Monday, February 20, 2017

Daily Dialogue — February 20, 2017

“There is no spoon.”

— The Matrix (1999), written by Lilly Wachowski & Lana Wachowski (as The Wachowski Brothers)

The Daily Dialogue theme for the week: Elevator. Today’s suggestion by Will King.

Trivia: All scenes that take place within the Matrix have a green tint, as if watching them through a computer monitor, while scenes in the real world have a blue tint, blue was also used at a minimum in the matrix scenes since the directors thought blue was more of a real world color despite, ironically, blue being the least often occurring color in nature. The fight scene between Morpheus and Neo, which is neither in the real world nor in the Matrix, is tinted yellow.

Dialogue On Dialogue: Commentary by Will: “This is a callback to an earlier conversation Neo had while waiting to meet the Oracle for the first time.”

https://medium.com/media/ad0f61b6730f6b476c676ab780706070/href

SPOON BOY: Do not try and bend the spoon. That’s impossible. Instead, only try to realize the truth.
NEO: What truth?
SPOON BOY: There is no spoon.
NEO: There is no spoon?
SPOON BOY: Then you’ll see that it is not the spoon that bends. It is only yourself.

Neo is approaching his final showdown with Agent Smith, and one piece of the puzzle he needs to solve is how to overcome the all-powerful agents. He has tried and failed to win on the agents’ terms, in terms of the illusory world of The Matrix. Neo now reminds himself of that illusion, that he must realize the truth. Only then can he “bend” to overcome the limits he thinks he must operate within (such as surviving being hauled to the top of an elevator shaft by the falling weights or dodging bullets).

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Daily Dialogue — February 20, 2017 was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Daily Dialogue — February 20, 2017

Why ‘Rogue One: A Star Wars Story’ Deserves the VFX Oscar

This breakdown of special effects used to create Jedha and Scarif proves that ILM should once again prevail at the Academy Awards.

Let’s be honest: there were more than a few moments in Rogue One where the use of CGI was more than evident. The decisions to bring Moff Tarkin back from the dead and reproduce a young Leia were divisive, to say the least, among Star Wars fans.

But for all the times you notice the VFX, the reel Industrial Light & Magic compiled below will show you just how many times you may have missed it.

It’s clear that there was only so much that Gareth Edwards could do with practical effects for his epic war story. That’s where ILM comes in. What’s most impressive about their work is not the massive explosions or stalking imperial marchers, but the subtle details they used to create the environments of the planets Jedha and Scarif.

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Why ‘Rogue One: A Star Wars Story’ Deserves the VFX Oscar

Kevin Smith Will Still Release ‘Clerks 3’ and ‘Mallrats 2’ in Some Form

Clerks 3 and Mallrats 2 Scripts

Just over a week ago, we learned from Kevin Smith that he was working on a sequel to Jay and Silent Bob Strike Back that would take aim at Hollywood’s nostalgia obsession by getting nostalgic himself with Jay and Silent Bob Reboot. While that was good news for his most loyal fans, it also came with some bad news about two other projects that took the director back into his own View Askewniverse.

Clerks 3 and Mallrats 2 have been in the works for awhile now, but a couple problems have held them back from being made as feature film. But since Kevin Smith loves his fans, he’s going to make sure that he gets them out to the public in some form. Find out more below.

ComicBook.com listened to the most recent episode of Kevin’s Smith’s Smodcast podcast, and there he offered this promise to his fans who want to know what Mallrats 2 and Clerks 3would have offered up:

“Sooner or later, I will put the scripts out there for Clerks 3. A comic book or something like that, so people can see it. And the same thing for Mallrats. Probably Mallrats 2, the movie script, we’ll do as a comic book or something like that.”

Smith seems more sure about the Mallrats comic than the Clerks one, and that’s likely because he has much more material for the Mallrats sequel since it started as a movie but turned into a TV series called Mallbrats instead. The episodes he wrote for that show would likely make for a good limited comic book run.

As someone who spent their teenage years enjoying Kevin Smith’s older movies, I wouldn’t mind reading the Clerks 3 script, but I probably wouldn’t be quite as interested in a Mallrats 2 comic book, but Smith has plenty of fans who would flip through those pages to find out what happened to Randall & Dante and Brodie & T.S., not to mention the supporting characters from those movies.

