Then why did you click through to the story to comment? I'd think that would've only exacerbated things -- now it's not just a brief glimpse of a picture on a page with many stories, but rather the only picture on a page where you knew the picture would be repeated.
I'm a complete wanker when it comes to insisting on not being spoiled about stuff especially having to do with Lost, but I'd be so happy to have this person back that I don't even care that it's spoiled.
I'm shocked by the lack of interest in this here as well as the lack of familiarity with King of Kong. Great doc, guys. Check it out.
This would be relevant (and funnier) in 1999, but now it seems a bit anachronistic. That's fitting, I suppose -- Apatow has been out of television comedy for awhile, and even when he was in it he never found commercial success. To these eyes that grew up on sitcoms exactly like this, though, I say great job.
When you're making a movie for 140 million dollars, it's a hell of a lot easier to justify that kind of outlay if you're dealing with a property that already has name recognition. Considering that Disney owns hundreds of intellectual properties that people know the name of, not capitalizing on that is foolish.
Star Trek, Dark Knight, Spiderman 2, Pirates, and many other recent movies have been old ideas made new (and good) again. It's not unoriginal ideas or recycled properties that are the problem -- it's executing them poorly.
Tavis, I believe the Armored script on the Blacklist was the one by Andrew Kevin Walker, which has been floating around at Paramount for forever and a day. Most recently, David Ayer did a rewrite on that script -- it's about a guy who's trying to catch the bank robbers who killed his son, and in order to do it he goes undercover at an armored car company where he gets embroiled in a heist. It's bloody and pretty good.
THIS script is actually a remake of a Canadian movie called Porvoir Intime from the 80's by Yves Simoneau (he directed Bury My Heart At Wounded Knee, most recently, and he's doing the V remake I think). If I'm not mistaken, he did a fresh draft of Porvoir a couple years ago and that's what Simpson worked off of for this piece of shit -- and it IS a piece of shit. Porvoir, on the other hand, is hit-you-in-the-back-of-the-neck rad.
Winter's Discontent is the most crass and funniest script I read last year. Fifteen minutes in, a woman dies while the main character is having sex with her. His friends' reaction: get used to it. It comes with the territory.
I'm torn about Extract. It was a problem-filled script that I doubt was improved before production.
It was an interesting script with some real potential, I think. We'll see if it translates. There was a great script called Passengers about ten years back (not the Jonathan Spaihts script from last year) that had some similarities in the conceit, especially in the expression of the virtual world as being a place where you control real people, but from a distance. The Sleep Dealer has that same sense of plugging in to a world far away from you, but with that movie they're controlling robots. Game is more a crazy action movie with the concepts buried under a lot of Neveldine/Taylor's prose acrobatics.
But he's stealing water. WATER!
There are so many inconsistencies with the show that I just stopped trying to reconcile all of them after awhile. Considering where BSG ended up, it seemed clear that Ron Moore was flying by the seat of his pants the entire time. The guy can write great characters and relationships, but give him anything approaching a mythology and long arc to sustain, and he'll surely muff it up. I'd rather he work on a show that was more politics and people and less big ideas and big stories.
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Thingamajig