But Did You Watch the Simpsons Version of Planet of the Apes?

Posted on July 18, 2017 at 8:00 am

To no one’s surprise, the critically acclaimed “War for the Planet of the Apes” was a big hit at the box office in its opening weekend. Vulture was inspired by this last of the rebooted trilogy to revisit one of its offshoots, the musical version in a “Simpsons” episode.

The bit has so many disparate parts — ’80s Austrian-pop parody, old-school-musical homage, Planet of the Apes, break-dancing, old vaudeville-style jokes — but in the hands of The Simpsons and its writers, it works. Or as Bill Oakley, one of the two showrunners at the time, told Vulture, “ was just a magic visit from the joke fairy.”

One of my favorite details: “The person running the room had never seen it, yet was able to concoct a beloved parody of it just through pop-culture osmosis.”

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Behind the Scenes Television

Godfather Cast and Director Reunion

Posted on May 4, 2017 at 8:00 am

The cast and director of “The Godfather” got together to talk about the making of the film in honor of its 45th anniversary on the last night of the Tribeca Film Festival, founded by “Godfather 2” star Robert de Niro.

The Guardian reports:

According to Coppola, he ran into roadblocks at every turn, as studio Paramount looked simply to cash in with a quickie movie based on Mario Puzo’s runaway bestselling novel.

“Without Francis, where would I be?” said Pacino, remembering how Paramount fought to cast someone else as the infamous Michael Corleone, a career-defining role for which Pacino would eventually collect two Oscar nominations.

“Once I called after he had tested six times,” Coppola remembered. “His girlfriend came on the phone and I said, ‘I just need Al to come in one more time’ and she said, ‘What are you doing to him? You’re torturing him!’ She yelled at me and berated me.”

When Pacino got the part, he considered it at length. “I used to live 90th and Broadway and used to walk to the Village and back everyday and I did it thinking about this role,” he said. “I was trying to figure out where I could go with it.”

Even casting Marlon Brando as Vito Corleone, the Godfather himself, was a headache. Executives were adamant that casting Brando wouldn’t be “commercially beneficial”, at one point even forbidding Coppola from even bringing up Brando’s name….Despite the incredible success of the two films – academy awards, status as one of the highest grossing movies in Hollywood history, a lasting cultural impact – Coppola issued a warning.

“Today it wouldn’t get a go-ahead,” he said. “The first Godfather cost $6.5m and the second cost about $11m or $12m. If you convert that, it would take a major studio (to make it), but it would never get through the process of getting an OK.

“Nothing can get a green light unless it’s a movie that they can have a whole series of, or a Marvel comic.”

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Behind the Scenes: A Dog’s Purpose

Posted on April 28, 2017 at 8:00 am

W. Bruce Cameron wrote A Dog’s Purpose to comfort his wife Cathryn Michon after the death of her dog. In this behind-the-scenes clip from the DVD release, they talk about the story and the rescue dog they love. The Dog’s Purpose DVD/Blu-Ray will be available on May 2, 2017.

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Behind the Scenes

Fast and Furious and Movie Car Chases

Posted on April 17, 2017 at 3:35 pm

The release of the eighth “Fast and Furious” movie inspired Business Insider to come up with a list of the all-time greatest movie car chases. Some of my favorites are on the list, including the early Steven Spielberg movie, “Duel,” “Smokey and the Bandit,” “Drive,” “The French Connection,” “Bullitt,” and “Mad Max: Fury Road,” but I’d add “Children of Man.” And “Transporter” is still my favorite:

https://www.youtube.com/watch?v=6xewS5I4Eho

On the other hand, Matt Singer says that movie car chases have gone, well, downhill.

These days a really good car chase is almost as rare as a Talbot Lago Grand Sport. Even the films that routinely feature car action, like the Fast and Furious series, focus much more on outlandish CGI effects (like cars fighting with tanks or falling from the sky and jumping between skyscrapers) than one car pursuing another.

That’s the biggest reason the car chase has fallen from grace, particularly in Hollywood. The studio franchise economy in 2017 is predicated almost entirely on the supernatural, the superheroic, and the fantastic, all of which are created by computers. Great car chases, in contrast, are created by real people doing real things with real cars. Big Hollywood movies these days aren’t about real people; they’re about aliens and mutants and transforming robots and boss babies and super soldiers and Vin Diesel as an immortal warlock with earthquake powers.

He gives a bad example: “From Paris With Love.” (I agree — awful movie.) He says:

It’s nonstop cutaways to multiple close-ups, multiple angles of cars spinning, cameras spinning, and the shots are all fractions of a second. Modern taste for chaotic, hyperkinetic editing does not jive with car chases. Even if there was impressive driving going on here, you can’t tell. If you can’t tell what’s going on, it’s hard to care about what’s going on….The imperfections in The French Connection remind us that what Popeye Doyle’s doing in that chase is incredibly difficult. His car is bound by the rules of physics, which will only bend so far. Superhero and fantasy movies are about effortlessly breaking those same rules. And if you can break the rules effortlessly, why bother doing it the hard way?

For more on the cars in “Fate of the Furious,” including the Lamborghini with no snow tires being chased by a submarine over the ice, check out this article from the Florida Times-Union and IndieWire’s piece on the crazy self-driving car pile-up in New York City.

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