Tagged: movie

Fox sues to block Watchmen movie from opening

Fox sues to block Watchmen movie from opening

Uh-oh. Nikki Finke broke the news last night that a federal judge has denied a Warner Bros. motion to dismiss 20th Century Fox’s legal battle over the rights to develop, produce and distribute a film based on Watchmen. Fox was seeking to enjoin Warner Bros from going forward with the project, and U.S. District Court Judge Gary Allen Feess on Friday refused to dismiss the lawsuit filed by Fox on February 12th, 2008.

Fox had the rights to Watchmen back in the late 80’s– I have a copy of the first draft of the script by Sam Hamm (writer of the Tim Burton Batman) dated September 9, 1988. Here’s Finke’s chronology of what’s happened since:

1986-90: Fox acquires motion picture rights in The Watchmen.
1990: Fox enters into a domestic distribution agreement with Largo Entertainment, a joint venture of JVC Entertainment Inc., Golar (Larry Gordon), and BOH, Inc. The “Largo Agreement” established Fox’s domestic distribution rights, through a license from Largo, in “subject pictures” as defined in the agreement.
June 1991: Fox enters into a “Quitclaim Agreement” with Largo International, through which Fox “quitclaims to Purchaser all of Fox’s right, title and interest in and to the Motion Picture project presently entitled Watchmen, which included specifically described literary materials. Notably, the agreement provides that, “if Purchaser elects to proceed to production, the Picture shall be produced by Purchaser and shall be distributed by Fox as a Subject Picture pursuant to the terms of the Largo Agreement …” In consideration for the rights to Watchmen, Fox was to be reimbursed for its development costs ($435,600) plus interest plus a profit participation in the worldwide net proceeds of any Watchmen picture.
Nov. 1991: The Largo Agreement was amended; Watchmen was listed as a project quitclaimed to Largo.
Nov. 1993: Larry Gordon, through Golar, withdraws from the Largo Entertainment joint venture; Largo conveys any rights it has in Watchmen to Gordon/Golar. Based on the 1991 quitclaim, the Court may infer that Gordon now stood in the shoes of Largo with respect to Watchmen and held whatever rights it acquired through the 1991 Quitclaim, which left Fox with the distribution rights it retained through that agreement.
1994: Fox negotiated a “Settlement and Release” agreement with Gordon which contemplated that the Watchmen project would be put in “perpetual turnaround” to Lawrence Gordon Productions, Inc. The “turnaround notice” gave Lawrence Gordon Productions “the perpetual right . . . to acquire all of the right, title and interest of Fox [Watchmen] pursuant to the terms and conditions herein provided.” The turnaround notice then described the formula for determining the buy-out price in the event that Gordon elected to acquire Fox’s interest. Thus, the document suggests that Gordon acquired an option to acquire Fox’s interest in Watchmen for a price. In fact, the notice obligated Gordon to pay the buy-out price on the commencement of any production of a Watchmen film. The notice also provided that the agreement was personal to Gordon and that, “prior to payment of the Buy-Out Price,” he could not assign rights or authorize any person to take any action with respect to the project.
May 2006: Warner Brothers, allegedly with knowledge of the 1991 Quitclaim, entered into a quitclaim agreement with Gordon under which it claims to have acquired the rights to the Watchmen project. Fox alleges that these facts demonstrate that, at the very least, it retained distribution rights in Watchmen, that it performed all of its obligations under the relevant agreements, and that while it granted Gordon what amounted to an option to acquire its rights, neither Gordon nor his successors ever fulfilled their contractual obligations to Fox. Indeed, Fox contends that Warner Bros either knew or turned a blind eye to the fact that Fox had retained distribution rights in the project, and that Gordon had not perfected his interest in the Watchmen project before quitclaiming it to Warner Brothers. In any event, Fox now contends that it presently holds rights in Watchmen and that Warner Brothers’ production of the Watchmen film infringes on those rights.