There is a downside to this though, and that’s Kevin Smith’s predilection towards not following through completely on comic book projects. Bleeding Cool notes:

“Smith hasn’t exactly had the best track record of follow-through with his comic books. In 2002, he launched two six issue minis at Marvel, Spider-Man/Black Cat: The Evil That Men Do and Daredevil/Bullseye: Target. The former was delayed by three years before being completed, and the latter only ever managed to see one issue published. Smith’s 2010 Batman mini-series, The Widening Gyre, was meant to be 12 issues, but ended at six when it became clear Smith wouldn’t be able to complete it. The remaining issues were supposed to be published in 2014 as a new mini, Batman: Bellicosity, but that never happened either.”

That doesn’t inspired much confidence, and those were comic books where Kevin Smith was just as passionate about the characters as he probably is about his own material. But maybe Smith has a creative fire lit under his ass, and he’ll make it happen. If the comic books take too long to come to fruition, well, it just takes a few clicks to toss those Clerks 3 and Mallrats 2 scripts on the web.

 

The post Kevin Smith Will Still Release ‘Clerks 3’ and ‘Mallrats 2’ in Some Form appeared first on /Film.

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/Film

Kevin Smith Will Still Release ‘Clerks 3’ and ‘Mallrats 2’ in Some Form

Watch: How ‘When Harry Met Sally’ Teaches Us to Break Genre Conventions

‘When Harry Met Sally’ is a classic romantic comedy, right? Wrong. This video essay argues that the film actually breaks the genre.

“Genre is a set of expectations the audience has when they walk into a particular kind of movie,” Michael Tucker notes at the beginning of this new essay from Lessons from the Screenplay. A filmmaker’s job is either to conform to—or to break with—these conventions.

Although When Harry Met Sally belongs to the pantheon of great romantic comedies, Tucker’s essay argues that the film achieves much of its success by breaking the conventions associated with the romantic comedy.

“The challenge is to keep convention but avoid cliché.”

A writer is well served to “have a deeper knowledge about the genre you’re working in, and the conventions that come with it,” says Tucker. “Genre is ‘like a check-list.'”

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Watch: How ‘When Harry Met Sally’ Teaches Us to Break Genre Conventions

Sunday, February 19, 2017

The next Go Into The Story Read and Analysis Script: “La La Land”

Read the script for the hit movie musical and analyze it next week.

In 2015, we launched several initiatives at Go Into The Story. One of the best: A script read and analysis series. As a result, there are 61 scripts GITS readers have analyzed. Moreover volunteers wrote up scene-by-scene breakdowns for each script, not only to serve as a foundation for our week-long discussion, but also to create an online resource for writers. To date, we have 45 scene-by-scene breakdowns.

Beginning tomorrow Monday, February 20, we will spend a week digging into and analyzing the movie script La La Land, written by Damien Chazelle.

To date, the movie has grossed $ 297M in worldwide box office revenues. With a production budget of a reported $ 30M and award season accolades still to come, it is an undeniable smash hit. Ironically no movie studio wanted to make this movie, yet it has resonated with audiences. Why? That will be a central question we’ll consider as we analyze the script.

Our daily schedule next week:

Monday: Scene-By-Scene Breakdown
Tuesday: Major Plot Points
Wednesday: Characters
Thursday: Themes
Friday: Dialogue
Saturday: Takeaways

You may download the script for La La Land here.

Join in the conversation and analysis starting tomorrow!

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The next Go Into The Story Read and Analysis Script: “La La Land” was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

The next Go Into The Story Read and Analysis Script: “La La Land”

Watch: Every Best Animated Feature Winner Ever

Celebrate all of the Best Animated Feature winners in Oscar history by watching this sweet supercut.

Okay, so the history of the Best Animated Feature Award at the Oscars isn’t a long one, in fact, it wasn’t even created until 2002, the year Shrek took home the prize. However, the animated film about an ogre and his donkey wasn’t the first animated film to be recognized by the Academy. Outstanding works like those of Walt Disney Pictures and Toy Story were simply given special awards, and it wasn’t until Beauty and the Beast in 1991 that an animated film received the highest honor of Best Picture.

