We've seen a pretty steady stream of news making its way off the set of Transformers 3 in the last two weeks as production has gotten underway, but all of that information can get overwhelming! Here, we bring you the most important, most up-to-date gossip, as well as at least one more unnecessary photo of Rosie Huntington-Whiteley.
Transformers 3 will be in 3D:
Although Michael Bay previously dismissed 3D as "a gimmick," adding "the way I shoot is far too aggressive for 3D cameras," the director has reportedly had a change of heart… probably after noticing how Avatar (3D) and Alice in Wonderland (3D) grossed $2.7 billion and $1 billion respectively from higher ticket sales.
Plot details confirmed:
Bay will be filming a number of scenes in Washington D.C. for the third Transformers, which deals in part with the space race between the U.S. and the U.S.S.R. during the Cold War. Apparently, the presence of giant alien robots had more to do with Sputnik and Buzz Aldrin than we originally thought.
Speaking of plot, Bay is adamant that the final chapter of the Transformers trilogy will have considerably more drama and less goofy humor than in the first two films. "One thing we're getting rid of is what I call the 'dorky comedy,'" the director said recently. "So the twins, the two bumbling, slang-spewing robots? They're basically gone." And while John Turturro will remain on-hand for comic relief, Bay says, "the movie is more of a mystery. It ties in what we know as history growing up as kids with what really happened. As a trilogy, it really ends. It could be rebooted again, but I think it has a really killer ending." That killer ending will involve the film's confirmed villain, Shockwave, who will menace both Shia and audiences with his (its?) single robotic eye and laser-gun-equipped robo-arm.
Michael Bay and producer Lorenzo di Bonaventura apologize for Transformers: Revenge of the Fallen:
"We tried to do too many things in the second movie, which didn't give enough time in any one of them," Di Bonaventura said in a recent interview. "We were constantly jumping to the next piece of information, the next place."
"I'll take some of the criticism," Bay added, even as he attempted to dodge the blame. "It was very hard to put [the sequel] together that quickly after the writers' strike [of 2007-2008]. ...This one really builds to a final crescendo. It's not three multiple endings."
Bay's optimism appears to be validated by reports from insiders close to the director, who have confirmed that the script for T3 is significantly better than that of Transformers: Revenge of the Fallen.
And one last bit of "news" to leave you with something to think about:
Megan Fox's replacement, Victoria's Secret model Rosie Huntington-Whiteley, reportedly wore a white, transparent lingerie top and panties for her love scene audition with Shia LaBeouf. At that point, Huntington-Whiteley already had the part, but Michael Bay wanted to make sure that she and LaBeouf "gelled." Apparently they did indeed "gel." Don't even think about it, LaBeouf! Huntington-Whiteley already has a boyfriend, and his name is Jason Statham. You don't mess with that guy.
The story was made famous by the Brothers Grimm and is best remembered in 1937 animated Disney classic, Snow White and the Seven Dwarfs, but other incarnations have included little-known 1997 horror Snoww White: A Tale of Terror, starring Sigourney Weaver and Sam Neill.
Now Hollywood executives are hoping to follow the success of Tim Burton's recent re-imagining of Alice In Wonderland by bringing Snow White back to the big screen in an "edgier" modern tale called The Brothers Grimm: Snow White.
X-Men: The Last Stand director Brett Ratner will act as a producer on the project.
Meet Bill director Bernie Goldmann, who is also producing, reveals several high-profile names have already expressed an interest in the film, but he's refusing to divulge any details.
He tells Variety.com, "Talent and directors of the highest level have already responded to the new, edgier concept, and to (the) script.
"While retaining the elements of the beloved Brothers Grimm tale, this is certainly not your mother's Snow White."
Last week The Walt Disney Company announced that their Spring hit Alice in Wonderland had officially crossed the $1 billion mark in global gross only the sixth film in history to do so. As if they foresaw this financial milestone when they controversially announced their DVD/Blu-ray roll out weeks before the films bow (with a shorter-than-usual window between releases) they unleash their maelstrom of home entertainment products today riding on the success of Alice’s theatrical run and boasting the annual box-office crown. You’ve got to hand it to the Mouse House they can capitalize from and merchandise a property like none other.
But is the hefty price of the top product the Blu-Ray/DVD/Digital Copy package worth it? It depends on what you’re looking for. If you and/or your family loved going down Tim Burton’s colorful but convoluted rabbit hole then you’ll probably like the fact that you can get both discs plus the digital copy in one purchase (that way your Red and White Queen’s at home won’t have to go to war over it).