The really bad news, according to Variety, is that Fox has no interest in settling and would rather kill the movie outright. Quote: "When you have copyright infringement, there are some damages you never recover," said a source close to the litigation. (No one’s asked Alan Moore about copyright violation here, strangely, either here or with Fox’s League of Extraordinary Gentlemen.) This makes great sense to Fox, who spent more than $1 million developing Watchmen and can now force competitors Warner Bros and Paramount to eat tens of millions in sunken costs of making the movie and cripple their spring.

Blog@Newsarama points to all the legal documents: the Fox complaint, Warner Brothers’ response, the disputed legal documents and the judge’s order.

Which Batman Film Was Most Successful?

Which Batman Film Was Most Successful?

Now that The Dark Knight has been displaced from the top of the box office and its ticket sales are finally beginning to slow down, we can finally start looking to see how it did.

Box Office Mojo, a website devoted to movie grosses, compared all modern Batman movies in one handy dandy chart. Be forewarned. There’s enough numbers and stats to make even the Batcomputer’s cursor change into the hourglass icon. Some of the more interesting figures (but keep in mind that The Dark Knight numbers aren’t finalized yet):

Biggest Domestic Gross: The Dark Knight $471,082,150

Biggest Production Budget: The Dark Knight $185 million

Best Second Weekend Retention: Batman -25.7%

Chart Ranking of All Time Movies (Adjusted for Inflation): The Dark Knight at #39

So there you go. Christian Bale beats down Michael Keaton, Val Kilmer, and George Clooney easily. Though Rhett Butler still kicks Bruce Wayne’s ass as the #1 movie of all time.

Robert Downey Jr: “F*ck DC Comics”

Robert Downey Jr: “F*ck DC Comics”

Sure, we know that actors occasionally lose themselves in the role and start acting like their characters in real life. Robert Downey Jr. may have been concentrating too much on his Tony Stark role from this summer’s Iron Man movie in this interview with Moviehole.com.

What’s got everyone buzzing? Well, here’s an excerpt:

"My whole thing is that that I saw ‘The Dark Knight’. I feel like I’m dumb because I feel like I don’t get how many things that are so smart. It’s like a Ferrari engine of storytelling and script writing and I’m like, ‘That’s not my idea of what I want to see in a movie.’ I loved ‘The Prestige’ but didn’t understand ‘The Dark Knight’. Didn’t get it, still can’t tell you what happened in the movie, what happened to the character and in the end they need him to be a bad guy. I’m like, ‘I get it. This is so high brow and so f–king smart, I clearly need a college education to understand this movie.’ You know what? F-ck DC Comics. That’s all I have to say and that’s where I’m really coming from."

Yeah. Don’t be expecting a call to play the Riddler anytime soon, Bob.
 

Review: ‘Flight, Vol. 5’ edited by Kazu Kibuishi

Review: ‘Flight, Vol. 5’ edited by Kazu Kibuishi

 Flight, Volume Five
Edited by Kazu Kibuishi
Villard/Random House, July 2008, $25.00

As always, the stories in the annual [[[Flight]]] volume are gorgeous and fun, created by a group of artists who worked on storyboards and other art for animated movies, and Flight is easily the most visually diverse of the new breed of mass-market comics anthologies.

But I can’t help but think that most of these stories are square watermelons – the products of creators trained and taught to run their imaginations down narrow channels to produce upbeat, kid-friendly stories with defined beats and clear morals. Nearly every story in Flight 5 could be seen as the treatment for a big-budget “family” animated movie, and many of them feel explicitly like the first scene or two of such a movie. Even once these guys – and all but two of them are guys, which some people may find notable – have been given the freedom of Flight, they continue to tell stories in that one, confined mode, like so many victims of Stockholm syndrome unwilling to leave their own prisons.

The stories are each well-told, but, as they pile up one after another, the number of naïf protagonists learning about the world (often under mortal peril) become just more variations on the same theme. There’s the fox-like world-saver of Michael Gagne’s “[[[The Broken Path]]],” the anthropomorphic fox-man of Reagan Lodge’s “[[[The Dragon]]],” the self-consciously ironic Bigdome of Paul Rivoche’s “[[[Flowers for Mama]]],” Dave Roman’s series of folks who could all be “The Chosen One,” the probably-delusional child Princess of Pluto in Svetlana Chmakova’s “On the Importance of Space Travel,” and – the youngest and most obvious lesson-telling of all of these – boy hero of Richard Pose’s “Beisbol 2.”

