disney doesn't have creative control over what DreamWorks decides to make, with Walt Disney Studios prexy Oren Aviv remaining hands-off creatively. It's only a matter of time before DreamWorks produces a pic Disney isn't keen on distributing.
Spielberg still continues his exclusive partnership with Universal Studios when it comes to the theme park biz. The deal pays him 2% of all park receipts, estimated to be worth around $50 million a year. That means that while DreamWorks pics can be licensed to other parks, the director can't provide creative input to Disney for any new attractions.
Where does DreamWorks Animation fit into all this? Well, it doesn't. And that's just the way Jeffrey Katzenberg wants it, considering Pixar is Katzenberg's biggest rival. The exec no longer sits on the board of DreamWorks' live action studio and its toons continue to be distribbed by Paramount. That's where things might get testy: Katzenberg and Spielberg, each with their own distrib, could wind up clashing over the most prized release dates.
Either way, Disney has finally landed Spielberg. It may not be the way it wanted him after all these years, but the partnership will prove whether the Mouse House is going to continue to dominate the family film biz or become one very dysfunctional family.
"Today, I am going to give you a good sense of what's to come!" exclaimed Cook, almost presciently at the Disney Showcase. "We have the best talent and the best technology, the best executives and the best effects! Only the best is good enough for Disney!"
With Spielberg now on board, it's certainly managed to prove that point.
http://www.variety.com/article/VR1118000160.html?categoryid=2520&cs=1
DreamWorks does a fast U-turn
Studio jumps ship to Disney after Universal stop
By TATIANA SIEGELMore
What’s got Hollywood confused is: Given the long-standing roots that DreamWorks principals Steven Spielberg and Stacey Snider each have with U, why Disney?
DreamWorks would have paid an 8% distribution fee to Universal, but could end up paying a higher distribution fee to Disney. Some estimate the Disney rate to be as much as 10%, though DreamWorks insiders insist that it falls in the 8%-9% range.
Disney will advance DreamWorks the P&A costs for the some 30 films covered by the five-year deal. But U was also onboard to front marketing costs, and that deal would have lasted seven years.
The only significant advantage that the Disney deal offered was a $100 million loan (DreamWorks execs concede that higher figures cited in the press are inaccurate). And perhaps that was the deciding factor for Spielberg, who had been forced to dip into his own pockets last month to pay for overhead and development.
No director likes to write multimillion checks, but Spielberg was particularly feeling the pinch. The financial losses at the hands of disgraced hedge fund manager Bernie Madoff didn’t help.
And if Disney really offers a better fit for Team Spielberg, the obvious question remains why DreamWorks didn’t ink a deal with the Burbank studio back in October, when former DreamWorks principal David Geffen negotiated with Disney on behalf of Spielberg and Snider.
That question left one DreamWorks exec stumped, explaining “I don’t want to revisit the past.”
In addition, the often rigid culture of Disney contrasts with one of familiarity at Universal. Spielberg’s ties with the studio go back to the 1970s, and Snider was an exec there for a decade.
Universal’s marketing and distribution staff offered Spielberg a known commodity, having released his passion project “Munich” and overcoming hurdles to help the film nab a best picture Oscar nom.
When DreamWorks and Universal hammered out their deal in October, both sides were feeling the love. Snider gushed, “Steven and I have both enjoyed successful, longtime relationships with Ron Meyer and everyone at Universal. …Steven and I are looking forward to this new association with our old friends.”
Still, DreamWorks execs say the Universal deal “just didn’t make sense any more.” They explain that the company’s needs had changed in an economic climate where cash is king. One DreamWorks exec likened the Disney deal to finding a better mortgage rate on a new home.
In talks with Variety, DreamWorks execs described Disney’s worldwide marketing and distribution operations as “world-class” — though U also has a vaunted machine for taking films into the marketplace domestically and abroad.
Had DreamWorks struck a deal with Disney in the fall, it certainly would have avoided alienating Universal. DreamWorks execs are quick to point out that the U deal was never signed, and the fledgling company was simply acting in its best interests.
But U executives counter that deal terms had been reached, and DreamWorks was obligated to disclose that they were negotiating with the Burbank studio.
