Tagged: Hollywood

FORTIER TAKES ON ‘MICKEY SPILLANE ON SCREEN’!

  • News
  • June 27, 2012

ALL PULP REVIEWS by Ron Fortier
MICKEY SPILLANE ON SCREEN
By Max Allan Collins & James L. Traylor
McFarland & Company, Inc.
(800-253-2187)
210 pages
Scholarly treatises such as this volume, which examines the film and television adaptations of mystery writer, Mickey Spillane, run the risk of committing the most ironic literary sin of them all; producing a boring book about an entertaining subject. A large part of Spillane’s success, beside devising clever plots, was his gift of writing  stories that brought a great deal of joy to his readers. Perhaps no other popular writer of the 20th Century ever connected so powerfully with the American post World War II psyche as did Spillane, which in itself is no great puzzle.  Spillane was very much a product of his times, a veteran and every day working stiff who saw returning GI’s with true empathy. He was one of them.
By the late 1940s Spillane was writing about a tough guy private eye with an Old Testament philosophy.  Sickened by the horrors of a world war, Mike Hammer, had had a belly full of evil and injustice and wasn’t going to take it anymore.  His singular voice was one of righteous indignation unwilling to capitulate to the powerful elite eager to profit from a society weary of conflict.  These were the new carpetbaggers whose target of their greed were the innocent, decent people trying to build new lives. Without being asked, Hammer found himself the wolf at the door, protecting the sheep against all the other wolves.
By the time Hollywood came knocking, his books were world wide best sellers and Spillane’s legions of fans were anxious to see his rough and tumble tales brought to the silver screen. Sadly, the results of those adaptations weren’t always pleasurable either to Spillane or his devotees.  Some went on to achieve cult status while others drifted into TV late night obscurity barely remembered today. In this extensive and wonderfully presented study, Collins and Traylor set the records straight, giving each Spillane film and television series a thorough and insightful inspection.  Their unbiased criticisms of the good, the bad and the ugly are all well researched reports from cast bios to screen writers’ credits.
Some of the surprises contained detail the ideological differences between conservative Spillane and left-leaning producer Victor Saville and his partner director, Robert Aldrich. Both Saville and Aldrich clearly despised the character of Mike Hammer and attempted to paint him in a negative light via their version of “Kiss Me Deadly,” with actor Ralph Meeker as Hammer.  Yet, as explained in the book, it was this very antagonism that ironically resulted in perhaps the finest Mike Hammer movie of all time.  Go figure.
Another highlight is their look at “The Girl Hunters,” a British blank and white production in which Spillane took on the role of his most famous creation and played him to screen perfection; perhaps the only writer to ever do so in film history. 
This and other installments offer long forgotten vignettes from both Spillane’s associates and often relate Spillane’s own documented opinions of these adaptations, pro and con. We especially appreciated their closing the book with reprinting one of the last interviews Spillane gave to Collins, neatly summarizing his own personal and caustic observations on these various teleplays.
“Mickey Spillane On Screen,” is a thoughtful examination of one of the greatest mystery writers in American history and the celluloid treatment of his works.  It should have a place of honor in every film and mystery lovers’ library.

SEVENTH STAR PRESS ADDS TALENTED AUTHOR AND TEEN STEAM PUNK!

  • News
  • June 14, 2012

For Immediate Release

June 8, 2012

Seventh Star Press Announces New Young Adult Steampunk Series with the Addition of J.L. Mulvihill to its Author Family

Seventh Star Press proudly announces the addition of J.L. Mulvihill to its author family with Steel Roots, an exciting new young adult steampunk series set in an alternate history with a dash of folklore.  The first title, The Box Car Baby, is slated for release in the 2nd quarter of 2013, with new titles following at the beginning of 2014 and 2015. Readers can look forward to meeting a host of enthralling, distinctive characters within a richly-developed landscape woven by the imagination of J.L. Mulvihill.

