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PostPosted: Fri Sep 01, 2017 8:46 pm 
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Cue the black-actor-replaced-with-white-actor PC outrage on social media? 8-[


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PostPosted: Tue Sep 05, 2017 5:52 pm 
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Trevorrow is gone, thank goodness


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PostPosted: Tue Sep 05, 2017 5:57 pm 
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Joined: Fri Jun 24, 2016 12:32 pm
Finally some good news today! Maybe David Lynch will accept this time around...


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PostPosted: Tue Sep 05, 2017 5:59 pm 
Dot Com Dom
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Thank God. Even with the producers' less than stellar reputation of interfering with directors, they could probably get literally anyone they wanted and his choice never made sense


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PostPosted: Tue Sep 05, 2017 6:00 pm 
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I expect the casual switcheroo Disney did with Toy Story to make sure Incredibles 2 would be pushed up to be next year was done totally aware it would free up Brad Bird for this if needed, the person they've most wanted for this franchise since the acquisition (and the one who brought them Trevorrow in the first place)


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PostPosted: Tue Sep 05, 2017 6:06 pm 
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Ribs wrote:

I'm not sure this is the saving grace it would have been were he never signed on. Disney seems pretty confident about their release schedule, so surely Trevorrow started pre-production?


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PostPosted: Tue Sep 05, 2017 6:19 pm 
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Brad Bird would be a blessing, but at the rate they've been going lately I'd half expect them to bring in some bland journeyman like Edward Zwick to direct.


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PostPosted: Tue Sep 05, 2017 6:23 pm 
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Frankly I'd rather Bird do something weird and personal. His journeyman efforts so far have been significantly less good than his other stuff.


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PostPosted: Tue Sep 05, 2017 6:25 pm 
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Same goes for Rian Johnson and J.J. Abrams, if we’re playing that game.


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PostPosted: Tue Sep 05, 2017 6:29 pm 
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Location: SLC, UT
This must be a fun day for Colin Trevorrow to read about himself on the internet.


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PostPosted: Tue Sep 05, 2017 6:32 pm 
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mfunk9786 wrote:
Same goes for Rian Johnson and J.J. Abrams, if we’re playing that game.

I think, to be fair, Abrams was being used in just the right way and would more heavily level the poor use of journeyman claim to his Star Treks. Whereas those films are plainly antithetical to what works for him Star Wars and, ironically, Mission: Impossible are things he would seemingly come to independently anyway.


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PostPosted: Tue Sep 05, 2017 6:33 pm 
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I mainly meant that Super 8 was better than all of them.


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PostPosted: Tue Sep 05, 2017 6:37 pm 
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That is not something I could argue with, though I by a hair preferred Force Awakens.


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PostPosted: Tue Sep 05, 2017 7:01 pm 
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Perhaps he couldn't figure out a way write episode 9 with Carrie's passing. Does this mean Johnson at least writes episode 9?


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PostPosted: Tue Sep 05, 2017 7:26 pm 
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I think it'd depend on who ends up directing - I think there's a very real possibility that Disney had Brad Bird tentatively sign some in-case-of-emergency late-addition thing as part of doing the Incredibles and that they'd been kind of planning to force him into doing it on this exact relatively late-in-the-day scenario as it'd be the only way he'd come aboard. I can't imagine Johnson being brought in to cowrite without getting him to direct (a very realistic possibility as Last Jedi is inevitably approaching a final edit), though.


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PostPosted: Tue Sep 05, 2017 7:29 pm 
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Ribs wrote:

What's most interesting about the director conflict this franchise has engendered is just how fragile the egos are of most hollywood directors.

That is to say, no hollywood feature director has EVER been in a situation where he (and it's always a he) felt like he wasn't the most powerful person on his project. Certainly with more power than the producers, even if they were technically his boss. The auteur theory that has been the utter and total dominance of all american film education (they teach you you have to act like an auteur, not how to block a shot) since Sarris translated the cahiers stuff, has led to a profoundly entitled culture where the directors believe themselves to be sacrosanct and every one else goes along with it.

That's one of the key differences between the current television regime and the feature film world (since the two are largely segregated), in television, the producers hold all the power.

So it's very interesting that Kennedy et al are establishing a new standard for features, and are running the franchise as though it were a TV production. ironic, considering Lucas was one of the brat generation director celebs that made the auteur theory root so strongly in american film ethos.

