Articles on this Page
- 07/18/18--07:02: _Tom Holland may hav...
- 07/18/18--07:43: _What the pirates in...
- 07/19/18--08:59: _All the details of ...
- 07/19/18--14:14: _Netflix's new serie...
- 07/20/18--08:16: _Hollywood insiders ...
- 07/20/18--09:00: _'Equalizer 2' direc...
- 07/20/18--12:56: _Director James Gunn...
- 07/21/18--07:35: _How movie theaters ...
- 07/21/18--12:13: _Warner Bros. is rel...
- 07/21/18--12:32: _'Aquaman' is finall...
- 07/22/18--07:45: _Steven Soderbergh s...
- 07/22/18--08:57: _'Equalizer 2' is th...
- Tom Holland may have given away a spoiler that connects "Avengers 4" and "Ant-Man and the Wasp."
- During an interview for the promotion of "Infinity War" by Access, Holland and Benedict Cumberbatch were asked who, out of the two of them, flubbed the most lines.
- Both of them said Cumberbatch, who plays Doctor Strange.
- Holland quickly added that Cumberbatch has the "most difficult lines" because he has to talk about "so much Quantum Realm stuff."
- Cumberbatch interjected to make sure Holland says nothing more than "Quantum Realm stuff."
- That's interesting because Doctor Strange doesn't discuss the Quantum Realm really at all in "Infinity War."
- It's believed the Quantum Realm will have a role to play in "Avengers 4" since it was just at the center of "Ant-Man and the Wasp."
- 07/18/18--07:43: What the pirates in movies actually looked like in real life
- Netflix just released a trailer for its new series "Insatiable" starring Debby Ryan.
- The show tells the story of Patty, a high school girl bullied for being fat who decides to have her jaw wired shut in order to lose weight.
- "Now that she finds herself suddenly thin Patty is out for payback against anyone who has ever made her feel bad about herself," the synopsis says.
- People are angry and disappointed to see a TV show depict a fat woman as undesirable.
- Many are saying it promotes a toxic message of fat-shaming aimed at teenagers.
- Comcast announced Thursday that it would not pursue assets of 21st Century Fox, including the Fox movie studio, clearing the way for Disney to acquire them.
- It will change the movie business forever.
- Other movie studios are "clear acquisition targets" that could potentially be merged together, like Disney and Fox, says UCLA School of Theater, Film, and Television lecturer and former network television/movie studio head Tom Nunan.
- And for the moviegoer, the Disney/Fox deal's "creative and synergistic possibilities are exciting and truly mind boggling," says Paul Dergarabedian, senior media analyst at comScore.
- "The Equalizer 2" marks the first time director Antoine Fuqua and the movie's star, Denzel Washington, have ever made a sequel.
- Fuqua also gave his thoughts about President Trump's remarks following the Parkland school shooting that movie violence is to blame for school shootings.
- And the director addressed the reports that he's in talks to direct a reboot of the Brian De Palma classic, "Scarface."
- Disney fired director James Gunn from the next "Guardians of the Galaxy" movie because of old offensive tweets of his that recently resurfaced.
- "The offensive attitudes and statements discovered on James’ Twitter feed are indefensible and inconsistent with our studio’s values, and we have severed our business relationship with him," Walt Disney Studios chairman Alan Horn said in a statement.
- 07/21/18--07:35: How movie theaters are ruining your movie
- Warner Bros. debuted the first trailer for superhero movie "Shazam" at San Diego Comic-Con Saturday.
- It feels a lot like Tom Hanks' 1988 movie "Big" about a child who transforms into an adult.
- "Shazam," based on the comic-book character, follows 14-year-old foster kid Billy Batson (Asher Angel) who is bestowed with superhero powers by an ancient wizard.
- All he has to do is say the name Shazam and he turns into a superhero.
- The trailer shows Batson with his friend testing out what powers he has until he runs into a bad guy, Dr. Thaddeus Sivana (Mark Strong).
- "Shazam" will be in theaters April 5, 2019. Watch the trailer below:
- Warner Bros. debuted the first trailer for "Aquaman" at San Diego Comic-Con on Saturday.
- Jason Momoa reprises his role as Arthur Curry after his role in "Justice League."
- The movie will follow Curry's origin story as his love, Mera (Amber Heard), convinces him to take over the mantle of King of Atlantis.
- Willem Dafoe and Nicole Kidman also star.
- Yahya Abdul-Mateen II will play the movie's villain Black Manta.
- "Aquaman" will be in theaters December 21. Watch the trailer below.
- Steven Soderbergh says he's "too frustrated by the way that system works" to ever make a studio movie again.