But due to a rise in production of animated films from studios like DreamWorks and Pixar at the turn of the century, the Academy decided that the genre deserved its own dedicated award, and thus the Oscar for Best Animated Feature was born.

This year, Moana, My Life as a Zucchini, The Red Turtle, and Zootopia are the animated films vying for the prize, so to celebrate, check out this supercut from Burger Fiction of every single film that has won the award so far.

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Watch: Every Best Animated Feature Winner Ever

2016 Spec Script Deals

Analysis of all the spec script deals in 2016.

Spec Script Spirit Guide — Joe Eszterhas

2016 Spec Script Deal List

2016 Spec Script Deals Analysis: Genres

2016 Spec Script Deals Analysis: Buyers

2016 Spec Script Deals Analysis: Agents and Managers

2016 Spec Script Deals Analysis: Top Sales

2016 Spec Script Deals Analysis: First-Timers

For The Definitive Spec Script Deals List [1991–2016], go here.

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2016 Spec Script Deals was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

2016 Spec Script Deals

‘LEGO Batman’ Tops Presidents’ Day Weekend, ‘Great Wall’ Leads Newcomers

The LEGO Batman Movie topped the weekend box office for a second week in a row, holding off a trio of newcomers led by Universal’s The Great Wall. Fellow new releases, Fist Fight and particularly Fox’s A Cure for Wellness, fizzled in their respective debuts as the start of 2017’s Presidents’ Day weekend saw the top twelve come in 47% behind last year. While that was mostly to be expected, it’s a rather significant dip as 2017 is currently pacing 10.4% behind 2016’s yearly grosses. With …
Box Office Mojo – Top Stories

‘LEGO Batman’ Tops Presidents’ Day Weekend, ‘Great Wall’ Leads Newcomers

Fox News anchor blasts Trump for calling media ‘enemy of the American people’

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Chris Wallace from Fox News isn’t happy Donald Trump called the media an “enemy of the American people,” and on Sunday, he let the president’s chief of staff know it. 

Talking on Fox News Sunday, the veteran news reporter — himself a former White House correspondent — pushed back against Trump’s comments (made on Twitter, of course) to Reince Priebus.

“But you don’t get to tell us what to do, Reince,” Wallace said. “You don’t get to tell us what to do any more than Barack Obama did.  Barack Obama whined about Fox News all the time, but I got to say, he never said that we were an enemy of the people.” Read more…

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Fox News anchor blasts Trump for calling media ‘enemy of the American people’

Watch: First Full Trailer for Terrence Malick’s Music Film ‘Song to Song’

Song to Song Trailer

“We thought we could just roll and tumble, from song to song, kiss to kiss…” Broad Green Pictures has debuted the first official trailer and poster for Terrence Malick’s latest feature film, titled Song to Song, set in and filmed around the Austin, Texas music scene. This was filmed a few years ago around the same time as Knight of Cups, but took Malick years to finish editing and finalizing it. The main cast includes Ryan Gosling, Michael Fassbender, Rooney Mara, and Natalie Portman, as well as Haley Bennett and Cate Blanchett. Featuring Malick’s iconic sweeping, swooping, dreamy cinematography (from Emmanuel Lubezki), the film definitely captures the vibe and emotions of the Austin music scene. This actually looks pretty damn good – but most of Malick’s movies look great from the trailer. Still, you should check this out. ›››

Continue reading Watch: First Full Trailer for Terrence Malick’s Music Film ‘Song to Song’

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Watch: First Full Trailer for Terrence Malick’s Music Film ‘Song to Song’