However the special features crowd won’t be able to get truly immersed in them because each subject gets only about five minutes of coverage before you’re whisked along to the next. They throw in a little bit of something for everyone but ultimately come up short. Notable bonuses include a look at the cakes that comprised the Mad Hatter’s scrumptious table spread courtesy of the Cake Divas (love that name) and a time-lapse of Helena Bonham Carter’s grueling daily make-up ritual. Burton fans will be disappointed to know that there’s no commentary whatsoever. All in all the features are pretty flat.
The same can be said for the film itself because despite the gripes about shooting 3D vs. converting to 3D Wonderland was a hell of a lot more interactive and entertaining with the added dimension. Without it the authenticity of most of the digital characters is compromised and the green-screen-heavy visuals become tiresome as if you the viewer are switching off between a movie and a video game and don’t care about either. Luckily the films enviable cast came through for their eccentric director helping to take the focus off of his drawn-out narrative. Each actor channels the heart of their character whether that core is wicked (in the case of Carter’s Red Queen) wondrous (like Anne Hathaway’s White Queen or Michael Sheen’s White Rabbit) or just weird (Johnny Depp is particularly out-there giving his turn as Willy Wonka a run for it’s title as the actor’s most peculiar performance).
If you’ve got the capability to watch Alice in Wonderland in a large loud ludicrously cinematic environment then you’re in for an epic audio visual adventure each time you pop that disc in. Unfortunately the smaller the TV the less engrossing the experience is. Overall: an average home entertainment release for an average film.
Source: Tribeca Film Festival
After more than a week of screenings, panels and special events, the 9th annual Tribeca Film Festival is winding down and the winners have officially been announced.To read reviews on select films, including The Disappearance of Alice Creed and The Trotsky, click here. We've got the entire list of awarded works, so read on to find out what films and actors have been honored:
World Competition Categories
The Founders Award for Best Narrative Feature
"When We Leave" (Die Fremde), directed and written by Feo Aladag
Special Jury Mention
"Loose Cannons," directed by Ferzan Ozpetek and written by Ozpetekand Ivan Cotroneo
Best New Narrative Filmmaker
Kim Chapiron for "Dog Pound," written by Kim Chapiron and JeremieDelon
Best Actor in a Narrative Feature Film
Eric Elmosnino as Serge Gainsbourg in "Gainsbourg, Je t'Aime ...Moi Non Plus," directed and written by Joann Sfar
Best Actress in a Narrative Feature Film
Sibel Kekilli as Umay in "When We Leave" (Die Fremde)
Best Documentary Feature
"Monica & David," directed by Alexandra Codina
Special Jury Mention
"Budrus," directed by Julia Bacha
Best New Documentary Filmmaker
Clio Barnard for "The Arbor"
New York Competition Categories
Best New York Narrative
"Monogamy," directed by Dana Adam Shapiro, written by Shapiro andEvan M. Weiner
Special Jury Mention
Melissa Leo for "The Space Between," directed and written by Travis Fine
Best New York Documentary
"The Woodmans," directed by C. Scott Willis
Short Film Competition Categories
Best Narrative Short
"Father Christmas Doesn't Come Here," directed by Bekhi Sibiya,written by Sibongile Nkosana, Bongi Ndaba
Special Jury Mention
"The Crush", directed and written by Michael Creagh
Best Documentary Short
"White Lines & The Fever: The Death of DJ Junebug," directedand written by Travis Senger
Special Jury Mention
"Out of Infamy: Michi Nishiura Weglyn," directed and written byNancy Kapitanoff, Sharon Yamato
Student Visionary Award
"Some Boys Don't Leave," directed by Maggie Kiley, written byMatthew Mullen, Maggie Kiley
Special Jury Mention
"The Pool Party," directed and written by Sara Zandieh
Tribeca Film Festival Virtual Categories
Best Feature Film
"Spork," directed and written by J.B. Ghuman Jr.
Best Short Film
"Delilah, Before," directed Melanie Schiele
Director Tim Burton’s distinctive visual style is reflected in virtually every detail of Alice in Wonderland, right down to the hairs above his characters’ eyes. Burton’s big-budget update of Lewis Carroll’s classic children’s novels features a wide assortment of offbeat eyebrow styles, from the bushy handlebars of Johnny Depp’s Mad Hatter to the thinly-drawn parenthetical lines of Helena Bonham Carter’s Red Queen. We talked to Bonham Carter and her Alice in Wonderland co-star, Anne Hathaway, about eyebrows, acid trips, and the many other strange delights encountered in the Burtonverse:
Alice in Wonderland opens Friday, March 5, 2010.
The actress turned down the role of Alice in the fantasy film because she was tired of playing "pretty girls" onscreen.
She was delighted when Burton cast her as the White Queen, and admits she would have taken on any role to work with the legendary moviemaker.
Hathaway says, "I worked only two weeks on the movie so I decided to approach each day with absolute and unflappable gratitude that I was there and not let any nerves get in my way.