- The Oscar winner believe his next movie, about the Panama Papers, will probably end up at Netflix.
- Sony's "The Equalizer 2" won the weekend box office with $35.8 million.
- That's a bigger opening than its 2014 original ($34.1 million).
- Universal's "Mamma Mia! Here We Go Again" also had a strong opening weekend with $34.3 million.
Tom Holland may have revealed some Avengers 4 spoilers already.
Marvel Studios is being especially tight-lipped when it comes to the true follow-up to Avengers: Infinity War. They aren't even announcing the film's title until the end of the year (likely when marketing begins), leaving many to try and connect the dots to figure out what comes next. Other Marvel Cinematic Universe movies, like Ant-Man and The Wasp, may provide further clues, but those involved already know much more.
Everyone who worked on Avengers 4 is now in the odd position where filming is done outside of reshoots, which will take place soon. Once those are wrapped, there will still be roughly nine months before Avengers 4 hits theaters - and a major gap between MCU installments overall. As people try to piece together the sequel, an old comment from the actor behind Spider-Man is now being brought into focus.
In the interview with Access posted by Emergency Awesome, Holland is being interviewed alongside Benedict Cumberbatch. They are asked about the difficulty in delivering their lines, which is where Holland maybe slips up.
Holland interjects by saying, "He has the most difficult lines though. He has to talk about so much Quantum Realm stuff. I just have to talk about, ‘Yeah, man, that’s awesome!’ So mine is easy but his is so difficult!"
What makes that quote stand out is the fact that the Quantum Realm was barely discussed in Infinity War.
The Quantum Realm has long been at the core of several Avengers 4 theories and this just continues to add to the evidence. Ant-Man and The Wasp's post-credits aren't subtle in introducing potentially major concepts, such as how time travel could work. With Captain Marvel also expected to deal with the realm in some way, the connections keep on building. Now that Holland's quotes are being reframed after fans have seen the two most recent MCU films, all signs point to the Quantum Realm as the key.
The Quantum Realm has been described as a place beyond time and space, which could point to time travel or even alternate dimensions (or a combination) being used in Avengers 4.
What makes Holland's comments even more intriguing is that Strange is the one who may explain things, and not Ant-Man. It could also point to the fates of the heroes perhaps, as Strange could be with the other "dusted" characters and explain to them (and the audience) how the survivors can save them. So did Holland spoil Avengers 4? Not necessarily, but he's certainly backing up what many are already theorizing.
For more great stories, head to INSIDER's homepage.
Did pirates actually have parrots as pets or hooks for hands? Author of "The Republic of Pirates," Colin Woodard explains. Following is a transcript from the video.
Colin Woodard: I think the average person imagines a pirate with a hook for a hand, a great big floppy hat, a blue waistcoat, and maybe even a peg leg, with a parrot on his shoulder.
This particular gang of pirates, who were active at the very beginning of the 18th century for only 4-5 years. Blackbeard, Stede Bonnet, the women pirates Mary Read and Anne Bonny, were all part of this one gang. It’s this gang that all of the pop culture images and iconography related to pirates comes from.
One of the most common Oceanic sailing routes for English seamen was to go from England to the Caribbean because that was a major route of merchant shipping. And so they would come back to grey, dreary, England, and one of the things they would bring back with them was colorful birds from the tropics, especially parrots, who could be trained to sit on your shoulder but also to actually speak words. And you can imagine how boring it must have been on a pirate ship on your off hours, what are you going to do? The colorful and talkative parrots were treated as a form of entertainment and recreation.
All of these characteristics pirates had, because having a parrot as a pet, missing arms, eyes and hands, was very common among sailors in that time period. And almost all pirates had previously been sailors. Most pirates had been merchant or naval sailors prior to going into piracy. And the big piracy outbreak was prompted by the ending of a big colonial war, the Spanish succession.
So you had thousands of people without a means to sustain themselves with a special skill set. The pressures on sailors were enormous. So many of them mutinied and took over their vessels. These pirates from the golden age of piracy were folk heroes at the time they were still alive. They argued they weren’t thieves and brigands, they said they were engaged in essentially a social revolt against the ship owners and ship captains who made their lives miserable. They were Robin Hood figures, robbing from the wicked rich to settle scores.
Many of them, in fact, had been in accidents because being a sailor, whether a pirate or not, was very dangerous. Rigging fell in storms, cargo and barrels shifted around, in battle you’d be hit by wooden splinters. So lots may have also had eye patches and hooks for arms because they’d lost their eyes and limbs in these various accidents, so pirates probably looked like some crazy fiend from the early Mad Max movies. A bunch of people bizarrely dressed like a post-apocalyptic image.