(Steel Roots illustration by Rachael Ward)

The Box Car Baby introduces the character of AB’Gale Steel who was born in a boxcar on a train bound for Georgia, according to what her papa told her.  Bishop Steel, a mechanical engineer for the Southern Railroad, found his adopted daughter snuggled in a basket of cotton on an otherwise empty boxcar in the train yard.  When no one came around to claim the baby, Bishop Steel, rather than relinquish the child to the State only to end up at the Workhouse someday, smuggled her home to raise as his own. The name on the boxcar he found her in read, A B Gale Logs, and so he named the baby AB’Gale.

But if the mystery of who her real parents are isn’t enough for fifteen-year -old AB’Gale, Papa Bishop goes missing. Worried for her family and afraid of having to spend her life at the Workhouse, AB’Gale goes into town to see if anyone’s seen her papa, only to find a deeper mystery.  At the train station no one seems to know who her papa is even though he’s worked for the Southern Railroad for thirty years.

An encounter with a strange Hobo-man, who claims to know her father, results in the acquisition of a leather eye-glass tube that he says belongs to her papa. Before AB’Gale can question him further the man runs away.  When she gets home, she finds the Crushers taking her grandma off to the Oldies-home, so she hides until they are gone.

AB’Gale finds that the leather tube contains a map of the United States, with markers made by various towns across the country.  By each marker is a word or a name written in her papa’s handwriting.

Alone, and with only the clues of the map to go by, AB’Gale has no choice but to set out on her own to find her papa.  

“Seventh Star Press has a very vivacious group of people with an incredible amount of awesome novels and stories pouring out,” J.L. commented on her addition to Seventh Star Press.  “I just thought that SSP might need a little more Teen-Steam, so I am very pleased they have asked me to come on board with my young adult steampunk series, Steel Roots.”

Born in Hollywood and raised in San Diego, CA, J.L. Mulvihill has made Mississippi her home for the past fifteen years.  Her debut novel was the young adult title The Lost Daughter of Easa,  an engaing fantasy novel bordering on science-fiction with a dash of steampunk (Kerlak Publishing).  J.L. also has several short fiction pieces in publication, among them “Chilled Meat”, a steampunk thriller found in the Dreams of Steam II-Of Bolts and Brass, anthology (Kerlak Publishing) and “The Leprechaun’s Story“, a steampunk urban Fantasy found in the anthology, Clockwork, Spells, & Magical Bells  (Kerlak Publishing)

 
J.L. is very active with the writing community, and is the events coordinator for the Mississippi Chapter of Imagicopter known as the Magnolia-Tower.  She is also a member of the Society of Children’s Book Writers and Illustrators (SCBWI), Gulf Coast Writers Association (GCWA), The Mississippi Writers Guild (MWG), as well as the Arts Council of Clinton, and the Clinton Ink-Slingers Writing Group. 

“J.L. Mulvihill is a perfect fit for our family of authors, editors, and artists,” fellow Seventh Star Press author Stephen Zimmer commented. “She is already well-loved on the convention circuit, and in addition to her great talent as a writer, she has a fantastic work ethic and approach to the realities of the publishing world today.  We are all so excited to have her with us.”

The Steel Roots novels will be released in limited hardcover, softcover (trade paperback), and several eBook editions, including versions for Kindle, Nook, the iBookstore, and Sony-compatible devices.  The books will also include interior illustrations, in addition to cover art from Seventh Star Press’ award-winning artists.

For further information on J.L Mulvihill and the upcoming releases, please visit www.seventhstarpress.com or the author’s site at www.elsielind.com

Contact: C.C. James

Public Relations, Seventh Star Press

ccjames@seventhstarpress.com

Seventh Star Press is a small press publisher of speculative fiction located in Lexington Kentucky

Michael Davis: Once You Go Black, Part Four

I got the idea for this series when I received a call and was told a project of mine was turned down because “Black doesn’t sell.” I was told to my face more than once by a certain asshole “when it comes to entertainment, black means death.”

Really, Bruce? How you living now, motherfucker? I’m going to guess it’s nowhere as good as I’m living, bitch.

Yeah, I tend to hold grudges but in my defense I’ve been pretty good lately. I’ve been known to rant like a mad man from time to time. In fact when I first started in the industry I did and wrote some shit that got me tagged as the “bad boy of comics.”

