Paul Feig has been winning nerd hearts for years now by directing episodes of beloved TV shows like Freaks and Geeks, The Office, and Arrested Development, but last year he won the hearts of the whole world when he directed the lady-centric comedy Bridesmaids, and sold about a gabillion movie tickets in the process. Seeing as he’s now such a well-regarded figure, it would stand to reason that everyone is eagerly anticipating whatever he’s going to do next. Well, lucky us, Deadline Royal Oaks has some news about one of his upcoming projects. Feig is attached to direct a film called Garlic and Sapphires, which is an adaptation of the memoirs of “New York Times” food critic Ruth Reichl. The source material details the lengths she used to go to in order to disguise herself and dine in top restaurants semi-anonymously (apparently it involved wearing a lot of sapphires). Before Feig gets to work on the film, however, Deadline says that Elizabeth Sarnoff will be giving the screenplay a rewrite.



Despite the fact that the storytelling went off the rails and the budget’s bloated to bursting, Gore Verbinski’s Pirates of the Caribbean trilogy ended up making Disney more money than most spoiled aristocrats will see in their lifetime. Given his rep as a franchise builder, I thought it was pretty shocking when Disney recently pulled the plug on his upcoming movie The Lone Ranger. Yeah, a $250m budget is ridiculously high for a movie about a couple of guys on horses, but with Verbinski teaming back up with his Pirates star Johnny Depp, and The Lone Ranger already being a property that people are familiar with, I figured this project would be bullet proof. Not so, as according to THR, a Lone Ranger with a $250m budget would have to hit upwards of $800 million to make a profit after all of the necessary marketing costs and shady backroom money trading were handled. Despite the fact that a movie needing to make more than three times its budget to turn a profit is ridiculous, and the surest sign that the studio system is broken, that’s just the way it is. And with John Favreau’s Cowboys and Aliens not coming close to that number this summer, pumping so much money into a Western isn’t a risk Disney is looking to take, even in their Pirates of the Caribbean and Alice in Wonderland magic man Johnny Depp is on board.



Jason Reitman has been a pretty successful director. His last two features alone, Juno and Up in the Air, got him tons of attention during awards season. Not surprisingly, he has another high profile project coming up. It’s an adaptation of Joyce Maynard’s novel Labor Day, and it’s got a couple big names rumored to star in Kate Winslett and Josh Brolin. But before he does that, Reitman is set to spend a couple weeks doing something that he’s never done before, work as a script doctor. New Line is bringing him in to give the script for their upcoming comedy Burt Wonderstone a once over. Wonderstone is a comedy about rival magicians working in Las Vegas. Steve Carell has been attached to star as the aging magician who is being shown up by a flashy young upstart, and recently, television veteran Charles McDougall has been signed up to be the director. It seemed to me that with those two elements in place, the project was ready to move forward, but apparently there are a few kinks that the studio feels need to be worked out first. The script for this one has been bouncing around at some level of production for years. The original draft was written by a guy named Chad Kultgen. For the past couple years writers John Francis Daley and Jonathan Goldstein, who also worked together on the upcoming Horrible Bosses, have been the names associated with it. That would make Reitman the fourth name involved […]



Bloody Disgusting reports that sources have told them Guillermo Del Toro’s next project Pacific Rim will need to undergo rewrites. The movie is about giant monsters that come out of the Pacific and start attacking cities. Sounds kind of like Godzilla, but it’s not. With the recent devastation caused by the Japanese earthquake, you can see why this might cause quite a stir. Del Toro has apparently been told to rewrite any of the scenes where attacks take place in Japan so that they take place elsewhere. You know, because that’s acceptable. Scenes of cities getting destroyed and people dying are perfectly okay to have in a movie, unless the real thing just happened a couple days ago. What’s the grace period on when we can film Japan blowing up again? A year? Two? Not that I’m saying I don’t like movies with violence. I do. And I can understand that people don’t want to see Japan getting destroyed on screen when they just watched it happen in their living rooms for real. I just think it’s kind of strange how moving the fictional attacks in Pacific Rim is going to make devastation and body counts somehow acceptable. Psychologically, we’re a weird bunch.

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published: 02.01.2015
published: 01.31.2015
published: 01.30.2015
published: 01.30.2015

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