And that was precisely the idea, especially Blackbeard’s, was to cultivate an image of terror, so somebody would be so scared of them they’d surrender without a fight. In fact, of all the accounts of all of Blackbeard’s raids and captures of ships, he threatened a lot of people but he never actually killed anybody prior to his final, fatal battle with the Royal Navy.
Quentin Tarantino announced earlier this year that Brad Pitt and Leonardo DiCaprio would be starring in his upcoming ninth film, "Once Upon a Time in Hollywood," which partly involves the Manson Family murders.
In April, Tarantino and DiCaprio teased a few details about the film at the Las Vegas industry event CinemaCon, and Margot Robbie confirmed to IndieWire that she was playing the role of actor Sharon Tate in the film.
Since then, a strong supporting cast has steadily filled in. A source close to the production told IndieWire last month that Damian Lewis, Dakota Fanning, and Emile Hirsch will appear in the film. Deadline also reported that Al Pacino has also joined the cast.
Pitt worked with Tarantino on 2009's "Inglorious Basterds," and DiCaprio appeared in 2013's "Django Unchained." Longtime Tarantino collaborators Tim Roth and Michael Madsen are also appearing in the film.
This week, Sony Pictures moved up the release date for "Once Upon a Time in Hollywood" by two weeks — from August 9, 2019, the 50th anniversary of the Manson Family murders, to July 26, 2019.
Here's everything we know about Tarantino's upcoming ninth film:
The film takes place in "Los Angeles in 1969, at the height of hippy Hollywood."
Tarantino described "Once Upon a Time in Hollywood" in a statement in February, calling it, "a story that takes place in Los Angeles in 1969, at the height of hippy Hollywood. The two lead characters are Rick Dalton (Leonardo DiCaprio), former star of a Western TV series, and his longtime stunt double Cliff Booth (Brad Pitt). Both are struggling to make it in a Hollywood they don't recognize anymore. But Rick has a very famous next-door neighbor ... Sharon Tate."
While Tarantino's February statement mentions Sharon Tate as a player in the movie, Tarantino previously said that the film would not center on Manson but on the year 1969.
At CinemaCon in April, Tarantino did not add much to the description of the plot, calling the project "very hush-hush and top secret."
It has been five years in the making.
Tarantino said in April that he had been working on the script for the film for half a decade.
"I've been working on this script for five years, as well as living in Los Angeles County most of my life, including in 1969, when I was 7 years old," he said. "I'm very excited to tell this story of an LA and a Hollywood that don't exist anymore. And I couldn't be happier about the dynamic teaming of DiCaprio and Pitt as Rick and Cliff."
It's a "'Pulp Fiction'-esque movie."
Deadline reported in January that DiCaprio would play an "aging actor" in a "'Pulp Fiction'-esque movie.""Pulp Fiction," Tarantino's 1994 classic, told a collection of interconnected stories.
At CinemaCon in April, Tarantino confirmed this sentiment by saying that "Once Upon A Time In Hollywood" is "probably the closest to 'Pulp Fiction' that I have done."
See the rest of the story at Business Insider
Netflix just dropped the first trailer for its new "dark, twisted revenge comedy" called "Insatiable," starring Debby Ryan in the lead role of Patty. Within hours of the first footage's release, people are already calling on Netflix to stop promoting the "toxic" and "fat-shaming" series.
In the trailer's opening shots, Ryan can be seen in a fat suit as she talks in voice over about the woes of being the "Fatty Patty" at high school. Then it's revealed that Patty has her jaw wired shut in order to lose weight and plans on exacting revenge upon those who bullied her in the past.
"Having my jaw wired shut lost me more than just my summer vacation," Patty says in the trailer. "Now, I could be the former fatty who turned into a brain. Or an athlete. Or a princess. No — I'd rather have revenge."
Many people are getting vocal about the problematic nature of the plotline and the way Ryan dons a fat suit for the role. Several of the responses to Netflix's tweet of the trailer started the conversation.
This is trash. Netflix I expected a company that’s prided itself on changing the faces in entertainment and inclusivity to be better to fat people. This story like is uncreative and fatphobic. It’s also incredibly insulting to attempt to tell an story of a fat women with a thin— Savannah✨ (@GirlcraftWorld) July 19, 2018
So this is a story about a girl who used to be fat and now she isn't, she can finally have revenge? I don't know. Maybe a story where she loves her fatness would have been better. Rather than her literally having her jaw wired shut so that she cannot eat to lose weight.— MD (@manika0098) July 19, 2018
you have a chance to make creative, engaging, original content from fat people about fat people's lives and you choose to ... put a skinny person in a fat suit and make jokes about how sad her life is and about what a crazy bitch she turns into. That's so lazy and pathetic.— Angie Manfredi (@misskubelik) July 19, 2018
Kristin Chirico, a senior producer at BuzzFeed, tweeted about the trailer's harmful messaging.
