Tagged: Alex Kurtzman

Molly Jackson is Not Going to Write About It

Not Going to

I am not going to write about it. I know everyone thinks I will since I am a huge Trekkie, but I won’t do it. Despite my love for the franchise, I’m not gonna write about the new Star Trek series. Not happening at all.

I won’t acknowledge how confused and nervous I am about the potential premise of the show. All they said in the press release is that it isn’t affiliated with the new film. So, what timeline is in, the old fan favorite or the new Abrams one? What year will we be in, Kirk’s era, Picard’s, or a completely different one? And are we even talking about the Enterprise? All of these questions are valid. Still, I won’t acknowledge I am excited under all that nervousness.

And I won’t even admit how nervous I am about the guy at the helm. The same guy who brought us the multiple cringe-worthy, fan-hated Into Darkness. However, Alex Kurtzman has working on some shows I’ve enjoyed. He got his start working Xena and Hercules! Still, he proved in the movies that he just doesn’t get Star Trek. My nervous brain is wondering if he can bring back the true spirit and ideology of Star Trek or if it will just be another plotless, bad story lacking character development, action show on TV.

I’m not going to write about how the new pricing structure is kind of insulting. CBS All Access doesn’t really appeal to me. They want me to spend $72 dollars a year so I can watch two shows. That’s assuming I keep watching Supergirl (which I can get a season pass for on Amazon for $29.99). CBS needs to up their game and they need to do it fast. They rarely appeal to me and their overall image needs to change. Can’t they work a deal out with Warner so they can add some CW shows on there? And for all the arguments that Star Trek: TNG helped launch cable, I don’t really care. It’s mean to do this to fans who might not be able to afford it.

Mostly, I’m not going to let anyone know how pissed I am they announced this in the 49th anniversary year of ST but it doesn’t come out until the 51st anniversary year. Which means they will spend an entire year torturing fans with bits and pieces of details. They knew this damn 50th anniversary was coming; couldn’t they have planned it better?! I hate waiting for details!

I won’t talk about how wonderful it is that they are finally bringing Star Trek back to the medium in which it works best. While the movies are great, the stories really shined in the TV format. TV gave them the ability to single out and look at everyday social issues, from week to week. That is why Star Trek is known for tackling boundaries long before society. So, I can’t admit that I am so excited despite my reservations.

So yeah, I’m just not going to talk about any of this. I’m so glad I’m keeping quiet, I have a lot of uncertain feelings.

Watch “Star Trek Into Darkness” trailer now!

If you didn’t make it to a theater this weekend to see The Hobbit, you haven’t yet seen the full-length trailer for Star Trek Into Darkness, so let’s take a look now…

When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis. With a personal score to settle, Captain Kirk leads a manhunt to a war-zone world to capture a one man weapon of mass destruction. As our heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew.

Star Trek: Into Darkness brings back Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, Anton Yelchin, John Cho, and Bruce Greenwood, and adds Benedict Cumberbatch and Peter Weller to the cast. It’s written by Alex Kurtzman, Roberto Orci, and Damon Lindelof, and directed by J.J. Abrams. The film is scheduled to hit theaters May 17, 2013.

And here’s a quick pic from the film of Quinto, Cumberbatch, and Pine…

‘Human Target’ cancelled, ‘Wonder Woman’ and ‘Locke & Key’ not picked up for TV

This has not been a good week for comics on TV.

On Tuesday, Fox announced that it was canceling Human Target (starring Mark Valley, Chi McBride, and Jackie Earl Haley and based on the DC Comics character created by Len Wein, Carmine Infantino, and Dick Giordano) after two seasons, and also declined to pick up Locke & Key, the pilot from Roberto Orci and Alex Kurtzman (the minds behind Fringe and the Star Trek reboot) based on the IDW comic from Joe Hill.

Now word has come from Deadline Hollywood that NBC will not be picking up Wonder Woman, the series that would have been produced by David E. Kelley and starred Adrianne Palacki as the amazing Amazon.

Between these developments, and Smallville ending its decade long run tonight, we are suddenly going from a lot of comics adaptations in broadcast prime time to none at all for the first time since 1996– and that was when Sabrina the Teenage Witch first aired.

Right now, all eyes are on whether Disney’s fabled corporate synergy will mean sister companies Marvel and ABC will go ahead with a new version of Hulk with Guillermo del Toro and David Eick, and/or AKA Jessica Jones with Melissa Rosenberg– or whether they’ll be shunted to ABC Family or some such solution.

The Point Radio: Orci & Kurtzman Reboot HAWAII 5-O

The Point Radio: Orci & Kurtzman Reboot HAWAII 5-O

There’s probably nobody in Hollywood better at The Reboot than Roberto Orci and Alex Kurtzman. Tonight CBS unveils their revamped HAWAII 5-O and today we talk to them on how it was carefully re-crafting a classic. Plus (say it with us) BOWLING FOR BOOBIES. Really. Honest.

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Didn’t like ‘Transformers: Revenge Of The Fallen’? Blame the Writer’s Strike.