Великий комбинатор — креативный директор медиаагентства — МедиаПартнер

Великий комбинатор — креативный директор медиаагентства — МедиаПартнер



Теория креативного управления

Что значит – управлять творческой командой? Это все равно что сказать водопаду: «Ты давай того, поосторожнее здесь, не очень-то брызгайся! И вообще у тебя какая задача? Правильно, турбину крутить, вот и крути». Можно, конечно, только говорить. Но не занимал бы креативный директор свою должность, если бы в его арсенале было только красноречие. В общем, нормальная управленческая работа с определенными нюансами.
kreativ direktХороший креативный директор – это третейский судья между разными инстанциями как внутри агентства, так и при работе с клиентами. Нужно уметь понять то, чего хочет клиент, сформулировать идею так, чтобы клиент понял, что ему продают. Задание «иди туда, не знаю куда» для креативного директора заканчивается тем, что он возвращается и приносит «то, не знаю что».
Он должен принять бриф у эккаунт-менеджера без предварительной формулировки «наш товар самый лучший, покупайте только его». Бывает так, что задача поставлена грамотно и по всем параметрам выверена, но реально сделать из нее хорошую идею довольно сложно. Поэтому ее нужно привести в такой вид, чтобы творческая команда могла приступить к работе и ее можно было воплощать.

If You’ve Never Used a Wireless Transmitter with a Boom Mic, You Might Want to Now

Wireless transmitters aren’t just for lav mics, you know.

There are obvious benefits to the lavalier microphone/wireless transmitter combo: it’s easily hidden, it’s unobtrusive for subjects to wear, and produces pretty decent sound. But what if you hooked a boom mic up to a wireless transmitter? In this video from Indy Mogul, Knoptop talks about various advantages the wireless boom audio setup can have in different phases of a film project. Check it out below:

If you’re one of those “if it ain’t broke don’t fix it” kind of people, I’m right there with you. I’ve never once considered connecting a boom mic to a wireless transmitter, but Knoptop brings up some intriguing points in the video that piqued my interest.

For one, using this kind of set up will take out the moderately frustrating task of synching sound in post, because it records it directly into your camera. Second, your talent can feel free to move around, touch their shirt, etc. without worrying about causing any noise issues. The third and probably most obvious benefit is that not having to deal with any super long audio cables is pretty damn convenient.

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If You’ve Never Used a Wireless Transmitter with a Boom Mic, You Might Want to Now

Berlin: Hungarian Love Story ‘On Body and Soul’ Wins Golden Bear Award

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The eccentric dramedy, set in a Hungarian slaughterhouse, beat out favorite ‘The Other Side of Hope,’ which won Aki Kaurismaki Berlin’s best director honor.

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Movies

Berlin: Hungarian Love Story ‘On Body and Soul’ Wins Golden Bear Award

‘Ghost Hunting’ (‘Istiyad ashbah’): Film Review | Berlin 2017

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A group of Palestinian ex-prisoners re-enact their nightmarish interrogation memories in director Raed Andoni’s prize-winning Berlinale documentary, ‘Ghost Hunting’.

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‘Ghost Hunting’ (‘Istiyad ashbah’): Film Review | Berlin 2017

Watch: 4 Things All Great Edits Have in Common

What exactly does a good cut look like?

If you asked Oscar-winning editor Walter Murch what a good cut is, he’d explain that it would satisfy all six elements of his famous “Rule of Six” all at once: emotion, story, rhythm, eye trace, 2D plane of screen, and 3D space. If that totally went over your head just now, don’t worry—you’re not alone. If you’re not quite there with your editing education, perhaps this video from Sareesh Sudhakaran of wolfcrow will simplify these concepts into four necessary requirements for all good edits.

According to Sudhakaran, a good cut must contain the following four elements:

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Watch: 4 Things All Great Edits Have in Common

Daily Dialogue — February 18, 2017

Scarlett: Sir, you should have made your presence known.
Rhett Butler: In the middle of that beautiful love scene. Now that wouldn’t have been very tactful would it?
Scarlett: Oh! You, sir, are no gentlemen.
Rhett Butler: And you, Miss, are no lady. [She is shocked and hurt] Don’t think I hold that against you. Ladies have never held any appeal for me.

Gone With the Wind (1939), screenplay by Sidney Howard, novel by Margaret Mitchell

The Daily Dialogue theme for the week: Period Piece, suggested by @etom212.

Trivia: At nearly four hours long, this is the longest running of all movies to win the Best Picture Academy Award.

Dialogue On Dialogue: The movie had to do homage to the dialogue in the beloved novel while playing to the strengths of the individual actors.