This is about a fat girl who is treated like shit and then loses weight and gets revenge on people because she's thin now. It stars a thin actress wearing a fat suit. Please note that you do not have to become "hot now" to live your best life. Thank you for coming to my TED talk. https://t.co/zRRWBXs0I6— Kristin Chirico (@lolacoaster) July 19, 2018
FYI it doesnt matter what the message of the show ultimately is...putting a thin actor in a fat suit is inherently awful &promotes toxic diet culture that leads youth to mental illness, depression, aND EATING DISORDERS. You are mocking fat bodies. These are the outcomes.— Comfy Fat (@comfyfat) July 19, 2018
For another thing, this is exactly what we're saying when we say that society (and Hollywood in particular) fat shames. We're supposed to believe that this girl is uninteresting and unlikable because she's fat, and because she's unlikeable, she eats more and gets more fat— Kate Lopez (@TheMusician94) July 19, 2018
Others went the sarcastic route. Style blogger Chloe Elliot was particularly emphatic about the show being targeted towards a younger audience.
A girl in a fat suit who then breaks her jaw?!? And loses weight to then become popular, desirable, respected - this is marketed at TEENAGERS.— Chloe Elliott (@ChloeInCurve) July 19, 2018
Many are saying "Insatiable" bolsters stereotypes about fat people and the harmful link between media's portrayal of "thin" equating with desirability. It also relies on the trope seen across movies and TV of characters losing weight in order to become "popular" or "attractive."
can we end the girl loses weight and becomes beautiful trope its fucking tiring https://t.co/2peLw6FEor— robbie (@sapphicouture) July 19, 2018
Yay! Another fatsuit. I don’t wanna hear another thing about fat people being lazy in 2018. Focus on your LAZY writing and boring tropes. https://t.co/tjNrP2590f— Meghan Tonjes (@meghantonjes) July 19, 2018
I am done with films looking down at fat people & telling them to change themselves in order to be considered beautiful. This same old narrative is getting boring & annoying. Netflix really spends money on garbage like this when there are quality shows getting cancelled. https://t.co/wzyeSX6T7I— s✨ (@banglagyal) July 19, 2018
PSA to @reedhastings, et al: If you do not cancel @insatiable_ and cease promotion of it immediately, you will inspire thousands of young people to adopt eating disorders. Please do the right thing and fix your mistake.— AllGo (@canweallgo) July 19, 2018
Netflix didn't immediately respond to INSIDER's request for comment.
The first season of "Insatiable," with 12 total episodes, is slated to premiere on Netflix on August 10. Watch the first full trailer below.
For more great stories, head to INSIDER's homepage.
NOW WATCH: Here's why the US Men's team sucks at soccer
With the news on Thursday that Comcast is stepping aside in trying to buy assets from 21st Century Fox, including its movie studio, it now seems to be smooth sailing for Disney to move forward and take the pieces off Fox's hands.
Back in December, after months of speculation, Disney announced that it had agreed to acquire the Fox studio and a large portion of its television production for $52.4 billion. Recently, Comcast swooped in with its own offer for the Fox assets (excluding Fox News and Fox Business channels). This led to Disney raising its offer to $71.3 billion. Comcast has now cut bait to put its focus on buying the European broadcast company, Sky.
With Fox under the Disney umbrella, the studio Walt Disney created goes from being the most envious in the movie industry to now becoming an unimaginable Goliath. Not only does it beef up Disney's Marvel Studios with the addition of the likes of the X-Men and Deadpool characters, which are currently Fox's big moneymakers, but it also brings countless options of content for Disney's upcoming streaming service with its pick of everything from family-friendly fare like "The Greatest Showman," to prestige dramas from the Fox Searchlight library, which released last year's best picture Oscar winner, "The Shape of Water."
If you combined the 2018 box office market share for both Disney and Fox, it's close to 50%.
It's another win for Disney CEO Bob Iger, and it will add to a legacy that is becoming one of the most successful Hollywood has ever seen.