DreamWorks says Snider and chief negotiator Alan Levine were very close to placing that call to Universal president Ron Meyer when the Disney news leaked in the press. As a result, DreamWorks’ deal with Disney has caused major fissures in the Universal relationship. And in an added ironic twist, DreamWorks will continue to keep its offices on the U lot, like a divorcee living in the ex’s poolhouse.
For better or for worse, DreamWorks is now in a new relationship with Disney and is looking to put the tumultuous past year behind it.
The company has more cash on hand than it did a month ago, and that coin will help push at least three films toward the production start line, including the thriller “Motorcade,” which Tom Cruise is circling. DreamWorks isn’t talking about budgets, though overtures to Cruise signal that the revamped company isn’t looking to make modestly budgeted pics.
Similarly, DreamWorks is negotiating with expensive stars like Steve Carell to star in one of its other close-to-go projects, “Dinner for Schmucks.” And Spielberg may direct the third likely-to-greenlight project, “The 39 Clues,” which is being penned by one of the director’s go-to scribes, Jeff Nathanson.
The company also held onto an additional 14 projects that were developed during DreamWorks’ tenure with Paramount, including “Atlantis Rising,” “The Trial of the Chicago 7” and “Cowboys and Aliens.”
DreamWorks has no time to waste. The company will have to quickly fill up its development coffers with new material if it wants to meet its target of providing making six films a year beginning in 2010. When Spielberg and Snider left their failed marriage at Paramount, they got custody of only the 17 projects in development and one production shingle, Parkes/MacDonald Prods.
That’s not a lot of dowry for a newlywed, but it’s a start.
http://www.variety.com/article/VR1118000159.html?categoryid=2520&cs=1
Yep, that is the latest.
FYI: Somebody has been making some DD youtube videos. Not bad IMO. At least until they put one up on Splastk.
Heres an interesting picture. Think S.S asked T.H to be in one of his movies. Not sure I could picture him in C&A.
http://www.variety.com/graphics/photos/featuredstories/FSS_saks_hanks.jpg
who says we dont. IMO
I have just never seen a film by Julia Roberts company. Who knew.
http://economictimes.indiatimes.com/News/News_By_Industry/Disney_in_distribution_pact_with_Reliance_Big-Spielberg/articleshow/4107873.cms
I thought it was good news when I saw the article. But It just didnt make sense. All the data was not out. So, Now we wait for the details. But overall, it is good news. IMO
Cool. So how did the Comic Con go? Any updates you can give us.
and yet it is listed on the SEC as Platinum Owned. I think we need clarification from Brian if he can. If they sold it, thats fine too. IMO
I thought Youngblood was owned by Platinum? Was I wrong? Did we sell the rights for 6 figures (the article doesnt specify)
Brett Ratner To Direct ‘Youngblood’ Adaptation Based On Rob Liefeld Comic Book Series
Published by Casey Seijas on Monday, February 9, 2009 at 11:01 am.
Looks like yet another comic book property may be heading for the multiplex soon, as Variety breaks the news today that Rob Liefeld’s signature series, “Youngblood,” has been acquired by a partnership consisting of Reliance Big Entertainment, Brett Ratner’s Rat Entertainment, and Julia Roberts’ Red Om Films for the feature film treatment.
In the Variety piece, Ratner — who has signed on to direct the flick — said, “Most of the great graphic novels are gone, and ‘Youngblood’ is one of the few comic books left with tentpole potential. It was a real personal passion project for me, and a lot of people wanted ['Youngblood'], but the amazing thing about the guys at Reliance is the speed with which they’re able to move.”
Variety reports that the six-figure deal for the rights to “Youngblood” were finalized at the Berlin Film Festival, the “Berlinale.” The comic follows the adventures of a high-profile team of superheroes sanctioned and overseen by the U.S. government, led by Shaft — a former FBI agent also happens to be an expert archer.
Are you interested in seing “Youngblood” make the jump to the silver screen? Did you read the original Image comics? We wanna know what you think in the comments below.
http://splashpage.mtv.com/2009/02/09/brett-ratner-to-direct-youngblood-adaptation-based-on-rob-liefeld-comic-book-series/
OT: Looks like Disney deal is done with Dreamworks.
