Can the 'RoboCop' remake possibly live up to the original? That's the question on everyone's mind and what Sony Pictures was trying to prove when they brought the film to Comic-Con. We checked out the brand new 'RoboCop' footage and spoke to the cast of the film - Joel Kinnaman, Abbie Cornish and Samuel L. Jackson - plus director Jose Padilha to find out what this new 'RoboCop' was bringing to the table.
Picture this scene: Playboy and Universal Pictures host a wild party outside at Comic-Con the other night. There are stuntmen on ziplines, Playboy bunnies, lots and lots and lots of alcohol. Now imagine showing up to that party the very next morning at 9am. There are no stuntmen or models and the only alcohol left are the many random bottles still strewn around. This is when and where I meet 'Kick-Ass 2' director Jeff Wadlow.
We both look and feel a little...worse for wear. A member of the cleaning crew is nice enough to cover over with some Windex and clean off a small area for us to sit. I feel hungover. I feel like I'm back in college. It all feels very...'Kick-Ass.'
And with that, we're off and talking Comic-Con, the challenges of making a sequel and casting Jim Carrey.
We who braved the crowds and strange odors of San Diego Comic-Con had the good fortune to see the newest Marvel One-Shot, 'Agent Carter.' The short film is tremendously fun, but also touching, and gives us a little peek into what Peggy Carter did after Steve Rogers crashed his plane in the ice and saved the day from the Red Skull in 'Captain America: The First Avenger.'
Turns out she joined the OSS thinking there would be some adventure and espionage, but her sexist boss (Bradley Whitford) squanders her talents on administrative duties. Until, one night, she gets a call ...
You can check out 'Agent Carter' on the forthcoming 'Iron Man 3' Blu-ray and DVD, but we had the good fortune to speak to her at Comic-Con. And not in the usual press suite, we mean on the floor of the convention center, surrounded by fans. (Hey, time was tight and we made it work.) Below is a transcript of what went down.
One of the biggest movies at Comic-Con 2013 is 'The Amazing Spider-Man 2,' which will premiere its first footage to the excited masses in San Diego. Right before the big 'Amazing Spider-Man 2' panel, we sat down to talk with director Marc Webb about the many villains in the film, the Sinister Six and how you think you know what is going to happen in the movie but you're wrong.
Brilliantly manic but decidedly unimposing, Charlie Day doesn’t seem like the most obvious actor to be cast in a sweeping sci-fi opus like 'Pacific Rim.' But in Guillermo del Toro’s new film, Day is perfectly cast as a fanboy scientist who is as fascinated by the gigantic monsters that are attacking humankind as he is determined to stop them. He not only serves as some much-needed comic relief in the film, but provides a human counterpoint to the monolithic heroics of his co-stars, while occasionally providing a few details that become crucial to the plot.
We sat down with Day to talk 'Pacific Rim,' where the actor discussed the challenges of squaring off against one of those megaton monsters – and revealed it was pretty easy, even when they weren’t actually there. Additionally, he talked about tackling different sorts of acting challenges, in particular his openness to take on roles that push him outside the realm of comedy that he’s already conquered.
Leave it to a foreigner to make possibly Hollywood’s most archetypical American film of 2013, 'Pacific Rim.' Although Guillermo del Toro borrowed from Japanese monster movies and anime for his basic idea, set much of the film in foreign countries, and assembled a cast of characters that more or less defines "multiethnic" and "multicultural", he celebrates the West’s great melting pot, and its heroic traditions, with his story of monsters and the giant robots that humanity builds to fight them.
Del Toro didn’t stop there, however. His latest film, also his biggest, is a remarkably humanistic odyssey, buoyed not by an affection for militaristic power, or even the triumph of individual heroism, but the uplift of humanity coming together and prevailing, geographic and political borders be damned. We caught up with him for a substantial conversation about his latest film earlier this when, during which he offered some insights into the thematic underpinnings and conceptual foundations of this terrifically straightforward summer opus.
In addition to talking about the process of constructing a pure adventure story in an era where complicated mythologies dominate the moviemaking landscape, del Toro explored the film’s deeper, recurrent themes, and offered some insights into his creative approach as he tackles a horde of projects at one time, without any certainty when – or if – they might come to fruition.
"Marky Mark and the Fun Bunch." Precisely how Maya Rudolph came to incorrectly remember the name of Mark Wahlberg’s former music group is just one of the highlights of this great interview with her and Sam Rockwell, the two stars of 'The Way, Way Back,' the directorial debut of the writing team of Nat Faxon and Jim Rash. In the film, Rockwell and Rudolph play employees of a water park who help an awkward kid overcome some of his insecurities while he’s on vacation with his mother and her new, authoritative boyfriend. As a counterpoint to his oddly more dysfunctional domestic situation, the pair provide a stabilizing if unconventional influence on the boy, even if they aren’t quite funky.
Roland Emmerich, the director of such disaster-heavy films as 'Independence Day,' '2012,' 'The Day After Tomorrow' and the last 'Godzilla' movie, set his sights on the White House in 'White House Down.' Starring Channing Tatum as Secret Service hopeful John Cale and Jamie Foxx as US President James Sawyer, this "Die Hard in the White House" film starts like any other day until a team of domestic terrorists infiltrate and bring down the White House.
Pixar makes a lot of movies. A lot of great movies. So how do they do it? And more importantly, how do they keep doing it? We were invited to visit the Pixar campus in Emeryville, California to watch the 'Monsters University' team work and try to answer that very question.
First up is Story Supervisor, Kelsey Mann. He is responsible for all the storyboards for 'Monsters University,' which serve as the framework for the film, while it is being animated. We met Mann inside a plush movie theater with a workstation at the center hooked directly into the screen. He took out a digital pen and a drawing board and immediately began sketching out a scene from the film when Mike Wazowski enters his dorm room and turns on the lights. It's a drawing that would take you or I about three hours to finish but he completed three storyboards (and had them animated) in about three minutes.
We spoke to Mann about what it's really like to work at Pixar (a lot harder than you'd think), the true story behind that "Pixar's Rules of Storytelling" post that went viral (it's not actually from Pixar) and what 'Star Wars' movie he wishes Pixar could make.
Although his more recent work has stolen the hearts of fanboys over and over again, Chuck Roven is a remarkably unpredictable producer. All three of Christopher Nolan’s Batman films, not to mention 'Man of Steel', were produced under his auspices, but so was 'Twelve Monkeys.' 'City Of Angels.' 'Three Kings,' among many more. Roven is a proven commercial powerhouse whose calling card is, unlike contemporaries like Jerry Bruckheimer or Joel Silver, chameleonic understatedness. All of which underscores his suitability to tell a Superman story that razes the character’s identity and starts over from scratch, notwithstanding a few essential hallmarks.
We sat down with Roven recently to discuss 'Man Of Steel,' where he discussed the process of rescuing the last son of Krypton from a cinematic fate worse than death: the end of a franchise. In addition to talking about what needed to stay – and to go – from Superman’s considerable mythology, Roven discussed the challenges of reintroducing a known character to audiences in a new way, and reflected on what qualities his films possess in order for him to consider them successful.