"In terms of the history of the Walt Disney Company, there's no question that Bob Iger has really done more for that company than perhaps any other individual — even more than Walt Disney," Tom Nunan, UCLA School of Theater, Film, and Television lecturer and former network television/movie studio head, told Business Insider. "If you think about the number of characters and franchises that Iger has brought under the same umbrella. Disney himself built it on the shoulders of a little mouse, and that's spectacular. But it's nothing compared to the acquisition of Pixar, Lucasfilm, Marvel, and now the acquisition of Fox. There's just been no comparable experience in the history of Hollywood in terms of a series of success under one individual. It's a tremendous story."
But for a business that's lived on being reactionary, the merging of Disney and Fox has set the stage for an overhaul of Hollywood, in an even more visible way than has already been happening under the surface.
The "big six"— Disney, Fox, Sony, Paramount, Warner Bros., and Universal — have never been shy about making major deals with huge conglomerates. Universal is under the Comcast umbrella. Just recently, AT&T bought Time Warner for $85 billion, giving the large wireless carrier the Warner Bros. studio as well as all the binge-worthy content on HBO. But the studios have never swallowed each other until now. And don't be surprised if you see more deals like the Disney/Fox one in the future.
"There's no doubt that the big acquisition targets seem to be Paramount, Sony, and Lionsgate," Nunan said. "All three of those companies for a variety of different reasons are clear acquisition targets in this market. But in a world of Google, Amazon, and Apple any of these 20th Century-created entertainment giants could possibly get picked off by 21st Century technology wizards."
And that's the reality of today's Hollywood. The magic is no longer created on movie studio lots. It hasn't been for some time. The Disney/Fox deal proves that most of the business is spread out to many other entities, leaving the "big six" as dinosaurs only good at doing one thing.
"They really are just blockbuster movie companies and that's a very small list of people who actually know how to make and produce those movies," Nunan said, noting the emergence of Netflix, Amazon, and Hulu as major employers in Hollywood. And then there's Lionsgate, Annapurna Pictures (which recently took the domestic franchise rights of James Bond from Sony), and STX Entertainment.
"That's become a smaller part of the overall employment in Hollywood," he said of the big studios. "I don't think we should get our violins out too soon to grieve the loss of that. It's really such a tiny part of the overall food chain that exists in the entertainment industry."
But for moviegoers, Disney bringing in Fox leads to more content than many could have imagined.
It "will essentially combine under one umbrella a very powerful slate of content that will be almost second to none in terms of its creative scope and potential combined revenue market share," Paul Dergarabedian, a senior media analyst at comScore, told Business Insider. "The key Fox brands — including of course the all-important 'X-Men,' 'Deadpool,' and 'Fantastic Four' franchises — will be brought into the Disney/Marvel fold and the creative and synergistic possibilities are exciting and truly mind boggling."
Antoine Fuqua has pulled off something no other director working with Denzel Washington has done before: getting him to do a sequel.
“The Equalizer 2” (in theaters Friday) marks not just the first-ever sequel done by Fuqua, but also Washington. The two have worked on numerous projects, from “The Magnificent Seven” reboot to Washington’s Oscar-winning performance in “Training Day.” But it’s Sony’s unlikely hit thriller about a man (Washington) with a mysterious past who disrupts his quiet life to rescue a girl that the two felt was fertile ground to continue with a sequel.
Business Insider sat down with Fuqua in April during CinemaCon (in a backstage room with the film’s producer Jason Blumenthal), to talk about the movie, Trump, and if he’s going to direct the much-rumored “Scarface” remake.
Jason Guerrasio: This is the first time you and Denzel have ever done a sequel. What did Sony have to do to talk you guys into doing another?
Fuqua: It was a conversation that we had toward the end of making “Equalizer 1.” We had a lot of fun together just making the movie. All of us: me, Denzel, the producers. And we were talking about it and it's hard to talk about that stuff with Denzel because he just wants to make this one good. The one we're doing. But we were all kind of like, "Hey, if this works let's do it again." It came out and did well, the audience enjoyed it, and the guys went off to write another. And it wasn't that long, three months after the release.
Guerrasio: Wow, three months after it opened?
Fuqua: Yeah. They gave me the script and I read it and it was better than the first script and much more emotional and deeper. And it hit all the things that I think a lot of people wanted to see. When I would be in an airport people would ask, "Are we going to find out more about this or that?" And the script did those things. And when I read it, Denzel read it as well, and he called me and he said, "This is good!" And I was like yeah, and he said, "Let's do it again!" So that's how it worked.
Guerrasio: I would imagine this was not the first time a sequel to a movie you've done has been floated by you. What sequel pitches have you gotten in the past?
Fuqua:“Olympus Has Fallen,” they wanted me to do that, there were rumors about “Training Day"—
Guerrasio: How can you do “Training Day” again?