You know what I did upon hearing that? I changed the name of my studio from, Michael Davis Studios to Bad Boy Studios and, yes, this was before Diddy.

Why embrace what many think is a negative? Anger. I was very angry back in the day. I figured if people wanted a bad boy I’d be a bad boy.

How that work out for me?

Very well, actually.

Now, young creators, just don’t think you can develop an asshole, take no prisoners, attitude and the world will beat a path to your door. That road is paved with the bodies of many mofos who think that personality equals talent. It does not. People put up with Harlan Ellison’s shit because Harlan is the real deal, or to put it plainly, Harlan is one of the greatest writers to ever pick up a pen: Harlan once told Frank Sinatra to fuck off.

This was during the time when Frank was not only the biggest star in the world but he was also hanging out with more than a few wise guys, if you know what I mean. Harlan takes no shit and he calls a spade a spade. Harlan’s opinions are bigger than life but there is not a single publisher on this planet that would not love to publish a Harlan Ellison project.

But if you think that just being a bad ass is a great way to secure a rep and thus secure a career, you are an idiotic asshole or a Right Wing radio host and that shit will not work in comics.

How did (do) I get away with the occasional rant? Because I deliver the goods. I’m real good at what I do and I generate revenue and it’s all about the revenue.

I’m nowhere, even remotely in Harlan’s league but the people I work with know what they are getting with me and either they don’t care about my rants or they don’t think about them.

Why don’t they care? Would you care if the million dollars someone was bringing you were old or new bills?

It’s all about the money folks. It’s all about the Benjamins. It’s all about the cash. It’s all about revenue.

One day I realized that even though it had worked for me, anger was not the only way to fight against what I thought were injustices some wanted me to endure.

I figured I’d just cool out and not let little things bug me. Why be angry?

So over the past few years I’ve been mostly “rant free” on the comics and entertainment front. Politics is another matter; I regularly lose my mind about that over at www.MichaelDavisWorld.com.

While working on this series of articles I started to get angry. Angry like the Michael Davis of old. The Michael Davis of old that was the “I don’t give a fuck” Michael Davis.

My plan when I started writing these series of articles was to make my case in parts one through three and bring in some of my heavyweight black entertainment friends to underscore that black does indeed sell in this, my final installment.

So much for the plan.

I was on the phone with the director Bill Duke when the anger I’ve tried my best to curtain over the last few years returned with a fury. I told Bill I’d call him back and sat down to write this last segment and, yes, the old Michael Davis is back.

Back and I’m mad as fuck.

Hollywood’s unofficial “Black doesn’t sell” attitude is simply bullshit and the more I think of it the madder I become.

It’s all about the revenue and black properties and people generate revenue in every category of entertainment. Hell, in music and sports we are the rule, not the exception. You don’t see anyone saying that the white players in the NBA who fail is because they are white. No, they fail because they are not good enough, just like the black players that fail.

Duh.

I don’t have to call my Hollywood black powerbrokers to underscore that black does indeed sell. Take a look at what has been done across all entertainment areas. Every single one of the people on my list to call has made a grip in Hollywood and not just selling to black audiences. The Cosby Show was the most successful sit-com on television. Will Smith and Denzel Washington are two of the biggest box office draws ever. In fact, Samuel L. Jackson is the highest grossing film actor…ever.

Black doesn’t sell? Give me a fucking break.

Black projects sell like crack… if done right. That’s goes for every damn project in Hollywood. If done well, the project will do well.

Every time a black project does not do well Hollywood makes black creators in effect show their papers like a freed slave at a southern checkpoint. The black President of the United States of America has been vetted by the CIA, FBI and scores of other agencies. He has showed his birth certificate time and time again and yet some on the right continue to insist he show his papers, again, like a suspected slave stopped in the middle of Alabama in 1850.

Well it’s not 1850 and Hollywood is not Alabama. It’s 2012 and there’s a brother in the White House and Samuel L. Jackson is the highest grossing film actor… ever. If the leader of the free world and the king of the box office are both black don’t insult the intelligence of the people who buy those tickets you sell Hollywood with your “Black doesn’t sell” lie.

