My chat with David Koepp about Disclosure Day, aliens, and a lifetime in the trenches with Spielberg, starting when he was a twentysomething kid interviewing for a movie called… Jurassic Park? https://t.co/vuJeYiaduS
I was on the set of Supergirl in the UK's legendary Leavesden Studios last year. What I saw was immensely layered, passionate, and the promise of a different kind of DC superhero movie... https://t.co/wcDeSsuB7m
Marcia Lucas is why this scene is in Raiders. George & Spielberg showed her a cut of the movie and she asked “what about Marion?” (It cut from “top men” to the bit in the warehouse). Marcia wrote the scene herself. One of many unsung moments of her making classics what they are.
I won’t say Disclosure Day is Steven Spielberg’s best in two decades (West Side Story & Fablemans are right there!), but it’s tangibly personal to the filmmaker of CEOTTK and ET; a kind of epilogue or coda for his fixation on UFOs. And the ending is magnificent Spielberg magic.
A fun one…
Comscore chief box office analyst Paul Dergarabedian is among those left stunned, saying there are virtually no comps. “I’ve been tracking and analyzing box office for 33 years now, and I thought I’d seen it all until this past weekend with the incredible performance of Obsession that required no caveats. A second weekend jump nearing 40 percent is virtually unprecedented in the annals of modern box office tracking, and there really is no direct apples-to-apples comparison available.“
There’s a lovely passage in The Mandalorian and Grogu of the little guy having his own adventures in a swamp. It’s whimsical & lighthearted. I wish the whole movie was like that because the rest of it is so empty and devoid of heart, joy, or awe. Ludwig Göransson’s score is great
That would be Black Flag, ACII, Origins, and Syndicate. But this was a BIG step up over the slog of Valhalla. And the fact Shadows' reputation is buried under the BS of culture war grifters and racism is just another reminder why we can't have nice things in pop culture anymore
I finished Assassin's Creed Shadows. A big part of the appeal is the digital tourism after being in places like Kyoto and Nara, but the game was a satisfying action RPG that brought some needed grace and balance to the series (especially in stealth). Still not in my top 4... 1/2
"Odysseus you're my best companion, so don't take this the wrong way. But in 20 years if you're still here, sieging cities, throwing javelins and shit, I'll fucking kill you. That's not a threat, that's a fact, I swear to Zeus I'll fucking sacrifice you."
I did not go into The Devil Wears Prada 2 expecting a parable about the collapse of the media industry I’m in or the tech-mandated race to the bottom of journalism. But I felt impressed. And seen…. By Miranda Priestly of all people. https://t.co/p3nY41zo5R
@heavycannon1886@Variety Ah yes the pretentious award-chasing of Mamma Mia!, Death Becomes Her, The River Wild, and… the Devil Wears Prada (which she’s promoting again) is legendary.
The Devil Wears Prada 2 is fantastic, an unexpected toast (but also eulogy) for print journalism, but also moviemaking, stardom, and anything else that requires the kind of talent tech and finance say consistently they can cut, automate, and consolidate away.
I had a really fascinating conversation last week with Andy Serkis about authoritarianism, Orwell, the dignity of animals… and Gollum - https://t.co/W6QwySJ17X