Fuqua: I think like a prequel. Yeah, it's been a few times. It’s just not exciting to me to do that really because you have already been down that road and it's rare to get someone like Denzel so you have got to make it right. The script has to be very different from the first one, and it has to be a character he wants to play again, but have enough differences that he feels like he's doing something else. He's an actor's actor, so for him, he's not doing the exact same thing. I can't even get the exact same take. So you think he's going to do a movie twice? [Laughs.]
Guerrasio: I’m thinking about your filmography now, you could probably do another “Magnificent Seven.”
Fuqua: Yeah. I would love to do another one. That's not up to me but I would love to do one. With the right actors. Because that's tricky. You have to get all those guys’ schedules on the same page at the exact same time.
Guerrasio: And do audiences still want to see Westerns?
Fuqua: It's tricky. You never know. The audience sometimes will surprise you. It's timing. You think you know and then the next Western comes out and makes a billion dollars.
Guerrasio: The only thing that will make me disappointed is Vincent D’Onofrio will not be in it. Because he was so entertaining in that movie.
Fuqua: We do it as a prequel. You see what happens? You got the opportunity to do a movie with a great actors and then you kill them off, how do you do another one? [Laughs.]
Guerrasio: I don't want you to give anything away about “Equalizer 2,” but in the trailer there's a shot of Denzel telling a guy to do the Vulcan salute from “Star Trek” and then breaking his fingers when the guy shows him the salute.
Fuqua: That's all Denzel.
Guerrasio: He came up with that?
Fuqua: He did that. That's the fun of it. He's not going to say the exact same line every time the exact same way. Someone on that level, you have to have some fun with it.
Guerrasio: Almost all of your movies deal with gun violence. It's a topic that's big again in society because of the Parkland school shooting. But when you hear President Trump say that school shootings are due to the violence kids see in movies, how do you react to that?
Fuqua: I’m not into politics, I'm a father. I'll say that first. I grew up watching movies — Westerns, war movies, gangster movies, comedies. But are movies the reason people are shooting and killing each other? I don't think so. I would hate to think that's true in any way. We've been making movies since, what —
Guerrasio: Over 100 years.
Fuqua: It seems it's something that's been happening more and more recently, so it's hard to blame something like that on movies. When the president says something like that it's sad because I don't think you should put the blame on one thing. It's all of our problem, not just movies.
Guerrasio: What you see in society, does that affect what stories you want to tell going forward?
Fuqua: It does. That's why I wanted to do “Equalizer.” Because “Equalizer” is about justice. You talk about gun violence, yeah, of course, I'm tired of seeing young black men get shot down in the street like animals. I'm tired of seeing anybody get shot down in the street. Especially innocent people. So you can make a movie with a positive use as well. If you put it in the hands of the right people: Air Force, military, Navy, Navy Seals, Marines, and I'm friends with a lot of these guys and I'm friends with a lot of cops, too. Thank God they are there when you need them, strapped. What I'll say is when you make a movie you have to have a reason you want to make it. I wanted to make “Equalizer” because it's about justice and I think that's the thing we all want. When you see young people die it's heartbreaking, but as a director you can only do a movie to say something. You could get involved with politics if you want to, but I'm not a politician.
Guerrasio: I want your take on the inclusion rider that's been a buzz term since Frances McDormand brought it up at the Oscars. As one of the few African-American directors working regularly in Hollywood currently, do you use that? Do you want to use it more?
Fuqua: I don't know.
Jason Blumenthal: It hasn't been an issue with Antoine, to be honest. We know he wants a very diverse and eclectic group of people around him as a filmmaker. He thrives on that. So we run these colorblind sets. And just so you know, the inclusion rider wasn't even a thing when we shot this movie. Denzel has also been big on that with us, too. He's always wanted us to give people a shot. He's never said, "Give the black guy a shot."
Fuqua: Denzel says, "Give the woman a shot."
Blumenthal: It comes from the top down, so if we weren't running an inclusive set and Antoine and Denzel said we better do that it's going to happen because it needs to happen. But it's been happening with our movies for the last five to six years.
Fuqua: We just do it. There's not really a conversation. We do what's right and who's the best person for the job. And we help bring people up along the ranks as well.
Guerrasio: So I know you're working on a Muhammad Ali documentary.
Guerrasio: After that, are you taking on the “Scarface” reboot?
Fuqua: I don't know. We are still finishing up “Equalizer 2.” Editing a little bit, shaping here and there. Not a lot. The music and all the final stuff we have to do. We did a test last week and it scored through the roof. Scored a little higher than the first one. So “Scarface, “I don't know, man. When I get the script.