Disney finalizes DreamWorks deal
Will handle distribution, marketing for six pics a year
By Carl DiOrio
Feb 9, 2009, 12:20 PM ET
DreamWorks' Disney deal is done.
Disney said Monday that the studio has agreed to enter into an exclusive "long-term distribution arrangement" with DreamWorks.
"Under the terms of this arrangement, Disney will handle distribution and marketing for approximately six DreamWorks films each year," the studios said in a joint release. "The first DreamWorks motion picture to be released under the Touchstone Pictures banner is scheduled to hit theaters in 2010."
The deal follows Friday's surprise announcement that Universal and DreamWorks had been unable to finalize their previously announced distribution arrangement. DreamWorks brass bolted Paramount in October to re-establish DreamWorks as a privately operated company.
Reliance Big Entertainment has pledged $325 million to the venture, and JPMorgan Securities is leading a loan syndication that targets raising another $325 million by March 31.
"We're both thrilled and honored to be marketing and distributing all of DreamWorks' signature upcoming live-action motion pictures, and to begin a new relationship with such respected colleagues as Steven, Stacey and their creative team at DreamWorks," Walt Disney Studios chairman Dick Cook said. "Steven has made some of the biggest and most loved films of all-time, and continues to be one of the great icons of our industry. Stacey has an impeccable reputation and a phenomenal track record for making a wide variety of quality films."
Disney CEO hailed Spielberg's "artistic vision and commitment to quality filmmaking."
DreamWorks co-founder Steven Spielberg called Disney "the birthplace of imagination."
And DreamWorks chief Stacey Snider said the Burbank studio "represents the highest standard
http://www.hollywoodreporter.com/hr/content_display/news/e3i9ab6ed8bb3577213b5a83b13be40663a
IMO, I dont see any of that happening. Should be 5400 and growing characters. People are seeing the value, contracts are being made and deals done. I myself would like to see a Pixar deal. But it Just takes time to dot the i's. And again, Publicity is king.
I dont remenber that deal. Of course, I dont watch Disney either so its not on my radar.
Would be nice to see another Gold Circle deal with Sony or anyone.
I have yet to hear if anything came out of Comic Con? Guess we wont hear until it is over today and the days that follow. IMO
This is interesting. Wonder if it will get Disney more looks at Platinums stuff if they are working with Dreamworks so closely. I also wonder if Unique at Disney will get bumped up a notch. IMO.
DreamWorks close to Disney deal
Spielberg's company to leave Universal
By MARC GRASER, TATIANA SIEGEL
More Articles:
DreamWorks is scrambling to find another distribution partner to replace Universal Pictures, which abruptly severed its ties with DreamWorks just four months after hammering out a much-ballyhooed distribution deal with the company.
The studio had been engaged in talks with DreamWorks for the past two weeks to renegotiate the deal, which was agreed upon in terms but had never been finalized. DreamWorks recently approached Universal to modify the terms of the pact after it became clear that it was having problems raising the money necessary to finance six films a year.
Universal was willing to make concessions -- including investing in the fledgling company -- considering how much the global economic climate has changed since the deal was originally struck in October. But the studio balked at DreamWorks’ demands to reduce the distribution fee below 8%, which would have been an unprecedented rate in Hollywood. What Universal didn’t know is that DreamWorks -- led by attorney Alan Levine -- was also negotiating with Disney to replace Universal as its studio partner moving forward.
Instead, Universal was blindsided and privately called DreamWorks’ behavior "despicable and deplorable." Publicly, the studio released a statement that said it "has ended discussions with DreamWorks for a distribution agreement. Over the past several weeks DreamWorks has demanded material changes to previously agreed upon terms. It is clear that DreamWorks’ needs and Universal’s business interests are no longer in alignment. We wish them luck in their pursuit of funding and distribution of their future endeavors."
