the blockbusters

like sorry how fucking depraved do you have to be to look at a young person who is literally laying down his life to defeat ISIS and free syria and openly cop his personal life story for blockbuster movie fodder without so much as asking his permission first

THE POWER RANGERS MOVIE WAS WEIRD AND CHEESY BUT IT HAD SOME OF THE BEST AUTISTIC REPRESENTATION I HAVE EVER SEEN IN ANY MEDIA ANYWHERE IN MY LIFE AND I AM REALLY HAPPY RIGHT NOW ABOUT THIS

BILLY CRANSTON IS SO IMPORTANT AND HE MEANS SO MUCH TO ME AND I AM SO HAPPY HE EXISTS

HE IS AUTISTIC AND HE IS A HERO AND HE IS THE HEART AND SOUL OF THE ENTIRE FILM

AND HE STIMS LIKE ME AND HE TALKED THE WAY I TALK SOMETIMES AND HE FELT SO REAL AND SO IMPORTANT

I HONESTLY BARELY EVEN DREAMED OF GETTING THIS

*GOOD*

AUTISTIC
REPRESENTATION
IN
A
MAJOR
GENRE
BLOCKBUSTER
MOVIE

comicbook.com
Legion Finale May Feature A Mid-Credits Scene

Legion Finale May Feature A Mid-Credits Scene

Whether it’s a TV show or a feature film, a superhero story is a superhero story. The genre has been around for decades, but contemporary audiences expect comic book adaptations to do a couple of things. Each story needs some heart-stopping action and a tidy origin story if room. As for style, a costume is always appreciated and using superpowers is always a bonus. Plenty of superhero films have brought these traits to theaters, and a slew of shows have as well.

However, Legion is not one of them. The new FX series is set within the X-Men realm, but the show does not glorify blockbuster action; Instead, it favors a more psychedelic take on mutants. Fans and critics have praised the show for its new take on an often-seen genre, but there is one thing Legion may be taking from its predecessors.

That’s right; You definitely don’t want to turn offLegion right after it finishes. According to one critic, it looks like the series may have a mid-credits scene that will have viewers wanting more.

Over on Twitter, Alan Sepinwall told his followers they should stay tuned to all of Legion. “Word to the wise: next week’s Legion season finale has a mid-credits scene. Get all your Nick Fury, shawarma, and Venom jokes out now,” he wrote.

Fox has yet to comment on the report, and it doesn’t look like the studio will. If the clip does come out, they will no doubt want it to be a surprise. Fans should just resign themselves to stick through the credits just in case becauseLegion looks like it has something up its sleeves.

Right now, many fans are speculating the post-credits scene could be tied to the show’s second season. FX confirmed it has green-lit the show for another go since fans have rallied behind the unusual series.

“The first season ofLegion was a stunning achievement,” Eric Schrier in a press release. “More than a new series, Legion is a wholly original take on the superhero genre. Our thanks to Noah Hawley for taking the creative risks and shattering expectations. It’s a privilege to work again with Noah, his producing partners, the outstanding cast and our partners at Marvel Television on another season of Legion.”

You can check out the summary for “Chapter 8” here: “David faces his biggest challenge yet.” The episode is written by Noah Hawley; directed by Michael Uppendahl.

A haunted man, David escapes from the hospital and seeks shelter with his sister Amy (Katie Aselton). But Amy’s concern for her brother is trumped by her desire to protect the picture-perfect suburban life she’s built for herself. Eventually, Syd guides David to Melanie Bird (Jean Smart), a nurturing but demanding therapist with a sharp mind and unconventional methods. She and her team of specialists – Ptonomy (Jeremie Harris), Kerry (Amber Midthunder) and Cary (Bill Irwin) – open David’s eyes to an extraordinary new world of possibilities.

Hawley serves as Executive Producer, along with Lauren Shuler Donner, Bryan Singer, Simon Kinberg, Jeph Loeb, Jim Chory and John Cameron. Legion is the latest project from Hawley and Cameron, two of the executive producers of the Emmy® and Golden Globe®-winning FX limited series Fargo.

Legion’s first season has a ComicBook.com Composite Score of 81.77 and a ComicBook User Score of 4.09 out of 5.

'Rogue One': Riz Ahmed Says He Was Originally Supposed to Play a Totally Different Character
Riz Ahmed (Bodhi Rook) behind the scenes on set during ‘Rogue One’ production (Photo: Footage Frame..© 2016 Lucasfilm Ltd. All Rights Reserved)

Rogue One: A Star Wars Story was 2016’s highest-grossing film, and the rare case of a blockbuster that won’t be receiving a sequel, given that it functions as a direct lead-in to Star Wars: Episode IV — A New Hope. That means we likely won’t see any more of the characters from Gareth Edwards’ prequel — and in a new in-depth piece at EW.com timed to today’s digital HD release of the film, actor Riz Ahmed lets it be known that we almost didn’t see his Bodhi Rook in the first place.