"I would have played a mushroom if Tim had asked me. I wouldn't have even needed to speak! It was just about getting some time to spend with Tim and getting to be a part of his world, but happily he asked me to play the White Queen and guided me through this interpretation that I think is kind of a little irreverent and a little left of centre."
"I'm looking forward to seeing my fake nose in the film. I always think I've got a funny face anyway. I watch myself in films and think my face is really weird." ANNE HATHAWAY on playing the White Queen in TIM BURTON's ALICE IN WONDERLAND.
Nearly a century and a half after Alice’s Adventures in Wonderland first acquainted readers with the Mad Hatter the Cheshire Cat and the rest of the peculiar inhabitants of author Lewis Carroll’s fertile imagination filmmaking technology has finally developed the tools capable of properly rendering Carroll's exquisitely twisted world on the big screen. And who better to oversee the translation than Tim Burton Hollywood’s foremost mass-market purveyor of dark quirky fantasy? If there’s any director working today who can lay claim to Carroll’s creative inheritance surely it is him.
His creation Alice in Wonderland is fashioned not as an adaptation of Carroll’s two Alice-centered books but rather a kind of sequel to them its titular heroine (Mia Wasikowska) redrawn as the mischievous 19-year-old daughter of English aristocrats. Given more to chasing small animals than attending society functions Alice is the kind of adventurous free-thinking Victorian renegade who thinks nothing of drinking suspicious beverages found at the bottom of rabbit holes.
If only she were more interesting. Burton’s Alice isn’t so much a character as she is a tour guide leading us through the director’s $150 million museum of digital delights. Virtually everything on display in the film from the giant mushrooms of the Underland forest to the bulging eyes of Johnny Depp’s (literally) mercurial Hatter was either created or enhanced inside a computer presumably one with a direct connection to Burton’s cerebral cortex. (Interestingly the enhanced Depp bears a more than passing resemblance to Elijah Wood who the producers could have gotten for a lot less money.) Much like Alice herself it’s gorgeous to look at but never particularly engaging.
Were he alive today — and reasonably coherent — Carroll himself would no doubt marvel at the visual grandeur of Alice in Wonderland its CGI world as detailed and immersive as the most vivid of his migraine-induced hallucinations. But he might frown at the short thrift given to his characters. Esteemed cast members like Anne Hathaway (The White Queen) Crispin Glover (The Knave of Hearts) and even the mighty Depp can’t hope to compete with the beauty of their surroundings — instead of actors chewing the scenery the scenery devours the actors. (A notable exception is Helena Bonham Carter the cast’s lone standout as the screeching acerbic Red Queen.)
Alice in Wonderland is really designed to function as an inoffensive family flick and in that regard it boasts more than enough pretty fluff to keep the minds of most pre-teens occupied for the duration of a Saturday matinee. But afterward they might be hard-pressed to recount details of the story which involves Alice having to find a magic sword so she can slay a giant dragon and unlock the Legend of Zelda. Or something like that.
Filled with moments of fleeting exhilaration and empty whimsy Alice in Wonderland never really grabs the viewer in any meaningful way its overall experience more akin to that of a theme park ride than a movie. Which I half suspect was Disney’s intention all along.
"I have a bra from Brokeback Mountain and now I have the White Queen's knickers (from Alice In Wonderland). They're white and frilly and I wore them the other day actually." ANNE HATHAWAY steals undergarments from her films.
The actress was asked to star as Alice in the upcoming fantasy film but opted instead to play the White Queen - because she had previously played a pretty protagonist in The Princess Diaries movies which launched her career.
The role of Alice eventually went to Australian newcomer Mia Wasikowska, but Hathaway has no regrets about her decision.
She tells Britain's GQ magazine, "The studio had the Alice script a long time ago and I was approached back then for the part of Alice. I considered it, but felt, what with The Princess Diaries, that I had been there, done that sort of pretty-girl-in-a-fairy-dress role. I told the studio, however, that if they found a director eventually, that I would be interested at a later date in playing the White Queen.
"When Tim came on board he had the cast he wanted and, of course, that didn't include me. But the other actress who was marked had scheduling conflicts, so the studio piped up and put me forward. I talked on the phone with Tim and he really liked my take. I wanted the Queen to be a cross between Debbie Harry, Greta Garbo, David Bowie, with (a) little bit of the work of Dan Flavin thrown in for good measure."
And the 27 year old is confident cinema-goers will love Burton's interpretation of the Lewis Carroll classic, adding, "I'm not sure how much I'm supposed to tell you but no one's given me my marching orders as yet. It's not exactly Alice in Wonderland, nor Through The Looking Glass. Tim has Alice come back to Wonderland - but ten years later."