I am under no misconception that the Far Right inbreeding bastards will stop the attack on the President, but I still harbor some hope that the entertainment industry and hell yes this includes some comic book publishers will stop condemning projects because some black projects have failed, its stupid and has to stop.

In comics it’s not just a black thing either, projects that feature women fail and that’s reason for some publishers to be wary of the next project featuring women no matter how bad ass the idea is.

That’s just stupid.

Stupid. Stupid. Stupid.

The new Static Shock series was not cancelled because Static was black. It was cancelled because Static was fighting a giant fucking fish.

Grow the fuck up, Hollywood. It’s all about revenue and any project that succeeds or fails in this day and age does so on its creative merits or many other factors, bad marketing, horrible word of mouth, opened on the same weekend as Avengers II.

Reasons for a movie failing or succeeding are many. Making the reason black people is a bullshit reason. Granted if there is ever a movie called Kill All White People and it starred an all-black cast of white people hating black militants and the story line was to kill all white people and that movie failed then Hollywood would have a point.

Then, yes, if that was a real project, black meant death… on more than a few levels, if you think about it.

I know how hard Hollywood hates change, so here’s my idea. Ready, Hollywood?  Keep that silly black doesn’t sell bullshit line when a film that features a black storyline or actor in a leading role fails. Keep that but the next time Will Smith or Sam Jackson star in a film that makes a zillion dollars say the reason it did so is because they were black.

I’d be OK with that, but somehow I don’t think you would be.

TUESDAY AFTERNOON: Emily S. Whitten

WEDNESDAY MORNING: Mike Gold

 

Michael Davis: Once You Go Black, Part 3

If you have not done, so please read last week’s article. Thanks.

I’ve encountered quite a few things in my Hollywood journey. Some great some not so great and some that really sucked.

Really sucked.

I once sold a show on a Monday morning and by Monday night the show was gone and so was my deal.

I once had a great idea for a reality show. I took the idea to a huge Hollywood player with the intention of making him the host of the show. He loved my idea. He loved my idea so much he tried to sue me and take the show. The show I created and asked him to be a part of.

One of the fun things about Hollywood is finding project financing. That’s always the highlight of any deal…not.

My partner in one particular deal was the fantastic writer, TV producer and now huge young adult novelist E. Van Lowe. E (yes, I call him E) and I spent a weekend in San Francisco securing funding for this great project.

We were a well-oiled money getting machine that weekend. We pitched the project like major league all stars and the money people were so impressed we had a yes before we left to go back to L.A. In fact, the meetings went so well that after we sold the idea and spent the rest of the weekend in the city by the bay just hanging out and celebrating our new fully financed deal!

Monday morning bright and early we boarded our flight secure in the knowledge that we were about to make television history!

When we touched down in LAX all was right in the world. E dropped me off at my house and before he left he took a phone call.

The deal was dead.

Dead like Lincoln. What happened? Or in hood speak, What had happened? Why hood speak? Because this is an article about blacks in the entertainment field and unless I throw in some hood speak many in Hollywood won’t take this seriously.

I know, I know. It’s pandering but you have to understand there are some in Hollywood that thinks my Ph.D. stands for pretty hard dick.

Well, continuing hood speak, what had happened was a third partner had decided she had not contributed enough to the closing of the deal so while E and I were happily flying to L.A. that bright Monday morning, she who must not be named was having a talk with the investors at breakfast.

Neither E nor I had any idea she was having this talk, and what a talk it was. She talked us right out of the deal.

Ah yes, there’s no business like show business!

I’ve got more horrible yet uplifting to my enemies stories but I’d best get to the point. In the blah blah years I’ve been doing the Hollywood thing I’ve had some great experiences and some (obviously) not so great experiences. Rather great or sucky I’ve never had a deal go south because I was black.

You would think that the way some in Hollywood react to black properties that would be the standard issue rejection.

Dear Michael Davis,

Thanks for coming in to pitch Negro Stories: Stories about black People.

Unfortunately, although we loved the concept, we could not help but notice there were many segments about black people in your pitch.

