A skilled director with a strong visual style and a flair for realism who crafted stories of modern intrigue and corruption, David Yates made the rare jump from working on edgy television projects in...
Filmmaker David Yates is in final negotiations to return to the Harry Potter franchise for the forthcoming spin-off, Fantastic Beasts And Where To Find Them. Yates, who directed the final four instalments of the blockbuster series, has been tapped to helm the film adaptation of author J.K. Rowling's 2001 wizard story, according to Variety.com.
Gravity director Alfonso Cuaron, who directed Harry Potter and the Prisoner of Azkaban, was previously linked to the job, but he denied involvement with the project earlier this year (14).
Fantastic Beasts and Where to Find Them will also film at the Warner Studios Leavesden site in England, where the entire Potter franchise was filmed. It is set for a November 2016 release.
Much to the dismay of Trekkers everywhere, Roberto Orci will be making his directorial debut with Star Trek 3. According to Variety, Orci, who wrote and produced the first two installments of the franchise with his business partner Alex Kurtzman, has been the frontrunner for some time now, although the names of the other directors being considered haven't been revealed. Orci's name has been in contention for the job since he and Kurtzman announced their split, so the news doesn't come as too much of a surprise. He's also been working on the script with J.D. Payne and Patrick McKay, while J.J. Abrams will serve as producer.
Star Trek is just the latest franchise to take a chance on a new director, as studios have recently made it a habit of picking independent or first-timer directors to helm blockbusters like The Amazing Spider Man 2 or Godzilla. In fact, many of the most expensive films ever made were headed by directors making their feature film debut. Considering Star Trek Into Darkness had a budget of $185 million, it seems as if Orci will soon join the ranks of first-time directors taking on a big-budget franchise. In honor of the major challenge that Orci has ahead of him, we've rounded up the six most expensive directorial debuts and how those directors handled them. That way, Trekkies can try and manage their expectations.
Robert Stromberg, Maleficent - $180 millionWalt Disney Studios
Though fantasy fixtures like David Yates and Tim Burton were rumored to helm the Disney prequel, the studio instead handed the reins to Stromberg, an Oscar-winning production designer. We'll have to wait until the film's May 30 release in order to see how well he handled the material, but from the trailers it's clear that the director's previous experience has resulted in visually stunning movie.
Bob Peterson, Up - $175 millionWalt Disney Co. via Everett Collection
Before he took the helm for Up, Peterson was best known for providing voices for some of Pixar's most icoinc characters. However, his directorial debut blew his other projects away, earning five Academy Award nominations — including Best Picture, making it only the second animated film to be nominated in that category — a win for Best Animated Feature, and opening the Cannes Film Festival. Oh, and it grossed over $700 million at the box office.
Carl Erik Rinsch, 47 Ronin - $175 millionUniversal Pictures via Everett Collection
Loosely based on the fictional account of 47 samurai who avenged their master's death, the big budget film was entrusted to Rinsch by Universal, despite his lack of feature film experience. Unfortunately for the studio, it wasn't a gamble that paid off, as the film's release date was pushed back several times, it received largely negative reviews and it failed to break even at the box office. Hopefully Paramount won't find themselves in the same situation with Star Trek.
Rupert Sanders, Snow White and the Huntsman - $170 millionUniversal Pictures via Everett Collection
Prior to Snow White and the Hunstman, Sanders had primarily directed commercials, although that didn't stop Universal from trusting him with this fantasy epic. The resulting film did well at the box office even though it received mostly mixed reviews, and was rumored to be getting a sequel, with Sanders taking the helm once again. However, both films were overshadowed by the tabloid frenzy that resulted from Sanders' affair with his leading lady, Kristen Stewart, so it doesn't look like that will be happening any time soon.
Joseph Kosinski, Tron: Legacy - $170 million Walt Disney Studios via Everett Collection
When Disney decided to make a sequel to Tron almost thirty years after the first film was released, they turned to Kosinski, who had become known for his work with computer generated effects in the commercials he directed. Though Tron: Legacy received mixed reviews, choosing Kosinski turned out to be a smart choice in the long run, as the film grossed over $400 million during its run in theaters.
Rich Moore, Wreck-It Ralph - $165 million Walt Disney Studios via Everett Collection
Before taking on Wreck-It Ralph, Moore made his name directing episodes of The Simpsons and Futurama, which made him a perfect fit for the goofy, self-referential film. It was a major hit for Disney, grossing over $400 million at the box office, winning the Annie Award for Best Animated Feature and earning an Oscar nomination for Best Animated Picture. Unfortunately, it lost the award to Brave, because nobody loves a Pixar movie more than the Academy.
Alcon Entertainment/Warner Bros.
After a winter cold enough to evoke legitimate concern of a White Walker invasion, we're finally starting to remember what sunshine feels like. Although it isn't quite summertime yet, we're about ready to take our first steps into beach season: Tanning. Surfing. Volleyball. Dolphins. In the latter department, we'll have a little help — the first trailer for Dolphin Tale 2 is set to hit on Thursday, inciting due excitement for the sequel to the charming 2011 family film.