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Daily Dialogue — February 18, 2017 was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Daily Dialogue — February 18, 2017

Saturday, February 18, 2017

Daily Dialogue theme next week: Elevator

Join the Daily Dialogue crew: 3,201 consecutive days and counting.

The Daily Dialogue theme for next week: Elevator.

“The characters you meet. Something happens to men in elevators. Must be the change of altitude. The blood rushes to their head or something.”

Think about it. A lot of memorable movie scenes take place in an elevator. It’s often a strange nexus point between characters. Complete strangers. Acquaintances. They know each other well. Or not. Generally features awkward conversation.

Let’s see if we can come up with 7 good examples of elevator movie dialogue.

What to do:

  • Copy/paste dialogue from IMDb Quotes or some other transcript source.
  • Copy/paste the URL of an accompanying video from YouTube or some other video source.
  • Any trivia about the movie which you think would be of interest to readers, we always welcome that.

I’d also ask you to think about why the dialogue is notable. Is there anything about the dialogue which provides some takeaway related to the craft of writing? If so, feel free to share your Dialogue On Dialogue

Consecutive days of Daily Dialogue posts: 3,201.

Be a part of the proud Daily Dialogue tradition, post a suggestion in a RESPONSE, and have your name emblazoned on a blog post which will forever hold a hallowed spot in the Go Into The Story archives!

Upcoming schedule of themes:

February 27–March 5: Sidekick [Angry Cyborg]
March 6-March 12: Famous Last Words
March 13-March 19: Jealousy [Shannon Corbeil]
March 20-March 26: Insult
March 27-April 2: Cemetery [Angry Cyborg]
April 3-April 9: Job Interview
April 10-April 16: Shame [Jenny McNabb]
April 17-April 23: Lying
April 24-April 30: Coming Out [Angry Cyborg]
May 1-May 7: Meet Cute
May 8-May 14: Revelation [@etom212]
May 15-May 21: Mealtime
May 22-May 28: Hospital [Angry Cyborg]
May 29-June 4: Seduction
June 5-June 11: Triumph [Shannon Corbeil]
June 12-June 18: Telephone
June 19-June 25: Unexpected Death [Angry Cyborg]
June 26-July 2: Voiceover

That takes us through half the year and we have some more courtesy of Angry Cyborg: Breaking the Law, Tirade, Revenge, Church, Cliché. If you have any suggestions for Daily Dialogue themes, please post them in a RESPONSE and I’ll be happy to consider them for the series.

Be sure to post your ideas for this week’s theme: Elevator.

Continued thanks to all of you Daily Dialogue devotees, your suggested dialogue and dialogue themes. Grateful for your ongoing support of this series!

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Daily Dialogue theme next week: Elevator was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Daily Dialogue theme next week: Elevator

Berlinale 2017: Mangold’s ‘Logan’ is an Excellent Wolverine Western

Logan Review

Let’s make this clear right at the start – this is not another Marvel Studios movie. Logan is a stand-alone, outstanding, one-of-a-kind X-Men movie made for adults. It’s violent as all hell, emotional and captivating, gritty and grounded, and exciting to experience. Director James Mangold really hit a home run with this one, bucking the trend and going with his gut to deliver a superb “Wolverine Western”. I had to see Logan twice at the Berlin Film Festival before writing this review, to confirm how awesome it is. I haven’t enjoyed watching an X-Men movie this much in such a long time, and I’d say this is easily one of the best X-Men movies. It’s not really an X-Men movie, but it actually is – there’s so much mutant mythology hidden within. ›››

Continue reading Berlinale 2017: Mangold’s ‘Logan’ is an Excellent Wolverine Western

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Berlinale 2017: Mangold’s ‘Logan’ is an Excellent Wolverine Western

‘The Leftovers’ Season 3 Trailer: It’s Getting Downright Apocalyptic Out There

the leftovers season 3 trailer

In its second season, HBO’s The Leftovers reinvented itself. While the first season, noteworthy for its unrelenting grimness and incredible sense of dread, made for gripping and divisive television, the second season did something remarkable: it became fun. And more importantly, it became fun without sacrificing that uncomfortable tone and those complicated characters and the overwhelming sense that nothing is okay and it never well be okay and everyone is going to die.