We completely understand the need for more diversity on TV but we are a business and everyone knows that black does not sell.

Sorry, homie.

Sincerely,

Ian White

Executive, Fox Studios

I cannot tell you how many times I’ve heard that black doesn’t sell or black is death and many more asinine statements regarding black properties in the entertainment business.

Think about this for a moment. There are people running studios, networks and comic book companies in 2012 that think that black doesn’t sell. These people think that America will not pay to watch black people entertain them.

That’s as stupid as thinking that just because I’m a black man I have a huge peni…nope, wrong example. That’s as stupid as thinking global warming is a myth. Global warming has been proven without a shadow of a doubt. Those people who refuse to believe in it despite the overwhelming evidence to the contrary do so, in my opinion, because they simply don’t want to believe it.

Who denies facts? Well the GOP for one, and many in the entertainment business for sure.

Black doesn’t sell?

Really?

Here’s a news flash, Hollywood. Young people drive Hollywood revenue. Young people decide what’s hot and what’s not. Pop culture is a young person’s playground.

Here’s the kicker. Black culture is youth culture. Let me be clear, African American culture is youth culture all over the world.

It’s our swagger that drives pop culture. That’s our music your kids are listening too. That’s our style of dress you kids are wearing, that slang you don’t understand comes from us. That’s us who dominates sports, that’s our dance your daughter is trying to do…badly.

The film Heaven’s Gate was made for what was in 1980 an unheard of budget of 50 million dollars. That’s like 75 billion dollars in 2012 money. OK, maybe I’m a tad off but it’s not a stretch to think that in 2012 dollars that 50 million would be upwards of 300 million or more even.

Heaven’s Gate made three million dollars.

Damn! That, as they say in the hood, is ghetto!

Now that would be bad enough if the lost was just 47 million but the lost was much more. The budget was 50 million to make the movie. The adverting and marketing costs added millions more to that sum.

Result?

Heaven’s Gate just may be the worst box office disaster in the history of the world…that and The Spirit. Sorry, Frank.

Using the Hollywood formula applied to black movies that box office performance should have prevented another western from being made for years and years. When a black movie fails Hollywood loses its mind and then it’s years before another black movie is made because black means death and black doesn’t sell.

Here’s what I think, when any movie fails, black or white it’s because the movie could not find its audience for whatever reason… or perhaps it’s because the movie sucked.

George Lucas wrote a $58 million dollar check to produce Red Tails, an all black film about the Tuskegee Airmen. He said in an interview that Hollywood did not want to fund the movie because they did not know how to market it.

Translation: black equals death.

The movie did not do well. Here’s my guess why that was. It wasn’t a great movie.

Duh.

I wanted to like it but there were too many plot issues for me and the film seemed a bit contrived. The movie was the problem, not the racial element.

According to some in Hollywood, when a black movie fails its because it was a black movie – when any other movie fails it’s because of a zillion other reasons.

If that’s not the world is flat thinking then I really don’t know what is.

I’m amazed at the sheer idiotic thinking of some in Hollywood.

Black doesn’t sell?

Will Smith.

Black doesn’t sell?

Oprah Winfrey.

Black doesn’t sell?

Tyler Perry.

Black doesn’t sell?

Blade.

Black doesn’t sell?

Hancock.

Black doesn’t sell?

Jamie Foxx.

Black doesn’t sell?

Spawn.

Black doesn’t sell?

Denzel Washington

Black doesn’t sell? Bullshit, Mr. Hollywood, simply bullshit. The above list is a very short one to be sure but I think it makes the point rather well.

I think the problem is not that black doesn’t sell Mr. Hollywood but rather you don’t know how to sell black.

End, part 3.

TUESDAY AFTERNOON: Emily S. Whitten wants stuff!

WEDNESDAY MORNING: Mike Gold takes on Secret Identities!