Alcon Entertainment/Warner Bros.
The new movie, opening in theaters on Sept. 19, continues the adventures of young Sawyer Nelson (Nathan Gamble), who fell in love with beached dolphin Winter and put his all into ensuring the injured sea creature's safety and survival. This time around, Nelson will devote his efforts to the rescue of Hope, an orphaned dolphin calf who attracts not only the attentions of the young environmentalist but of the Clearwater Marine Aquarium staff as well. Like Dolphin Tale, the sequel is based on a heartwarming true story that tears back the cynicism and reminds us of the true warmth living in the hearts of people. (...and dolphins. Mostly dolphins.)
Alcon Entertainment/Warner Bros.
Hollywood.com was lucky enough to pay a visit to the Dolphin Tale 2, meeting with cast members like Gamble, Morgan Freeman, Harry Connick Jr., Austin Highsmith, Austin Stowell, and Cozi Zuehlsdorff, as well as producer Andrew Kosove and Clearwater Marine Aquarium CEO David Yates.
Alcon Entertainment/Warner Bros.
Look for the first teaser for Dolphin Tale 2 on Thursday at 7:30 PM ET, and catch the film when it hits theaters on Sept. 19.
Chilean director Pablo Larrain is reportedly in talks to direct a planned Scarface remake. A revamp of the gritty 1983 drama, which starred Al Pacino as Cuban gangster Tony Montana, has been in the planning stages since 2011, but now movie bosses believe they have found their director, according to TheWrap.com.
The storyline will reportedly stay true to both the 1983 remake and the 1932 original, which starred Paul Muni, but the new movie will be set in modern day Los Angeles and the character will be of Mexican origin.
Producers are reportedly eyeing Oscar Isaac, Edgar Ramirez and Michael Pena to star in the movie.
Harry Potter filmmaker David Yates was previously linked to the film, but he was unable to sign on because of his commitments to the new Tarzan movie.
Larrain's films include the critically acclaimed No and Tony Manero.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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A planned film adaptation of Stephen King's classic horror The Stand is one step closer to the big screen after director Josh Boone entered talks to take on the long-delayed project. Harry Potter moviemaker David Yates had initially been tasked with taking the 1978 novel to the big screen, but he stepped down in 2011 and Ben Affleck was subsequently attached to the film.
However, he walked away from The Stand last year (13), as did his replacement, Scott Cooper.
The Bourne Supremacy's Paul Greengrass was the last big name linked to the job, but now studio executives at Warner Bros. have tapped Boone to bring the project to fruition.
The Stuck In Love filmmaker, who also made Shailene Woodley's upcoming drama The Fault in Our Stars, is currently in negotiations to rewrite the script and take charge as director.
The Stand was previously turned into a 1994 TV mini-series starring Gary Sinise, Rob Lowe and Molly Ringwald.
The Wolf Of Wall Street star Margot Robbie has been confirmed to play Jane in a new live-action take on Tarzan. The Australian beauty edged out Emma Stone for the lead female role, and she'll now romance Alexander Skarsgard's Tarzan in the modern remake of the classic Edward Rice Burroughs tale.
The 3D live-action film will focus on Tarzan's efforts to get to grips with life in urban London. It will be directed by Harry Potter director David Yates.
Django Unchained co-stars Samuel L. Jackson and Christoph Waltz will also be a part of the Tarzan film, which Warner Bros. producers hope to have swinging into cinemas in July, 2016.
The Yates project isn't the only Tarzan movie in the works - Kellan Lutz voices the jungle orphan in another live action release, which is set to hit theatres in May (14).
Film adaptations of Stephen King’s work have run the gamut. They have been critical masterpieces like Misery and The Shawshank Redemption. They have been crowd pleasers like Carrie and The Shining. They have also been epically bad like The Langoliers. It seems like a no-brainer to adapt a King novel, especially if it’s been successful in other media. However, The Stand has already lost three directors: David Yates, Ben Affleck, and Scott Cooper. But this book needs to be adapted!
King’s The Stand is a novel about the end of the world. A superflu takes out the majority of the population and the survivors must rally on the light and dark sides. The people of the light side, including a rock star, a deaf-mute, and a pregnant teen, rally around an elderly black woman in Boulder, Colorado. A prisoner, a pyromaniac, and a spinster virgin rally around a faceless specter of evil in a jean jacket in (naturally) Las Vegas. As they try to rebuild society, a holy war hangs in the balance and everyone must make a “stand.”
The book has everything: sex, intrigue, suspense and even a teen mom. The novel has already been turned into a successful graphic novel for Marvel that turned the 800-plus page epic into a 31-issue comic book series. The book was also made into a memorable television mini-series starring Gary Sinise, Rob Lowe, and Laura San Giacomo a few years ago.
Our obsession with the zombie apocalypse is still in full force with the success of The Walking Dead and movies like 28 Days Later, World War Z, and the comedy Zombieland. The Stand offers a shocking alternative. What if the world is completely full of dead bodies and the survivors must survive a world with no laws? How would people survive? Rather than a throng of bodies chasing you, what if it was just silence and death. This vision of a post-apocalyptic world hasn’t really been handled by mainstream cinema. It has the makings of a Harry Potter/Hunger Games -style epic.
