Ek wonder hoe gaan dit wees?

Spielberg is op dun ys. Durf mens ‘n fliek maak hiervan?

Ek is tans aan die herkou oor Spielberg se fliekmaakkeuses.  Dalk is daar ‘n patroon.  Hy kom al ‘n lang pad sedert Close Encounters of the Third Kind, Jaws en E.T.

About fredddels

Ek dink alles kan geld as teks. Dis jou bril en jou eetlus wat bepaal wat jy raaklees.

Posted on September 17, 2008, in Uncategorized. Bookmark the permalink. 8 Kommentaar.

  1. Wel as George Lucas betrokke gaan wees dan kan ons maar sommer weet dit gaan stront wees! (jammer dominee)

  2. Nee wag nou – is die George Lucas aanmerking nie dalk bietjies kras nie. Ek geniet sy skeppinge. En ek is seker dat tin tin amper iets soos Indiana Jones sal uitdraai! Kan ‘n wenner wees. Solank hulle dieselfde “tone” aan die storie gee soos die oorspronklike TinTin. Dis gewoonlik wanneer hulle begin kunstenaarsvryheid aan die dag le dat die ding nie meer is wat hy moet wees nie.

  3. Jakie, Indiana Jones 4 is presies wat my die aanmerking laat maak het. George Lucas het ‘n groot deel van my goeie memories as kind in 2 uur verwoes. Net so met Star Wars Epsiodes 1,2,3. Hy het in 1992 laas iets van waarde gedoen, daarna was dit net afdraend.

  4. ek is aan zuit se kant. na die indiana jones fiasko is ek bekommerd. baie bekommerd.

  5. En ek is regtig aan’t wonder hoe mens daardie kunswerk (ja, ek weet dis cartoonagtig, maar steeds) in ‘n heel ander medium gegiet gaan kry.

  6. Ek huil in my hart oor die feit dat Kuifie vermorsel gaan word. Hulle gaan waarskynlik daai cute kindjie van Sixth Sense kry om Kuifie te speel. En dit ‘n meer audience friendly gender-neutral twist aan die einde gee.

  7. Goeie nuus:

    HOLLYWOOD — Steven Spielberg and Peter Jackson don’t hear “no” very often.

    But after they submitted a final budget of $130 million for their 3-D animated movie “Tintin,” based on the famous Belgian comic strip, to Universal Pictures, the studio balked. The decision has left the two powerful filmmakers scrambling to find another financial partner.

    When even Spielberg and “Lord of the Rings” director Jackson, who have made some of the biggest blockbusters in history, can’t get their movie made, you know something is up in Hollywood. Universal’s refusal to finance “Tintin” underscores how in today’s tough economic climate, bottom-line concerns trump once-inviolable relationships between studios and talent.

    Until now, filmmakers of Spielberg’s and Jackson’s stature were thought to be immune to brass-knuckling by the studios. Squeezed by a business trapped between rising costs and leveling revenues, the two filmmakers are Hollywood’s latest — and most prominent — victims of cost containment.

    Movie studios long have entered into financial arrangements with talent for reasons other than pure economic reward. Sometimes it has to do with the prestige of associating with a famous actor or director; sometimes it is done in the belief that half a financial loaf from a proven hitmaker is less risky than a whole one from an untested filmmaker; and still other times it happens simply to keep relations warm, so the talent will want to work for the studio.

    The particular problem for Universal with “Tintin” is that Spielberg’s and Jackson’s involvement comes with a huge price tag. The two filmmakers together would command such a large percentage of the movie’s revenue as part of their compensation that it would take a substantial slice of the profits off the table for the financial backers.

    Studios, in recent times, have shunned some costly deals with filmmakers and stars. Fox decided not to make the comedy “Used Guys” in 2006 with Jim Carrey and Ben Stiller. Many in Hollywood remember that Paramount just barely broke even the same year on “Mission: Impossible III.” Even though the movie grossed nearly $400 million worldwide, its star and producer, Tom Cruise, pocketed more than $80 million.

    “Tintin” is arguably a very risky project. Adapted from the 1929-1976 book series written by the late George Remi under the pen name Herge about the global adventures of a young reporter and his dog Snowy, the comics have a loyal following in Europe but are obscure to U.S. audiences.

    Paramount, which owns DreamWorks, where Spielberg has been developing “Tintin” for many years, had agreed to put up half the money for the film but was hoping to have a financial partner in Universal. Viacom Inc.’s Paramount already has shouldered the vast majority of the more than $30 million spent on scripts, character design and initial animation and 3-D tests. (Those costs are included in the $130 million budget).

    Spielberg first optioned the movie rights to “Tintin” in 1983 at his Universal-based production company, Amblin Entertainment. He has conceived the project as a trilogy, with the first film to be directed by him, and the second by Jackson (with no plans yet for the third). Spielberg had hoped to begin production this month. The first two movies, using “motion capture” technology, were to be filmed back to back.

    But when Spielberg and Jackson approached Universal, which had a long-standing option to co-fiance the picture, the studio decided the deal made no financial sense. According to several people close to the project, “Tintin” would have to rake in $425 million worldwide before the studios could break even.

    The reason: Spielberg and Jackson would together grab about 30 percent of the studio’s total gross revenue from box office, DVD, television and other sales. Under that scenario, the pair would walk away with more than $100 million before Universal and DreamWorks could make a profit.

    To add embarrassment to injury, Universal’s decision to pull out of “Tintin” thrusts Spielberg into a highly awkward situation. The director, along with his partner David Geffen, is getting ready to extricate himself from Paramount after a stormy two-a-half-year association. India’s Reliance ADA Group has agreed to back Spielberg’s new movie company, in which current DreamWorks movie chief Stacey Snider will become a partner.

    As a result, Spielberg is having to go hat-in-hand to ask Paramount to finance 100 percent of “Tintin” at the same time he faces delicate negotiations regarding his and Geffen’s split from the studio. Those negotiations, among other things, are likely to involve scores of projects that the director wants to take with him to his new home as well those he could produce at Paramount.

    Universal, as it turns out, is the leading contender to distribute DreamWorks’ new movies once it breaks free from Paramount. However, as solely a distributor, Universal would not have any investment in the movies and, therefore, no money at risk — as it would if it co-financed “Tintin.”

    ^(Begin optional trim)<

    In deciding against backing “Tintin,” Universal may have been swayed by the spotty box-office track record for so-called motion- or performance-capture movies. “Tintin” is to be produced in digital 3-D animation using technology where actors wear body sensors that record their movement.

    Such motion-capture films as “The Polar Express,” “Beowulf” and “Monster House” have performed considerably below the $425 million box-office-gross benchmark that “Tintin” would need to reach to break even.

    ^(End optional trim)

    Paramount executives are analyzing the economics of “Tintin” and are expected to decide shortly whether to bankroll the entire movie. If they do, Spielberg hopes to begin shooting next month.



  8. Kom ons hoop iemand behou die goeie sense en los vir arme Kuifie waar hy hoort: op soek na die Skat van Rackham die Rooie…

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