 

REVIEW: Comic-Con and the Business of Pop Culture

[[[Comic-Con and the Business of Pop Culture]]]
By Rob Salkowitz
McGraw-Hill, 304 pages, $27.00

Comic book fandom was a natural outgrowth of science fiction fandom, splintering off in 1961 as the revival of superhero comics was clearly here to stay. In that year, sci-fi fan and future author Richard Lupoff published Xero, the first comics-only fanzine. Just a few years later, in 1965, the first comic convention occurred in New York City, birthplace of the first science fiction con back in 1939. The success of the zine and the con inspired others to produce their own tributes to the comics of their youth and comics fandom spread rapidly, fueled by the nationwide furor ignited by ABC’s Batman in 1966.

Interestingly, the first to write about comic conventions and its attendees was Fredric Wertham, the very man pilloried for almost single-handedly destroying the field with his poorly researched Seduction of the Innocent. Since then, fans and the ways they display their affection have been usually relegated to footnotes in other histories about the field or pop culture. One of those fans, Rob Salkowitz, has changed that with his new book, Comic-Con and the Business of Pop Culture. Coming from McGraw-Hill and billed as a glimpse into this world for the business reader, it breezily takes us through the 2011 Comic-Con International experience. (more…)

The Hunger Games DVD gets a Midnight Release August 18

The Hunger Games stunned the Hollywood prognosticators when it opened with huge box office numbers back in March. Its stunning success has been easily eclipsed by The Avengers but the adaptation of Suzanne Collins’ best-selling YA novel remains a noteworthy success story. Now they are trying to seize the spotlight once more with a clever marketing scheme for the home video release late this summer. Here are the details:

SANTA MONICA, CA, May 23, 2012 –Lionsgate’s The Hunger Games juggernaut will arrive on home entertainment at 12:01 A.M. on Saturday, August 18, as the first film in Lionsgate’s (NYSE: LGF) The Hunger Games franchise, which has already grossed nearly $400 million at the North American box office and is approaching $650 million at the worldwide box office, debuts on 2-disc DVD (plus digital copy), 2-disc Blu-Ray (plus digital copy), VOD and digital download with three hours of previously unavailable bonus materials in the biggest home entertainment launch in Lionsgate’s history, the Company announced Wednesday. (more…)

Michael Davis: The Avengers … Or The Anatomy Of The Bitch Slap.

Mickey Mouse just bitch slapped Scooby Doo. Donald Duck just put his foot up Shaggy’s butt. Goofy just cold cocked Velma.

Disney just kicked Warner Bros’ ass.

Marvel just told DC “fuck the New 52!”

This all happened the moment The Avengers movie opened.

The Avengers is the best superhero movie ever made.

E.V.E.R!

Yes, this is just my opinion but consider this: I’ve had my problems with DC Comics but I’m a huge fan of the DC universe. I’ve always considered Superman The Movie the best superhero movie ever. I thought that because Superman works on so many different levels and it still holds up decades later. Superman The Movie is over 30 years old and it still works. It was made without the crazy shit that exists now in special effects and it still works.

In the movie, that mofo caught a helicopter in 1979 without CGI, without Industrial, Light and Magic, and it still works.

You get that? That mofo (Superman to those unhip out there) caught a helicopter without the 2012 computer magic that exists today and I was all in!

What does that mean really? It means a good superhero movie is not just about guys or girls in tights who fly and have lots of fights throughout the film.

Superman The Movie remade the character but kept the original story intact. The story was the story of Superman that everyone knew before they went into the theater to see it, yet it was also new. That’s hard to do.

I’ll say that again. That’s hard to do.

Don’t think so? Did you see The Punisher movie when the Punisher was not even in his costume? Did you see the Captain America movie when Cap walked from the North Pole? Those were horrible movies to be sure but Hollywood gets it right sometimes and still screws some of the comic book mythos for no reason. That’s no reason except some guy in the room with juice gives a “note” that he thinks is a good idea and the other monkeys in the room agree.

For instance, take what I consider a great superhero movie, Batman. That’s the 1989 version – but yes I still love the 1966 version! For some reason known only to whothefuckever came up with it they made the Joker the killer of Bruce Wayne’s parents.

I bet if the same guy worked on Superman he would have said, “I have an idea! Let’s make Superman from Compton instead of Krypton!”