(on TV, no one ever wants to hire a feature director, since they're considered borderline incompetent at executing their jobs, likely to go six times over budget and annihilate the calendar of any series willing to take the risk. Often times the only time a celebrity director does a TV show for an established series is because network ordered it and is willing to take the budget and schedule brutality for the publicity).

So it is interesting that Abrahms--a TV director first--was the one that was able to easily transition into the TV esque system they are using on the star wars franchise. I wonder if he was partially responsible for some of these characteristics carrying over into the management of the new films?


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PostPosted: Tue Sep 05, 2017 7:32 pm 
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I mean, the Bond franchise has done this producer before director and even sometimes star thing for a long time, too, it's just weird that it's become the dominant mode for every single other franchise rather suddenly over the past decade.


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PostPosted: Tue Sep 05, 2017 7:38 pm 
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I think producer first mentality has become part of the big IP business idea- I doubt any of the directors on the Harry Potter movies had absolute control, and it's pretty clear that Del Toro did not on The Hobbit, nor Edgar Wright on Ant Man.


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PostPosted: Tue Sep 05, 2017 7:44 pm 
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Yeah, since the '80s at least the idea of producer as semi-auteur has been pretty dominant especially on IP films. I also highly doubt this is the case with Trevorrow who is if anything notorious at this point for being a producer's dream director. Likely the reasoning is more complicated (maybe the failings of Books of Henry did do him in) then the annulment line that they pulled out of the handbook.


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PostPosted: Tue Sep 05, 2017 8:04 pm 
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I don't necessarily know if this is such a new idea; isn't this the way a lot of big budget studio era movies were made? Gone With The Wind especially comes to mind, what with the movie cycling through three directors.


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PostPosted: Tue Sep 05, 2017 8:07 pm 
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I took the original criticism as post-studio focused.


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PostPosted: Tue Sep 05, 2017 9:12 pm 
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I think Ava Duvernay or Ryan Coogler would be inspiring choices.


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PostPosted: Tue Sep 05, 2017 9:33 pm 
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FWIW, Deadline's initial piece about who might replace him literally mentions only Johnson with no one else seemingly on the shortlist.


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PostPosted: Tue Sep 05, 2017 9:59 pm 
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I mean, at this point they might as well just prop up a dead person as a stand-in for how committee-controlled the process seems to be.


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PostPosted: Wed Sep 06, 2017 4:20 am 
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movielocke wrote:
That is to say, no hollywood feature director has EVER been in a situation where he (and it's always a he) felt like he wasn't the most powerful person on his project. Certainly with more power than the producers, even if they were technically his boss. The auteur theory that has been the utter and total dominance of all american film education (they teach you you have to act like an auteur, not how to block a shot) since Sarris translated the cahiers stuff, has led to a profoundly entitled culture where the directors believe themselves to be sacrosanct and every one else goes along with it.

That's one of the key differences between the current television regime and the feature film world (since the two are largely segregated), in television, the producers hold all the power.

So it's very interesting that Kennedy et al are establishing a new standard for features, and are running the franchise as though it were a TV production. ironic, considering Lucas was one of the brat generation director celebs that made the auteur theory root so strongly in american film ethos.

(on TV, no one ever wants to hire a feature director, since they're considered borderline incompetent at executing their jobs, likely to go six times over budget and annihilate the calendar of any series willing to take the risk. Often times the only time a celebrity director does a TV show for an established series is because network ordered it and is willing to take the budget and schedule brutality for the publicity).

So it is interesting that Abrams--a TV director first--was the one that was able to easily transition into the TV esque system they are using on the star wars franchise. I wonder if he was partially responsible for some of these characteristics carrying over into the management of the new films?
This is hardly a new concept for the SW franchise; both TESB and ROTJ were also made this way, after all, with Lucas more or less serving as the 'grand overseer,' so to speak, for both movies and Kershner and Marquand serving as directors do in TV (I know it's become fashionable to downplay Lucas' involvement with the former since it's largely regarded as the best outing in the series, but whatever :roll: ). As a result, despite his initial 'auteur' status, one could also cite him as at least partially responsible for the current movie environment of the producers having more of a say in the final cut of a potential blockbuster movie franchise, just as it was in the Old Hollywood studio era. I've always been led to believe in the concept that film is the director's medium, television is the producer's medium, theatre is the actor's medium, literature is the writer's medium, etc., but there are clearly always going to be producers/publishers in each medium who care far more about the short-term bottom line than making something that will potentially still be relevant for generations to come.


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