In his interview with EW, Ahmed reveals that when he originally signed on to Rogue One, he was set to play a totally different intergalactic figure included in the script’s early drafts:

“His name was Bokan, and he was actually Saw Gerrera’s engineer, living on a planet with a strong electromagnetic field, which meant that electronics were never working,” the actor told EW. “He was actually an Imperial engineer who had been kidnapped and kind of had Stockholm Syndrome. He had been living there for so long, he kind of lost it, like Dennis Hopper in Apocalypse Now.”

That’s a far cry from Bodhi Rook, the Jedha pilot who helped Felicity JonesJyn Erso locate her father. Nonetheless, Bokan would have been a key component of Rogue One, considering that his ability to detect the Death Star’s weakness would have made him a highly sought-after individual by both the Rebels and the Empire. Even after Bokan was changed to Bodhi, however, alterations to the character’s fate continued. [Spoiler alert!] The character’s death scene, for example, originally played out quite differently than when we saw in the released version, according to Ahmed:

“Actually, he died slightly differently before, in that whole sequence of him running around with the plug. There was actually this one shot that was about a minute long, and it was basically Bodhi ducking and diving from Stormtroopers to try and, like, get the plug to where he wanted it to go while Donnie and Jyn, when Chirrut and Baze were kind of flanking him…Every time he’d get sprung by a Stormtrooper, Donnie would come out and Bang! then they would go down, and then Bodhi would have to crawl and jump over somebody, just to be caught again. Then Chirrut would pop up. It was almost, kind of an extended slapstick comedy sequence…When he was running into the ship, he was shot and badly injured. He has to crawl his way back onto the ship, and it was quite extended.”

To read lots more about the transformation of Bokan into Bodhi, the background details about Bodhi that didn’t make it into the film, and why the filmmakers thought Ahmed was so perfect for the prequel, head over to EW.com. Rogue One: A Star Wars Story debuts on digital HD today, and on Blu-ray on April 4.

May the ‘Star Wars’ Toys Be With You: ‘Rogue One’ Cast Critiques Their Action Figures:


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How the Fantastic Beasts were brought to life: An interview with visual effects supervisor Pablo Grillo

The lingering perception of visual effects supervisors among mainstream movie-goers is that their entire day job consists of nerdily beavering away at computers in tucked-away studios, well out of the way of the real action of a blockbuster set.

These days, that couldn’t be further from the truth, and Pablo Grillo - one of Framestore’s lead animators who worked his magic on Paddington, The Golden Compass and four of the Harry Potter films - is the perfect example of someone who has a guiding hand in the filmmaking process from conception to completion.

Today he’s talking about his Bafta-nominated work on JK Rowling’s newest baby - Fantastic Beasts and Where to Find Them. One of the most obviously praise-worthy elements of the box-office smash was the beasts themselves: funny, full of personality and visually stunning, they indisputably stole the show, as the film’s title suggested they might. The naughty Niffler and doleful Demiguise in particular transformed this from a run-of-the-mill dip in the wizarding world into something far more memorable.

Grillo was in place from day one of production and played a central role in shaping each of the creatures individually. “We were given a lot of creative freedom from the beginning, there was almost an alarming level of trust in us and the team,” he chuckles. “It was an open brief, essentially. David [Yates, the director] saw the value in bringing the animation team in from the start, to shape how these creatures were going to come together.

“We were put in charge of overseeing how the animals were going to grow into real characters, and not just the flat images we drew them as. We went through months of creating situations and funny moments with David and the producers, before chiselling it down to the batch that made it into the final film.

“From there we could start to formulate behaviour, or visual gags, and how we could build them into the big set pieces - little quirks actually informed the final script. It was an incredibly fulfilling process overall - mainly because of the challenges open to us.”

And there were countless such challenges, Grillo explains. The process of developing “intimacy” with the creatures, as he put it, was a long and difficult one - finding layers of detail in things that could be seen as fairly throwaway in the script, and creating a believable bond with Eddie Redmayne’s Newt. “Quite quickly we’d get an impression of whether they would work anatomically, but it took longer to being feel their places as performers in the film, and whether audiences would engage with them.”

Grillo is currently putting the finishing touches to Paddington 2, which recently wrapped filming and is due out at the end of the year - “It has a similar tone to the first but with a bit more adventure, which is great for us,” he grins, but refuses to give away any more hints. “I’ve become something of a creature specialist over the past few years, and that suits me just fine.” He says that although the tools and technologies available to Framestore have changed hugely over the years, their basic approach to films is more or less the same as it ever was.