DreamWorks is now close to inking a deal with Disney, which is expected to help the company raise mezzanine funding. Disney, which was an original suitor to land a distribution deal with DreamWorks following DreamWorks’ split with Paramount Pictures, would provide DreamWorks with P&A funds, pay-cable slots and possible production co-financing for DreamWorks’ intended six pictures. So far, DreamWorks has secured a $325 million commitment from Mumbai-based Reliance, which is contingent on DreamWorks raising an additional $325 million in debt via its bankers at J.P. Morgan. Reliance and Spielberg have been splitting the company’s bills, which include development and overhead costs. But DreamWorks’ lack of capital has begun to take a toll on the company. Ben Stiller’s Red Hour shingle exited DreamWorks on Thursday and inked a deal with 20th Century Fox.
DreamWorks, which declined comment, is hoping to cut a deal with Disney in the next 48 hours. Timing raised eyebrows given that Disney recently severed its ties with Walden Media and the Narnia franchise citing budget concerns.
While a partnership with Disney would most certainly help DreamWorks, it wouldn’t necessarily make sense for the Mouse House. Since the success of the "Pirates of the Caribbean" franchise, studio has been strictly focused over the past several years on making movies that fit the Disney brand. That means family movies that it can fully exploit across all of its divisions, including theme parks, the Internet, homevid, videogames and merchandising -- essentially movies it can capitalize on companywide.
DreamWorks doesn’t necessarily make those kinds of movies. For example, horror pics like "The Uninvited" and ‘The Ruins," edgy musicals like Tim Burton’s "Sweeney Todd," or R-rated comedies like "Tropic Thunder" or "The Heartbreak Kid" would never be greenlit at Disney these days.
Disney, which declined comment, also has been staying clear of partnering on pics, preferring to keep a monolithic voice in marketing and release date decisions. It’s one reason why the studio is no longer attached to Walden’s "Narnia" franchise. And bringing on board DreamWorks would add more pics to Disney’s release sked, which it had strategically winnowed down to about 14 pics per year. That’s a number that Disney has been happy with: Fewer films enables it to spend more time developing and promoting them upon their release across all of its divisions, making them seem more high-profile, and hopefully earn more at the B.O., as a result.
Meanwhile, DreamWorks brass feel that Disney is a better fit for its company than Universal, though it is unclear why the company didn’t strike a deal with the Mouse House back in October. As one DreamWorks insider put it, "Steven made the deal with Universal for sentimental reasons," referring to the studio where the helmer began his career. "But now, he realizes Disney is a better business match."
http://www.variety.com/article/VR1117999675.html?categoryid=18&cs=1
A very large excel spreadsheet. LOL
as what? RDJ movie daughter or a young barmaid.
Some of these links may help find Comic Con news. Not all but some. Check them out.
http://www.comicbookresources.com/?page=article&id=19762
http://www.animenewsnetwork.com/convention/2008/comic-con
http://comicsblips.dailyradar.com/general/new_york_comic_con/
http://splashpage.mtv.com/
Spider-Man, Batman And Watchmen, Oh My — It’s Splash Page At New York Comic Con 2009!
Published by Splash Page Team on Thursday, February 5, 2009 at 7:36 pm.
New York Comic Con 2009New York Comic Con kicks off this weekend, and that means MTV News is not only going to have regularly updated coverage of the show all weekend throughout MTV.com, but we’ll also be on the floor and in the panel rooms bringing you news, previews, announcements and multimedia reports from our on-site MTV News Skybox at the convention center. Keep your eyes here on Splash Page, as well as MTV Movies Blog and our mecca of all things gaming, MTV’s Multiplayer Blog, throughout the next three days of Comic Con for all the news as it happens.
Oh, and if you’re at the show, here’s a quick list of events where you’ll be able to find your intrepid MTV News team:
MTV News and Newsweek’s Video Game Clash — Vs. Mode Live!
Friday, 2:15 PM - 3:15 PM, Room 1A22
Todd Howard of “Fallout 3″ and Ken Levine of “BioShock” on stage together! The lead developers of the widely-hailed 2007 and 2008 games of the year join two of gaming’s most respected journalists, Newsweek’s N’Gai Croal and MTV News’s Stephen Totilo, for a debate about what’s hot and what’s not for video games in 2009. Can the PlayStation 3 come back? Are we finally going to get a good Batman game? Is the Wii on the way out? Find out at Vs. Mode Live!