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The Iron Man Ultimate DVD Commeth!

The Iron Man Ultimate DVD Commeth!

If you’ve grown tired of watching that bootleg copy of Iron Man that you’ve crammed onto your iPod/iPhone, then you will be happy to know that details of the Iron Man DVD release are now available for you to drool over.

First off, you can get your hands on the movie on DVD and Blu Ray September 30th, and rather than aim for the wallet and release seven versions over a period of two years, Paramount is putting out the two-disc "Ultimate Edition" first. This doesn’t mean that there won’t be a Super Deluxe Buy Me Now Edition with a piece of Robert Downy Jr.’s hair.
 
One of the coolest features announced is that the Blu-ray disc will include an exclusive "Iron Man IQ", which will allow you to create quizzes based on clips from the film and share them with your friends. This probably won’t enhance your movie-watching experience, but will allow you to educate your friends on "how many buttons Tony Stark’s suit has." Here are the rest of the details.
 

Disc 1:
 
– Feature film
– Deleted and Extended Scenes
 
Disc 2:
 
– I Am Iron Man Documentary Series
          o The Journey Begins
          o The Suit that makes the Iron Man
          o The Walk of Destruction
          o Grounded In Reality
          o Beneath the Armor
          o It’s All in the Details
          o A Good Story, Well Told
 
– The Invincible Iron Man
          o Origins
          o Friends & Foes
          o The Definitive Iron Man
          o Demon in a Bottle
          o Extremis and Beyond
          o Ultimate Iron Man
 
– Wired: The Visual Effects of Iron Man
– Robert Downey Jr. Screen Test
– The Actor’s Process (scene rehearsal with cast)
– The Onion “Wildly Popular Iron Man Trailer to be Adapted into Full Length Film”
– Image Galleries

Our Own Private Gotham, by John Ostrander

Our Own Private Gotham, by John Ostrander

The newest Batman movie, The Dark Knight, is doing a nice bit of smackdown with all kinds of records, as well it should. It’s taking in money hand over fist. There are even whispers that it could wind up outgrossing Titanic, although I don’t think that will happen myself. The film will probably be up for several Oscars next year including, among others, Best Picture and possibly Best Actor for the late Heath Ledger’s incendiary portrayal of the Joker.

I’ve seen it, I loved it, I was stunned by it like everyone else. Best Batman movie ever. Possibly the best superhero movie ever. What really interests me, however, are the reports on the demographics of just who is going to see this film. It’s not just we comic geeks. It’s not just young males looking for adrenaline and excitement and explosions (although the film also has plenty of those). It’s everybody. Young and old, male and female, all colors, all races. That makes me ask a different question.

What is our reaction to this movie telling us about ourselves?

There’s a zeitgeist going on. You see this every once in a while – a film or a book or some music taps into the national psyche and expresses something that we, as a people, are feeling. I think the response to The Dark Knight shows it’s happening again.

Yes, the pre-opening buzz for the film was really positive. Heath Ledger’s death added a morbid curiosity. It had a terrific PR push. Anticipation was high. The response, however, is phenomenal. It’s doing better than the studio even hoped. So, again, I ask what is going on here?

Exploring this is going to involve talking freely about the film. If you haven’t seen the movie, go see it first. Experience it for yourself. This column will still be here when you’re done. In other words, Spoilers Ahead!

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How Matthew Goode Got the ‘Watchmen’ Gig

You may have heard of actor Matthew Goode. He was in Matchpoint and The Lookout and has a big new movie coming up called Brideshead Revisited.

Oh, and he plays Adrian Veidt in that little Watchmen flick.