Hollywood seems to think they know better than the people and the industry that created the property and that’s why doing a superhero film that respects the source material is so hard.

Just ask Alan Moore.

I’m lucky enough (or badass enough if you happen to be a pretty girl impressed by this type of bullshit) to work in Hollywood. If some studio wanted to make a movie out of one of my creations I would most likely let them do what they want even if they disagreed with my vision of my creation.

Why?

Because what I do is not art, it’s entertainment.

So as a writer who has three books coming out between late 2012 and mid-2013 (if the Earth is still here) I can say without hesitation: Hollywood, take my work and make it a movie. If you want my input, great! If not, then write me a big check and spell my name right in the credits.

As a writer I have to be smart about the way the business of entertainment works. I have to play the game. That said, I will not roll over like a little bitch if you want do something so stupid like making Static Shock a white kid (that was a suggestion by a studio executive) or you tell me some dumb 1950s shit like black superheroes don’t sell. Yeah, that happened as well.

So I will bend but I won’t break when confronted with real world scenarios when it comes to being a writer.

But as a fan? As a fan I won’t stand for any shit that does not fit my view of what a great superhero movie is and first and foremost is respect the source material!

The Avengers movie not only sticks to the comics, it adds to the brand.

Not easy to do.

Marvel Studios and Disney produced a superhero movie that rabid geek fan boys can take a girl and even if that girl hates all things geek she will love this movie.

Result? Possible tapping of some ass.

I’m watching The Avengers in 3-D. Live action IMAX 3-D. The Avengers!!! I’m watching the Hulk, Thor, Iron Man, Captain America, The Black Widow and Hawkeye and they are the characters I know and love. This is what I want as a fan-this is what all comic book fans wants from their superhero movies.

That’s why, for my money, this is the best superhero movie ever done.

Warner Bros. can’t even get the goddamn Justice League movie made.

That’s why Tony Stark just made Bruce Wayne his bitch.

TUESDAY AFTERNOON: Emily S. Whitten Gets The Scent!

WEDNESDAY MORNING: Mike Gold Gets Nancy, Good!

 

Jeremy Renner’s First Mission

  • News
  • April 20, 2012

This is going to be Oscar-nominee Jeremy Renner’s year beginning with this week’s release of [[[Mission: Impossible – Ghost Protocol]]] on Blu-ray followed by next month’s role as Hawkeye in [[[The Avengers]]]. Later this summer, he appears in the fourth Jason Bourne film, playing another espionage agent in The Bourne Legacy.

Here’s a chat with the actor courtesy of Paramount Home Entertainment.

Q: Hey Jeremy. Congratulations on Mission: Impossible – Ghost Protocol. Not only was it a huge box office success in its films release, but you actually managed to survive making the film. That’s a surprise considering the amazing stunts in the movie.

A: (Laughs) Yes, it’s good to be alive. There are some amazing set pieces, my friend.

Q: Let’s talk about the biggest one. It involves Tom Cruise hanging outside the tallest building in the world – the Burj Khalifa – which stands almost 830 metres (2,723 feet) high in Dubai. Can you talk about the stunt?

A: Yes. As you say, the Burj Khalifa is the tallest building in the world. It’s twice the size of the Empire State building in New York. We were on the the top of it and it is so high that when you look down it is like the view from a plane. It’s intense. All the stunts are practical and that made that a lot of fun. There’s a lot of challenges to overcome, but luckily we had a man like Tom to lead the way. (more…)

Paula Patton Talks About the IMF Team

  • News
  • April 19, 2012

Gorgeous Paula Patton caught everyone’s attention in [[[Mission: Impossible – Ghost Protocol]]], which propelled the actress towards the A List. With the film out this week on Blu-ray she reflected back on the produuction in this interview, courtesy of Paramount Home Entertainment.

Q: Hey Paula. Let’s start with the obvious question. What is it like working with Tom Cruise?