MTV’s Who Is The Greatest Movie Badass of All Time?
Friday, 7:15 PM - 8:15 PM, Room 1A08
MTV News hosts a panel of celebrity guests who will answer, once and for all, one of fandom’s most notorious questions — Which movie character is the Greatest Badass of All Time? John McClane or Lara Croft? Batman or Wolverine? Celebrities and fans weighed in with their picks, now find out who made the top ten and who will take the #1 spot. Join us at this live taping as the decision is revealed! Panelists include Method Man and TBD talent.
Radical Publishing (moderated by Splash Page editor Rick Marshall)
Saturday, 5:15 PM - 6:15 PM, Room 1A07
This will be an opportunity for communication between Radical and its fans. At the panel, Radical will hold a special drawing where the winners will receive a framed poster from either Hercules: The Knives of Kush signed by Jim Steranko, Cholly And Flytrap: Center City by Arthur Suydam, FVZA: Federal Vampire and Zombie Agency by David Hine, City of Dust: A Philip Khrome Story signed by Steve Niles, or Hotwire: Requiem For The Dead by Steve Pugh. Each poster is limited to one printing, making them a highly valuable collector’s item. Additionally, panel guests will receive one copy of a limited and numbered special edition Radical preview book, which will be used in determining the winners of the drawing. Fans must attend the panel to win. Attending will be Hercules designer and cover artist for Hercules: The Knives of Kush — the legendary Jim Steranko, Arthur Suydam (Marvel Zombies) creator, writer, and illustrator for Radical Publishing’s upcoming Cholly and Flytrap: Center City, Steve Niles (30 Days of Night), writer of City of Dust: A Philip Khrome Story, David Hine (X-Men) writer of Radical Publishing’s upcoming FVZA: Federal Vampire and Zombie Agency, Rick Remender (Fear Agent) writer of Radical Publishing’s upcoming The Last Days of American Crime, and Steve Pugh (Hellblazer), the writer and illustrator for Hotwire: Requiem for the Dead. Radical’s President and Publisher, Barry Levine will be making a special announcement.
Remember, keep it here throughout the show (Friday, Feb. 6 - Sunday, Feb. 8 ) for all of your New York Comic Con 2009 news. And if you’re Twitter-enabled, be sure to keep tabs on @MTVSplashPage and @Multiplayers for even more updates over the weekend!
Another good post. IMO, Doesnt Sony have their own gaming division. If the movie is even half a hit, would not Sony develop a game. Heres a nice article in case we need some more. Keep your eyes open on Comic Con happenings.
Could it be happening because the Electronic Entertainment Expo just isn’t the event it used to be? Whatever the case, video game makers are reaching out to other venues to promote their products including the New York Comic Con where the presence of video games will increase by 50 percent from last year (2008). Game-related exhibits are going to eat up 11,000 square feet of space at the event February 6-8, 2009.
Comic Con organizers announced the growth in game industry space is the biggest of of any mediaincluding comic books, which is the whole reason the event exists. This is a good year for that happen, as numerous games on the floor seek synergy between comic books and games, games and movies or a combination of all of those.
Activision, for example, is showing Marvel Ultimate Alliance 2 and X-Men Origins:Wolverine. Atari is unveiling a video game adaptation of popular pen and paper RPG Champions and the much discussed, kicked between companies Ghostbusters game. All the aforementioned are games with wide crossover appeal for comic book fans.
But Activision and Atari won’t be alone on the exhibit floor. A who’s who of gamemakers including Sega, THQ and Rockstar Games will all be in the house too. There’s even a panel giving advice on how to get into the video game industry. And yes, there’s a bunch of comic book, anime and movie stuff there too if you’re into any of those things.
Tickets for New York Comic Con 2009 are $50 for the entire weekend, $30 for Friday, February 6, 2009, $40 for Saturday, February 7, 2009,and $30 for Sunday, February 8, 2009.