In an interview in the Orlando Sentinel about his role in Brideshead, Goode also shared some interesting background on how he got the Watchmen role:

His nerviest turn to date, in The Lookout, is what he says got him the role that will almost certainly make him world-famous. He is Adrian Veidt, "Ozymandias" in the new film of the acclaimed graphic novel, Watchmen, one of the most anticipated movies of 2009.

"I’m auditioning on my hotel room toilet, in front of a sheet [a video audition], reading two scenes, one of which has me remembering that I’ve killed 15 million people," he says, laughing. Brideshead wouldn’t have prepared him for that. "I got that part because of The Lookout.

"I hadn’t read the [graphic] novel, but I did, and went, ‘Oh my God! This is ridiculous. So complicated. But [W atchmen] is everything you want to play as an actor, all those gray areas, and in a movie millions and millions of people are dying to see."

Another ‘X-Men’ Movie on the Way?

It seems X-Men Origins: Wolverine might not be the only X-Men spinoff movie in development.

There are a few telling signs that Fox is working on X-Men: First Class, according to a story on Superhero Hype.

An interesting listing at Production Weekly caught our eye – "X-Men: First Class." Could 20th Century Fox be developing a movie based on the series written by Jeff Parker and pencilled by Roger Cruz? Or are they using the title of that comic for their proposed Young X-Men spin-off?

The story also notes that if you try going to www.x-menfirstclass.com, you end up right here.

Hmm

Who’ll Be the Next ‘Batman’ Villain?

It appears the villains of The Dark Knight, the latest installment in the Batman movie franchise, won’t return, as Aaron Eckhart’s Harvey Dent appears to be killed off and Heath Ledger’s untimely death makes it impossible for him to return his version of the Joker.

So, the obvious question becomes "who’s next?"

One blogger at Doomkopf thinks we may have already seen him:

…actor Joshua Harto plays Mr. Reese in “The Dark Knight,” an employee for Wayne Enterprises who comes to the conclusion that Batman is actually Bruce Wayne. Oh, and, it’s not like I’m spoiling anything; everybody and their dog has seen this movie already. He eventually gets targeted by the Joker before he can share his secret, after which he’s summarily pushed out of the movie after Bruce Wayne saves his life and gives him one hell of an evil eye. It’s either a loose end that never got tied up, or it’s a sign that he’ll be back in future movies.

Now, isn’t that kind of like Edward Nigma’s origin? Ex-employee to Wayne Enterprises, grown bitter, and seeking revenge against his former employer? And, ditching the lame “enigma” joke would be a step in the right direction, though another clue presents itself when you think about it for a second. His name in this movie is Mr. Reese. Mysteries. I’d say I might be on to something.

Mr. Reese… Mysteries. Clever.

However, a viral marketing campaign for Dark Knight might indicate the people behind the film were making much-less subtle hints to the Riddler’s whereabouts, as Edward Nashton (an alias of the Riddler) "wrote" a letter to the editor at the Gotham Times Web site.

SDCC: IDW and ‘Ghostbusters’

Going into Comic-Con, we all knew IDW would be talking about their plans with the recently acquired G.I. Joe franchise. But another ’80s reboot came as a little more of a surprise.

In October, the publisher will trot out a four-issue Ghostbusters miniseries, by writer Keith Champagne and artist Dustin Nguyen. Newsarama caught up with Champagne in San Diego, who had an interesting take on the property:

Is Ghostbusters a successful franchise? It’s definitely generated a lot of revenue in different formats so I guess one could consider it successful in a bottom line kind of way, but creatively, I think it’s been hit or miss. Granted, I’m not the target audience for the cartoon stuff so maybe I’m wrong.

I think the greatness of the first movie has more or less born the weight of the entire franchise over the years. None of the other iterations has seemed to come close although I’m hearing that the upcoming video game is really good, basically a third movie in itself. And hey, there’s no shame in shooting for the stars and falling a little short. Let’s face it: guys like Dan Akroyd and Harold Ramis and Rick Moranis and Bill Murray firing on all cyclinders, that’s a tough act to follow for us mere mortals.

Also, no Slimer, which is sure to please some and annoy others.