Didn’t like ‘Transformers: Revenge Of The Fallen’? Blame the Writer’s Strike.

First, let’s get the opening numbers for Transformers: Revenge Of The Fallen out of the way:

3-day weekend total is $112M and 5-day overall is $201.2M from 4,234 theaters. Those figures include a Sunday estimate of around $34+M mirroring that day’s -15% play on the first Transformers.
The breakdown is $40.6M for Saturday, $36.7M Friday, $28.6M Thursday,
and a record smashing $60.6M Wednesday. Included are 169 IMAX screens
which contributed a giant $14.4 million to the five day total.
Internationally, the robot sequel made $162M with a cume of $187M
including the early debuts in Japan and the UK. So that makes for $387M
worldwide, a nice haul for the 100%-owned Viacom title.

So it’s #2 off all time openings, behind The Dark Knight, in spite of brutal reviews. I mean, mind-crunchingly bad. The shortest is T:ROTFL. Some of the roughest comes from Topless Robot, who I think is taking this as an affront to robots everywhere.

But the question no one seems to be asking is: How could this movie be so disjointed, with plot holes you could fly a teleporting jet plane through? Weren’t there writers?

Actually, for a decent part of the movie’s production– no, there weren’t any writers. They were all on strike.

The Writer’s Guild of America, the union that represents all writers in Hollywood, went on strike on November 5, 2007, ending three months later on February 12, 2008. During those hundred days, writing on all movie and TV projects stopped cold, no matter where they were. Foreseeing the possibility of a strike, production companies accelerated production of films and television episodes in an effort to stockpile enough material to continue regular film releases and TV
schedules during the strike period. And one of the films in that rush period was Transformers.

With Transformers, the timing issue was even more critical. Delays for the project were deadly; a summer 2009 release date was already planned and was critical for generating the most income. The visual effects were another problem. You’ve probably already seen articles on how many years of computing time went into making this movie, and that they literally blew up servers rendering the film. Once again, very little time to spare.

So they had to go into production with what they had, and hope that they would be able to pull it all together later. Reanimate a robot here and there for new lines, and cover the rest with explosions and fast movement, and hope that the audience would be dazzled enough not to notice the problems.

And the final cost is now apparent.

UPDATE: Edward Douglas has the pull quotes from screenwriters Alex Kurtzman and Roberto Orci to match what I’d been hearing off the record:

Roberto Orci: We took the job with
Ehren Kruger two weeks before the strike so in that two weeks, we had
to generate a 20-page outline that we handed in, and then during the
strike, Michael and the amazing (producer) Ian Bryce tried to prep
everything they could off of that outline. Then from the day the strike
ended to the first day of shooting was three months, so we had to write
the script in those three months, handing in pages at the end of every
day so they could be prepped. It was crazy. We finished writing the
movie two weeks ago, literally.
Alex Kurtzman: Because you’re writing lines for the robots in
post. Not only did we rewrite on set but we spent the last six months
with Michael in post, cutting the movie and writing the lines for the
robots, just making jokes or making plot points more clear. Literally,
they had to just rip it out of our dead hands the other day. (chuckles)

This is not the way to make a coherent movie. Suddenly, I’m even more worried about what the G.I.Joe movie is going to be like.

DreamWorks To Do List Heavy on SF

DreamWorks To Do List Heavy on SF

DreamWorks outlined for The Hollywood Reporter which of the properties it retained after its divorce from Paramount are now on their “high-priority list”. Among them are a few genre properties including:

Cowboys and Aliens:
The adaptation of the Platinum Studios comic is still being written by  now executive producers Alex Kurtzman and Robert Orci. Ron Howard’s Imagine is producing with Robert Downey, Jr. still attached to star.

Real Steel: A futuristic boxing movie written by Les Bohem (Dante’s Peak).

Button Man: The John Wagner and Arthur Ransom graphic novel is being adapted by screenwriter Hillary Seitz (Eagle Eye).

Hereafter: A supernatural-themed original screenplay by Peter Morgan with Clint Eastwood said to be interested in directing the story.

Trek-ulation begins

Trek-ulation begins

Paramount has announced the next Star Trek movie (number XI, for those of you counting Roman-style) will premiere on Christmas Day 2008, no doubt delighting many Jewish Trekkers, as going to the movies on December 25 is almost as popular among Jews as going out for Chinese food.

Eleven is  being helmed by fan favorite director J.J. Abrams (Lost, Alias, etc.) and speculation has already started as to what actors will be chosen to play younger versions of James Kirk, Mr. Spock and so forth, since the screenplay from M:I 3 writers Alex Kurtzman and Roberto Orci is said to follow those familiar characters during their Starfleet Academy years and into their first space mission.  If Abrams & co. are smart, they’ll go with unknowns.  If they’re smarter they’ll hold and publicize open auditions.

Meanwhile, Saw IV director Darren Lynn Bousman is said to be remaking Scanners, scripted by another fan favorite and sometimes comic writer, David Goyer.  That should be coming out right around the same time.