We aren’t just obsessed with zombies. This is the End proved that the Book of Revelations is still ripe for artistic interpretation. It also brought up some interesting quandaries. What if we lived in a world without electricity? Running water? The Stand features people living in such a world. What would we do in a world without the Internet where the bulk of our technology is utterly useless?
The Stand takes a very unique view of a post-apocalyptic society. 99% of the population dies and the survivors must navigate a world with no power, dead bodies everywhere, and no laws. Added to all that is a Holy War. Hopefully, someone can jump on this film quick and make it happen. After all, The Hunger Games only has two films left.
Warner Bros via Everett Collection
As we eagerly await (wait, wait, wait) the distant release date of Fantastic Beasts and Where to Find Them, why not rewatch some of the Harry Potter films? Which one was your favorite? Here are ours, ranked worst to best.
Sorcerer's Stone/Chamber of Secrets
Both so bad they don't even deserve their own ranking.
Order of the Phoenix
Many name Order of the Phoenix as their least favorite book – Harry's angrily depressed for a good portion of the story, and that's not exactly fun for the readers. A lot of that dementor-y angstiness carries over to the film, which doesn't make for the best cinematic experience. Quibbles aside, we can all agree that Imelda Staunton was the perfect Umbridge.
Goblet of Fire
This one gets a lot of hate (they did cut out a lot of the best moments), but I don't know; the awkwardness of the whole Yule Ball debacle kind of saves it for me. Oh, and the adorable Beauxbatons hats.
Deathly Hallows Part I
People say that Deathly Hallows is basically Harry Potter and the Never-ending Camping Trip. Which, okay, it kind of is. But I think the marriage between the book and the movie worked well here – even though Daniel Radcliffe/Emma Watson's chemistry had everyone clamoring for a rewrite of the Hermione/Ron storyline.
Half-Blood Prince was awesome, right? Right? ::crickets:: At least JKR's got my back (it was reportedly her favorite of the first six). I loved the balance of humor and darkness in this one. The Felix Felicis scene? Daniel Radcliffe at this best. And the extra material that Rowling added about Professor Slughorn's remembrances of Lily Evans? Absolutely beautiful.
Deathly Hallows Part II
A just conclusion for a franchise that went on for roughly a decade – it certainly went out on a bang (well, a bang followed up by that infamously bad epilogue, anyway).
Prisoner of Azkaban
Prisoner of Azkaban was such a breath of fresh air after the first two butcheries, was it not? Many hail it as the film that saved the franchise – it finally captured the humor of the books, and the Harry/stag patronus scene continues to get me time after time. And honestly, the entire time turner sequence made for some popcorn poppin' cinema.
Returned to television to helm several episodes of the BBC miniseries, "The Sins"
Directed Jim Broadbent in "The Young Visiters"
Directed the seventh and final instalment in the Harry Potter film series, "Harry Potter and the Deathly Hallows"; film released in two parts, Part 1 in November 2010 and Part 2 in July 2011
Directed Richard Curtis' Emmy Award-winning script "Girl in the Café" for the BBC and HBO; earned an Emmy nomination for Outstanding Directing for a Miniseries
Directed several episodes of the British police series "The Bill"
Hired to direct the fifth Harry Potter movie, "Harry Potter and the Order of the Phoenix"
Helmed the two-part British series "Sex Traffic"
Directed the dramatic short "Oranges and Lemons" for the BBC
Debuted as a feature director with "The Tichborne Claimant"
Directed the BAFTA nominated short film, "Rank"
Filmed first short "When I Was a Girl"
Returned to direct the sixth Harry Potter film, "Harry Potter and the Half-Blood Prince"
Directed the adaptation of Anthony Trollope's satire "The Way We Live Now"
Helmed the BBC miniseries "State of Play"; earned a BAFTA nomination for Best Drama Serial
A skilled director with a strong visual style and a flair for realism who crafted stories of modern intrigue and corruption, David Yates made the rare jump from working on edgy television projects in his native England to overseeing one of the world's most lucrative film series. After a decade-long journey which brought him to the forefront of small screen drama, Yates hit his stride with the arresting political dramas "State of Play" (2003) and "Sex Traffic" (2004), both of which lead to BAFTA Awards recognition and the unlikely assignment of taking over the blockbuster "Harry Potter" franchise. Of course, his British roots may have explained a bit of why he was brought to Hollywood to begin work on "Harry Potter and the Order of the Phoenix" (2007), but his penchant for rather bleak material in the past might not have put him on top of the list for desired directors. It was, however, his work on British television that caught the attention of producers, allowing Yates to settle in to direct the final four installments to the series. Following "Order of the Phoenix," he directed "Harry Potter and the Half-Blood Prince" (2009), and the highly anticipated finale "Harry Potter and the Deathly Hallows: Part 1" (2010) and "Part 2" (2011), each of which earned widespread critical praise while smashing box office records. Because of a certain young wizard, Yates was suddenly an in-demand filmmaker who had virtual carte blanche to direct anything he wanted.