So when I watch the new trailer for the show’s third and final season, I find myself filled with equal amounts of dread and giddiness – we’re all going to have a great time feeling really bad.

Like the first season 3 teaser, this trailer is heavy on suffocating atmosphere and light on plot, promising that the Garvey clan’s journey to Australia will be fraught with spiritual mayhem and apocalyptic imagery. Season 2 featured Justin Theroux‘s Kevin Garvey literally escaping the afterlife after being murdered, so the grand finale is going to have to find a way to top that special kind of insanity.

While it’s hard to make too much sense of what’s going on amidst that imagery, one thing is very clear: both Theroux and Carrie Coon will have plenty of opportunities to put on their despair faces. And no one on television wears despair faces quite like those two.

The big question is whether or not The Leftovers season 3 will choose to fully address the various impossible events that have cropped up over the past two years, or do as the theme song suggests and “let the mystery be.” After all, this has always been a show that has been less about understanding the world and more about understanding that you will never understand the world.

In any case, series showrunner Damon Lindelof has been giving a lot of thought about how they’ll end the show:

The big thing we gotta figure out for season three is: Where are we going to end it? What’s the last episode of this series going to be? We’ll design the entire season basically building up to that moment. I think there was a very purposeful circularity between seasons one and two, with the ‘wherever you go, there you are’ theme of it all. We decided to end the second season very similar to the first season. The Garveys felt like they could pickup and go to this place the Departure didn’t happen, but lo and behold, the same exact thing happened. The only safe place is the place you’re surrounded by the people you love. We can’t do that again, and not just because the audience is expecting it, but because we were telling a story about geography in season two, while season three is going to be something else entirely.

The end begins for The Leftovers on April 16, 2017.

The post ‘The Leftovers’ Season 3 Trailer: It’s Getting Downright Apocalyptic Out There appeared first on /Film.

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‘The Leftovers’ Season 3 Trailer: It’s Getting Downright Apocalyptic Out There

DC’s ‘Shazam’: ‘Lights Out’ Helmer David F. Sandberg in Talks to Direct

Shazam

DC’s Shazam has been in development for several years now, but it hasn’t shown any serious forward momentum since it cast Dwayne Johnson as Black Adam back in 2014. With that 2019 release date slowly creeping up, though, Warner Bros. is finally ready to take its next big leap forward. The studio has reportedly tapped director David F. Sandberg (Lights Out) to direct.

TheWrap reports that Sandberg is currently in talks to be the new Shazam director. Sandberg is a Swedish director who made his feature directing debut last year with Lights Out, based on his own horror short. (It was a big enough hit that it’s already got a sequel in the works.) Since then, he’s also directed Annabelle 2, which will be out later this summer. Shazam is currently scheduled to open April 5, 2019, so Sandberg should have plenty of time to get things together — which is a relief, since some of Warner Bros.’ other DC projects have suffered from a rushed production schedule.

The role of Shazam has not been cast. For that matter, none of the roles besides Black Adam have been cast. But with Sandberg on board, we can probably expect this project to start picking some serious steam in the coming months.

Formerly known as Captain Marvel (no relation to Marvel’s Captain Marvel), Shazam is the superheroic alter ego of Billy Batson, a young boy who can transform himself into an adult superhero by shouting “Shazam!” His powers were gifted to him by an ancient wizard called Shazam, and include superhuman strength and speed, flight, invulnerability, and magic. Johnson’s Black Adam also had those powers once, but lost them before he was corrupted. If that all seems pretty complicated even by comic book standards, it’s partly because the characters started out with Fawcett Comics in the 1940s before being folded into the DC universe in the 1970s.

For its part, the studio seems really high on Shazam — or at least on Johnson’s portrayal of Black Adam in Shazam. They’ve already gone ahead and announced a separate Black Adam standalone movie to follow Shazam. That one doesn’t have a release date yet.

The post DC’s ‘Shazam’: ‘Lights Out’ Helmer David F. Sandberg in Talks to Direct appeared first on /Film.

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DC’s ‘Shazam’: ‘Lights Out’ Helmer David F. Sandberg in Talks to Direct

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