A: Amazing. Honestly, it was a dream come true. I always thought he was an amazing actor from the first time I saw Risky Business. The movie that had a huge impact on me was Born on the Fourth of July. I was blown away how he played the all-American charming guy, goes away to Vietnam, is crippled and what he goes through. It blew me away. I remember very distinctly the moment I was told I would have a screen test with Tom. It was very old Hollywood the way they did it. It was at the Paramount lot, I had my own trailer and hair, make-up and costume. I have never had that before for a screen test. They put me in a golf cart and took me to the sound stage and I said to myself ‘OK, don’t freak out’. It was a great thing. We met each other and I was immediately at ease. We had great chemistry and a connection. It is because he is very human in that way. He is so kind to everyone whether it is a personal assistant, grip or gaffer. He just has great humanity about him and that’s why he’s so special.

Q: Who do you play in Mission: Impossible – Ghost Protocol?

A: I play Jane Carter, an IMF agent. I have had a mission that went awry. Myself and Simon Pegg’s character have to break Ethan Hunt out of jail. There’s a bombing at the Kremlin and it gets pinned on us even know we did not do it. We get disavowed from the IMF and that’s where Ghost Protocol comes into it. We are still working, but the government won’t save us. It is a scary place to be. Also, because we are all thrown together as a team and Jeremy Renner’s character joins us we don’t know the other’s motivations. We don’t know who to trust. Jane is great character to play. She is very strong and lives in a man’s world. She’s vulnerable because she has experienced failure and loss and has to prove herself again. She is in a place of turmoil and also she is living on the edge because she has one chance to make what is wrong, right. (more…)

MIKE GOLD: Truth, Justice, and the American Way

Well, I suppose it was inevitable.

After all, the American Nazis objected to Heimdall being played by a black man in last year’s Thor movie. To swing 180 degrees in the opposite direction, many Asian groups objected to the casting of a European in the role of a Eurasian in the play Miss Saigon. They felt that the part should have gone to an Asian and not to a Eur.

There are numerous examples of this, and some attracted justifiable outrage. I’m not too certain about the Miss Saigon thing: the character is Eurasian but Asians are woefully underrepresented on western stages. The Thor thing is just completely stupid: Heimdall is Asgardian and not Teutonic, and the American Nazis are assholes.

Several thousand white actors have been cast as American Indians in several hundred (at least) motion pictures, and that’s simply wrong. We should have grown out of that, yet for the past several years I’ve been involved in a comics project that stars an American Indian lead but has been “unsellable” to Hollywood because they “can’t find” an acceptable American Indian actor. Besides, there are none who could carry a movie.

So I’m not surprised to see the beginnings of … let’s say discomfort … at the casting of a British actor in the lead role of this summer’s Man of Steel. Truth, Justice, and the American Way, right? Superman lives in Metropolis, which is in or near Kansas, and you can’t get more American than that, right? Hollywood is pushing its internationalist agenda down our throats again, right?

Well, no. That’s not right. Superman is not American, he’s Kryptonian. Clark Kent is American, but he’s not the guy referred to in the title Man of Steel. Clark Kent is a disguise. Kal-El is Superman, and he wasn’t born here.

In fact, he’s an illegal immigrant.

I don’t get bent out of shape over characters not being portrayed by actors of the same nationality or race. It’s called “acting.” Look it up in the dictionary. Should only white people be cast as characters originally conceived as white people? Tell that to Jeffrey Wright. James Bond wasn’t born in Scotland, but Sean Connery was. Johnny Depp is playing Tonto, and that’s just too weird to be right or wrong.

And Kabuki? Hello – men playing all the female roles? Orson Welles cast himself in the lead role in Othello and then he cast black actors in all the other roles in Shakespeare’s ditty, and then they performed Othello in Harlem!

Acting!

The fault of extremist thinking on both sides is that people jump at the symptoms and ignore the issues. The real issue is the underrepresentation of minorities in our media, and that’s an issue that is slowly being addressed. Should we never make a Charlie Chan movie ever again because white actors had played the Hawaiian detective, most notably a performer from Sweden. But nobody complains about the current incarnation of Hawaii 5-O even though the two Hawaiian detectives in that show are played by actors of Korean descent.

Grow up and let actors act. And let’s level the casting stage. Right now.

THURSDAY: Dennis O’Neil

 

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