“We utilise the same classic principles of movement that have been around for decades, so the basic elements haven’t changed that much,” he says. “With the Potter films, it felt like each year we were pioneering, pushing the edges: each step represented a huge feat for us. When the Hippogriff came together it was like ‘Wow, we’ve really done something here’. I think nowadays the way we construct creatures and build them, these are things that we now understand better and have done so for a while.”

The animator reveals that there is one innovation he is excited to see pushed further: the use of augmented reality on set. He hopes that in the not too distant future, a cameraman will be able to look down the lens and see a pre-animated character ready to roll. “Something that I think we need to be able to do better is making it less of an abstract process on set,” he says. “That would be one of the more pioneering things, to give filmmakers a better grasp of distancing while using animation and allow us to do away with using bags on sticks as placeholders.

“It will still require a lot of preparation and you wouldn’t want anything to detract from live element of shooting a movie, but anything that smooths out the whole process while retaining the dynamism of filmmaking would be valuable to us.”

Until that happens, Grillo is getting back to what he and the Framestore team do best: dreaming up new ways to bring smart creatures to the big screen in a way that leaves their audiences gawping at the magic of movie-making. “The more we can form these creative partnerships with filmmakers and offer our expertise, the more stories we’re going to get to tell.”

Fantastic Beasts and Where to Find Them is out now on digital download and on 4K Ultra HD, Blu-ray and DVD 27 March.

And on the pedestal these words appear:
“My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!”
Nothing beside remains: round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away.

While in retrospect Raiders of the Lost Ark was a pretty good bet, it sounds insane that such a relatively high amount of money would be risked on a project invoking less studio excitement than Tyler Perry’s dramatic range. But along with Spielberg already having a reputation as a profitable director, this kind of risk-taking wasn’t a big deal back in the day. That same studio mindset threw $15 million at Brazil, a Terry Gilliam film about dystopian air ducts and baby-mask torture. Cut to 10 years after that, and this same guy would get $20 million to deliver Fear And Loathing In Las Vegas, a rambling two-hour anti-narrative about two garishly dressed men on all of the drugs in the universe.

And keep in mind, this wonderful decade clocked blockbusters at about $60-$70 million a pop. Meaning that these untested and super-niche premises were being made for the 2016 equivalent of the new Wonder Woman film. Time warp to 2014, and the same Fear And Loathing director is scraping together $8 million for his latest movie. And it’s not just Gilliam – both David Lynch and John Waters, legendary cult film directors, are also struggling to get their current films properly funded. And if these intensely revered crazies can’t cobble together a work of art, imagine what it’s like for new filmmakers. Thanks to the ease of digital cameras, the indie market is more saturated than a flooded sponge factory. There are currently 7,000 American film festivals accepting submissions – all for the best-case scenario of getting lost in the shuffle on Amazon or Netflix.

Because thanks to a combination of inflation and scarce home movie sales, studios simply can’t afford to make riskier mid-budget films. That means filmmakers have to either make a $100 million+ box office explosion or hope to Christ that their concept can be shot for hobo scraps and loose change. And if you think this won’t affect your love of superhero movies, remember that this is exactly why the marginally strange Deadpool had to beg for 10 fucking years for their “meager” $58 million budget.

5 Ways Modern Movie Directing Has Changed (For The Worse)

Taking on a role means committing to it. You have to maintain that same dedication that you had on the first, fresh, new day all the way through Day 80, when production has gone overtime and over budget, and Steven Spielberg is screaming “ACT, YOU SHIT. AAAAAAAACCCCCCCTTTTTT.” And then, if the film leaves room for a sequel and does well enough to warrant one, you might end up coming back. This cycle repeats itself, usually until the money goes away, which means that actors are not only forced to answer the question “What will this role do for my career?” but also “What will my cameo in an almost completely unrelated spinoff to this film do for my career 10 years from now?”

But that’s the nature of the beast, and to disregard it means to disregard a hundred years of cinema history. We’ve been sequel-crazy since we decided that Frankenstein needed a bride. These things have a tendency to make a metric ass load of money and then spiral out of control, meaning that, unless you’ve signed on for a certain number of movies like Evans did, it’s never going to be certain when exactly you’ll be finished. You could either learn that the movie flopped and that no one ever wants to see The Amazing Dogman again (until the inevitable dark, angry reboot). Or you could get a phone call the next day telling you to pack your bags and fly to Vancouver, because both BIRTH OF DOGMAN and DOGMAN VS CATBRO are being shot simultaneously.

But no matter what an actor is told or what they read in an initial script, they have to realize that the demands of a blockbuster (and especially a blockbuster with sequel potential) will overcome any sense of creative fulfillment that they might have. What started as ideal because of the dramatic range that it allows will inevitably turn into running from explosions… again.

4 Complaints From Actors We’re Sick Of Hearing