Site [New York Comic Con] Read [Gamasutra] Also Read [GameCyte]
http://www.gamertell.com/gaming/comment/games-presence-increases-for-new-york-comic-con-2009/
Keep up with the latest Gaming news! - Subscribe to our feed →
Heres the Top Cow schedule. Wonder if they will finally unveil the Witchblade actress. At least ask the questions people. IMO
Top Cow releases NYCC schedule, preview art
Mon, February 2nd, 2009 at 7:43AM PST
Updated: Wed, February 4th, 2009 at 6:59AM PST
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Official Press Release
Top Cow Productions, Inc. proudly announce its schedule today for this weekend’s New York Comic-Con, the East Coast’s biggest and most exciting popular culture convention brought together in the Jacob K. Javits Center in Midtown Manhattan, NY from February 6-8.
Top Cow will set up in booth #1407 and barrels into the convention with exclusives, preview books and free goodies to augment their headlining celebrity guests.
Headlining the list of guests is actor Milo Ventimiglia (Heroes, Rocky Balboa) who will be on hand to debut a preview of his new comic, Berserker #0, written by Rick Loverd with art by Jeremy Haun, produced by the publisher in conjunction with Ventimiglia’s production company, DiVide Pictures. They will be joined by Ventimiglia’s partner at DiVide, Russ Cundiff. Fans are invited to come to Room 1A22 on Saturday, February 7 at 4:15 p.m. (see schedule below) to hear more about Berserker and receive a pass good for a limited signing with the entire Berserker team at the Top Cow booth (#1407) after the panel.
Joining Ventimiglia behind the Top Cow booth (#1407) will be actor and producer Seth Green (Robot Chicken, Family Guy), who will be on hand to sign copies of the Freshmen Volume 1 and 2 softcovers with the series co-creator and writer, Hugh Sterbakov and colorist Blond on Saturday, February 7 from 11:30 a.m. – 1 p.m. A ticket is required for this signing as well and can be obtained from the Top Cow booth (#1407) on Friday during regular show hours.
The publisher will also be celebrating the 75th Legacy Issue of The Darkness with a cover variant exclusively released for the New York Comic-Con. Also present will be Darkness co-creator, David Wohl, with Darkness #75 artists Joe Benitez, Frazer Irving, and Ryan Winn, who will be available for autographs and sketches.
Ron Marz, the mastermind behind last summer’s blockbuster event, Broken Trinity, will also be at the show to answer questions about Witchblade milestone issue #125 and sign copies of a two-part New York Comic-Con exclusive cover variant of Witchblade #124 by artists Tyler Kirkham and Stjepan Sejic. The Witchblade #124 cover exclusive featuring Danielle Baptiste will be available for purchase at the Top Cow booth (#1407) while the second Witchblade #124 exclusive variant cover featuring Sara Pezzini will be available at the Midtown Comics booth. Marz will also be available to sign copies of his original series, Dragon Prince, including an exclusive cover variant by David Petersen (Mouse Guard).
Fans are invited to learn more about the upcoming Wanted: Weapons of Fate video game at a panel on Sunday, February 8 from 12:15 – 1:15 p.m. in Room 10 (see schedule below) after which Wanted artist J.G. Jones will be back at the Top Cow booth (#1407) to meet and greet fans for a signing. Attendees of the panel will receive a free gift and see exclusive footage from the game schedule for a March release.
Visitors to the Top Cow booth will get a sneak peek of the publisher’s next big summer event, Cyberforce/Hunter-Killer. Fans will have the opportunity to meet and talk with many of their favorite Top Cow creators. The appearance schedule at the Top Cow booth (#1407) appears below (please check the booth daily for updates as the schedule is subject to change without notice).
Fans should note that because of anticipated crowding issues; artists will only be able to do a limited amount of free sketches per sitting. Sketch tickets will be available at the beginning of each day of the show.
At the Top Cow booth (#1407), the publisher will have the following new products available for fans:
The Darkness #75 New York Comic-Con exclusive sketch cover by Michael Broussard
Witchblade #124 New York Comic-Con exclusive Dani variant cover by Tyler Kirkham and Stjepan Sejic
Dragon Prince #4 New York Comic-Con exclusive cover by David Petersen
TOP COW 2009 NEW YORK COMIC-CON SIGNING AND PANEL SCHEDULE*
All signings take place at the Top Cow booth (#1407) unless otherwise noted.