Guerrasio: That's such a classic film that if it's going to be attempted I assume, if you were to take it on, you would do it completely different than Brian De Palma's.
Fuqua: Very different.
Guerrasio: Like how De Palma's is completely different from the 1932 original movie.
Fuqua: Exactly. You have to. And you have to find the reason to make it, any movie. I have to find my reason to make the movie. So “Scarface” is one of those movies that I've been talking to the writer and different people about it and I know a lot about that world, it's just making sure when I get the script it's the right reason to make “Scarface.” In today's society everyone feels injustice like Tony Montana. Everyone feels like they are the small guy.
Guerrasio: And hustling to make a better life.
Fuqua: The hustle. So the feeling of that is in the air and coming back to “Equalizer” that's what's important about doing that. It's about justice. When I did “Training Day” it was about street justice. So it always comes back to justice, so I have to figure out what “Scarface” is about for me.
Guerrasio: You're doing “Scarface.”
"Guardians of the Galaxy" franchise writer-director James Gunn has been fired by Disney from the third movie following old offensive tweets of his resurfacing this week.
"The offensive attitudes and statements discovered on James’ Twitter feed are indefensible and inconsistent with our studio’s values, and we have severed our business relationship with him," Walt Disney Studios chairman Alan Horn said in a statement given to Business Insider.
Gunn was writing the script to the third "Guardians" movie, which was to begin shooting in the fall with a 2020 release date.
Gunn's offensive tweets, which he wrote in 2010 and 2011, were brought back to light by conservative personalities who were opposed to Gunn's tweets against President Trump and the Republican Party. In one tweet he wrote: "The Expendables was so manly I f---ed the s--- out of the little p---- boy next to me! The boys ARE back in town!"
On Thursday night, Gunn addressed the controversy in a series of tweets, saying, "As I've developed as a person, so has my work and my humor."
He said in another tweet: "In the past, I have apologized for humor of mine that hurt people. I truly felt sorry and meant every word of my apologies."
The "Guardians of the Galaxy" franchise has been one of the most successful for Disney/Marvel. The recent release of "Guardians of the Galaxy Vol. 2" was the fifth highest-grossing domestic release of 2017 and earned over $860 million worldwide.
Business Insider contacted Gunn's representative for comment but did not get an immediate response.
Have you ever noticed ugly gray bars surrounding a movie screen? How about a dark or blurry picture? It turns out movie theaters aren't doing enough to ensure that their audience is seeing a movie the way it is meant to be seen. Many theaters have little quality control over things like screen masking and projector brightness, and it has begun to hurt the moviegoing experience. We talked with two projection experts to help us understand what is going on inside the booth. Following is a transcript of the video.
Narrator: Which looks better? This, or that? Well, what if I told you that you may have been paying a premium to see the worst version.
You know those black bars you sometimes see on the top, bottom or sides of a movie? They occur because movies are filmed at different frame sizes, or aspect ratios. "Lady Bird", shot in widescreen should appear differently than "Star Wars", which was shot in Cinemascope. A Cinemascope movie on your TV will have black bars on the top and bottom, while a movie theater masks the frame with retractable curtains. These curtains at Night Hawk Cinema in Brooklyn absorb the light and create a frame around the projected image. But take away the curtains and...
Chapin Cutler: When you don't have masking what happens is you've got this gray area of screen which isn't reflecting picture, it's not reflecting the image. It just sort-of sits there and looks ugly. There is a move afoot by some theater circuits, I guess in order to save money, that have decided that, that's a waste of money and they're not gonna do it.
Narrator: That's Chapin Cutler. He's been working in the projection and theater business for over 40 years. The empty screen space can be distracting and takes away from the immersive experience of seeing a movie on the big screen.
Another problem? Projector brightness, which can be affected by the age and cleanliness of the bulb, along with any dirt or smudges that may be on the window of the projection booth. Some "Solo" attendees reported seeing extremely dark almost unviewable projections with a few saying that they had to struggle to see what was on screen.
Chapin Cutler: If the standard that's been established for the amount of light that is supposed to be on the screen isn't there, then not only does the picture look dark but you don't see anything that goes on in the shadows. All of that information disappears.
Narrator: And if there was a 3D showing in the theater before a standard 2D showing a lens meant only for 3D movies may still be on the projector making the image two thirds darker than it should be.
Joe Muto: Showing something like that with a very low light level is gonna take away from it. If that's the experience you walk away with that's going to impede your positive judgment of the film, and that's just gonna ruin it for you.