FRIDAY, February 6
1 – 2:00 p.m. TOP COW’S FINEST (signing, Top Cow booth)
William Harms (writer, Impaler)
Rick Loverd (writer, Berserker)
Jeremy Haun (artist, Berserker)
Eric Basaldua (artist, Witchblade Annual)
2:00 – 4:00 p.m. THE DARKNESS (signing, Top Cow booth)
Joe Benitez (artist, The Darkness)
David Wohl (co-creator/artist, The Darkness)
Frazer Irving (artist, The Darkness)
Ryan Winn (inker, The Darkness)
4:00 – 5:30 p.m. PILOT SEASON 2008 (signing, Top Cow booth)
Marc Bernardin (writer, Genius)
Afua Richardson (artist, Genius)
Jay Faerber (writer, Urban Myths)
Joshua Hale Fialkov (writer, Alibi, Cyblade)
5:30 – 7:00 p.m. WITCHBLADE (signing, Top Cow booth)
Ron Marz (writer, Witchblade)
Nelson Blake II (artist, Witchblade)
Ian Edginton (writer, Witchblade, Pilot Season: Angelus)
Lee Moder (artist, Dragon Prince)
SATURDAY, February 7
10:00-11:20 a.m. PILOT SEASON 2008 (signing, Top Cow booth)
Joshua Hale Fialkov (writer, Cyblade, Alibi)
Marc Bernardin (writer, Genius)
Afua Richardson (artist, Genius)
11:30 a.m. – 1 p.m. FRESHMEN (signing, Top Cow booth) – TICKET REQUIRED
Seth Green (co-creator, Freshmen)
Hugh Sterbakov (co-creator/writer, Freshmen)
Blond (colorist, Freshmen)
1:05 – 2:00 p.m. WITCHBLADE (signing, Top Cow booth)
Ron Marz (writer, Witchblade)
Nelson Blake II (artist, Witchblade)
Ian Edginton (writer, Witchblade, Pilot Season: Angelus)
Jay Faerber (writer, Witchblade Annual 2009)
Lee Moder (artist, Dragon Prince)
2:05 – 3:00 p.m. WANTED & TOP COW’ (signing, Top Cow booth)
J.G. Jones (artist, Wanted)
William Harms (writer, Impaler)
Eric Basaldua (artist, Witchblade Annual)
3:05 – 4:00 p.m. THE DARKNESS (signing, Top Cow booth)
David Wohl (co-creator/artist, The Darkness)
Frazer Irving (artist, The Darkness)
Ryan Winn (inker, The Darkness)
4:15 – 5:15 p.m. BERSERKER (panel, Room 9)
Rick Loverd (writer, Berserker)
Jeremy Haun (artist, Berserker)
Milo Ventimiglia (producer, Berserker)
Russ Cundiff, (producer, Berserker)
5:30 – 7:00 p.m. BERSERKER (signing, Top Cow booth) – TICKET REQUIRED
Rick Loverd (writer, Berserker)
Jeremy Haun (artist, Berserker)
Milo Ventimiglia (producer, Berserker)
Russ Cundiff, (producer, Berserker)
SUNDAY, February 8
10 -11:00 a.m. PILOT SEASON 2008 (signing, Top Cow booth)
Afua Richardson (artist, Genius)
Jay Faerber (writer, Urban Myths)
11:05 a.m. – 12:00 p.m. FRESHMEN (signing, Top Cow booth)
Hugh Sterbakov (co-creator/writer, Freshmen)
Blond (colorist, Freshmen)
12:15 -1:15 p.m. WANTED (panel, Room 10)
Matt Hawkins (President, Top Cow Productions)
Pete Wanat and Ryan French (Universal Studios)
J.G. Jones (artist, Wanted)
Moderator - Christopher Carle (IGN.com)
1:30 -3:00 p.m. WANTED (signing, Top Cow booth)
J.G. Jones (artist, Wanted)
3:05 -4:30 p.m. WITCHBLADE (signing, Top Cow booth)
Ron Marz (writer, Witchblade)
Nelson Blake II (artist, Witchblade)
Lee Moder (artist, Dragon Prince)
*SCHEDULE IS SUBJECT TO CHANGE WITHOUT NOTICE
About Top Cow Productions, Inc.
Top Cow Productions, Inc. (www.topcow.com), a Los Angeles-based entertainment company, was founded in December of 1992 by artist Marc Silvestri, who also co-founded Image Comics earlier that same year. Top Cow currently publishes its line of comic books in 21 languages in over 55 different countries. The company has launched 20 franchises (18 original and two licensed) in the industry’s Top 10, seven at #1, a feat accomplished by no other publisher in the last two decades. Its flagship franchise, WITCHBLADE, was TNT’s #1 original film of 2000 and the subsequent TV series was released on DVD on July 29, 2008. A feature film, co-produced by Platinum Studios, Inc. and Arclight Films, is slated to begin production in Australia with director Michael Rymer. WITCHBLADE is also the first American property to be fully adapted in Japan as an original anime and manga by Studio GONZO in 2006. Top Cow’s other flagship property, THE DARKNESS, was developed into a major next-generation video game release by Starbreeze and 2K Games and achieved platinum sales status. WANTED, an Eisner-nominated miniseries published by Top Cow from 2003-2005, is now a major motion picture from Universal Pictures starring Angelina Jolie, James McAvoy and Morgan Freeman. Virtually all of Top Cow’s other properties are in development as feature films, live-action television, animation or video games. Top Cow has also successfully licensed and merchandised its franchises into toys, statues, clothing, lithographs, puppets, posters, magnets, shot glasses, lighters, lunch pails, wall scrolls, mouse pads, die-cast cars, calendars, Christmas ornaments, Halloween masks, trading cards, standees, video games and roleplaying games.
Keywords: new york comic con, top cow, seth green, nycc2009, witchblade
http://comicbookresources.com/?page=article&id=19791
Now if we can just find out what it is. Well, we'll find out eventually. It will be good Im sure. Their animation is very well done.
Lets hope Brian and his team are walking around Comic con, making deals. With the talent that I saw on their webpage, it should be easy.
IMO only
Remember the wording "tap at least 1". Whose to say that they may not want first look rights at other things.
IMO only
Picked up by MTV
http://splashpage.mtv.com/2009/02/05/sony-and-platinum-studios-teaming-for-undisclosed-animated-feature/
Sony And Platinum Studios Teaming For Undisclosed Animated Feature
Published by Brian Warmoth on Thursday, February 5, 2009 at 10:11 am.
Sony Pictures Animation wants a new animated feature from the character library of comic book publisher Platinum Studios. Sony, who also partnered with Platinum CEO Scott Mitchell Rosenberg on 1997’s “Men in Black,” revealed that they will tap at least one of Platinum’s 5,600 characters to jump onto the big screen.
“I have known and respected Scott Rosenberg for many years as a great resource of characters, stories and ideas,” Bob Osher, president of Sony Pictures Digital Prods, told The Hollywood Reporter. “We’re looking forward to working with him and Platinum Studios to develop a feature from their library of stories and characters.”
The move would add Platinum’s mystery property to a list including “Atlantis Rising,” “Cowboys and Aliens,” and “Hero By Night” that currently have film or TV deals in the works. “Cowboys and Aliens” currently sits at Dreamworks with Robert Downey Jr. reportedly attached to star.
The Platinum stable of characters includes a handful of printed titles, as well as the company’s wecbomics community site, DrunkDunk.com. Bringing their unnamed property to Sony would put it in the company of “Cloudy With a Chance of Meatballs,” “Hotel Transylvania,” and “The Smurfs,” all of which are lined up for production at SPA.
What are your thoughts on Platinum’s upcoming film projects? What do you think their mystery pick will turn out to be for Sony’s animated feature? Speak up in the comment section below!
Routh talks about SCOTT PILGRIM and DEAD OF NIGHT (Video clip)
http://www.collider.com/entertainment/interviews/article.asp/aid/10775/tcid/1
http://www.mania.com/downey-rourke-iron-man-2_article_112807.html