Narrator: Hurting both the team behind the movie and its viewers, and possibly creating customers who may not come back to that theater for a sub-par experience.
The issues aren't limited to "Solo." The past few years have seen numerous reports of theaters not doing enough to ensure quality screenings. Standard 2D movie tickets average about $9.00 in the U.S. And almost twice that in places like New York City. But is the price of admission worth seeing a movie that is not being shown the way it is meant to? You can get a full 4K movie for 15 bucks. Why bother with what may be a questionable theater presentation if you can get cinema-like quality at home?
The picture may be bigger, and the sound may be better but if you're having a bad theater experience, take note. If a theater has a dark blurry picture or leaves empty areas of the screen unmasked try a different theater. Many are still working hard to bring you the best picture possible.
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Steven Soderbergh has spent his career distancing himself from the movie studio system unless there was no other option, and in today's landscape of the majors only wanting to release huge franchise blockbusters, don't expect the Oscar-winning director to have meetings on the lots anytime soon.
Soderbergh recently had a lengthy interview with Filmmaker Magazine to promote the Criterion Collection Blu-ray release of his feature debut "sex, lies, and videotape," and when asked what the future held for him in regards to the kinds of movies he wants to make, he didn't hold back.
"It’s difficult for me to imagine a scenario in which I would literally make a movie for a studio," he said. "I’m too frustrated by the way that system works, both economically and creatively. That’s one of the reasons the Panama Papers project will probably end up at Netflix, because it’s right in that zone of movies that the studios are not interested in, mid-level budget movies for grown-ups."
The project Soderbergh is referring to is his supposed next directing effort, "The Laundromat," which will delve into the largest leak of corporate data in history back in 2015, revealing to the public many legal and illegal ways corporations and powerful people hide their money in offshore accounts.
Soderbergh said he was so convinced no studio would be interested that he didn't even set up meetings.
"We didn’t even take it out," he said. "We went to Netflix first and they seemed inclined to do it. And when we had a meeting, they said, 'So we’re assuming you’re going to want some kind of theatrical release or festivals?' And I said, 'I don’t care. I don’t care if it never shows in a theater and I don’t care if I ever go to a festival again. You do whatever you need to do to get eyeballs on this thing. If that’s the way you want to do it, that’s fine. I’m just telling you, I don’t care.' I have a creative process now that I’m happy with, both in terms of developing projects and then making them and then putting them out. I’m now driven solely by what stories attract me."
Distribution and creative control are two things Soderbergh has battled with his entire career. It's partly why he "retired" from filmmaking briefly and took on painting. But at the same time, he's never been precious about the theatrical experience.
From his 2005 low budget movie "Bubble," which made headlines for being one of the first movies to have a simultaneous release in theaters and cable (which has become the norm now with many indie movies); to his current Fingerprint Releasing company, in which the director oversaw the entire marketing and release of his last two movies "Logan Lucky" and "Unsane" (both released theatrically by Bleecker Street); Soderbergh loves to mess with the established way of doing things.
His comments here just show the latest way he's being a maverick to traditional Hollywood.
Sequels continue to work like gangbusters this summer.
In a surprise outcome, Sony's "The Equalizer 2" took in $35.8 million to win the weekend box office over "Mamma Mia! Here We Go Again."
The first-ever sequel that Denzel Washington and director Antoine Fuqua made in their careers, the movie surpassed the 2014 original's $34.1 million take. It was an impressive performance for a movie that had a 51% score on Rotten Tomatoes (the original had a 60% score).
But Fuqua did tell Business Insider that the sequel did better in test screenings than the original.
The performance by "Equalizer 2" also proves that sometimes star power can work. In a time when superheroes are more of a box office draw than superstars, Washington playing a vigilante seemed to be a draw.
Also performing better than expected was "Mamma Mia! Here We Go Again."
The sequel to the 2008 musical based on the hit Broadway show featuring the songs of ABBA took in an estimated $34.3 million.
That's better than the first "Mamma Mia" ($27.7 million), and turned out to be the perfect movie night for audiences who needed a break from the action-heavy offerings already out, like "Jurassic World: Fallen Kingdom" and "Ant-Man and the Wasp."
Though time will tell if Denzel's "Equalizer" can match up to the other tough guy movies coming up, Universal may have the rare title this summer that could have legs for weeks to come.
With the movie's big female following, the studio foresees "Here We Go Again" being a big girls night out option with guys' movies like "Mission: Impossible - Fallout,""The Meg," and "Mile 22" opening soon.
But both of these movies doing better than expected is just the latest pleasant surprise this year's summer movie season has given Hollywood.