AndrewStanton Tagged Articles at Cinematical

Having put the final touches on a brilliant cast, John Carter of Mars is getting underway at Disney. Edgar Rice Burroughs' epic series has seen a lot of stops and starts over the years, and it's still unbelievable that it's actually happening. But at this point, it's still shrouded in pre-production mystery, but Ain't It Cool News wheeled a little information out of Willem Dafoe about his role as Tars Tarkas, a great Martian warrior and eventual ally of Carter. (Do AICN's Capone a favor and read the whole interview when you're done here. It's excellent.)

Dafoe revealed to Capone that he doesn't know much more than you or I might, but his enthusiasm for Tarkas and for Andrew Stanton is contagious. "I've seen a lot of the designs and things, and I've just started to do prep work now. I'm doing a play in New York, so I'm kind of preoccupied by that, but I'm starting doing scans and things like that, but it's going to be a real full-on ... Well, I'm nine feet tall with four arms, but, just from the scheduling, I'm going to do the stuff ... They'll use my face, but they'll enhance it in a way --both after and before-- in a way that I may not be recognizable. But, I'm good with that. It's particularly cool, because he's a creature, but he's got this huge range of character. And, he does cool things in the movies." As John Carter will be coming on the heels of all James Cameron, Robert Zemeckis, and Disney's Davy Jones' "game changing" technology, the possibilities of what this could look like are pretty enticing.

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I was slightly disappointed with the initial casting of John Carter of Mars, but as Andrew Stanton keeps bringing the wonderful with every addition to the roster, I just have to trust him when it comes to his choice of Taylor Kitsch. But Stanton is sending more impressive talent to Mars, as according to The Hollywood Reporter, James Purefoy, Thomas Haden Church, and Mark Strong have joined the cast.

Purefoy will be playing Kantos Kan, the captain of the Xavarian, the grand flagship of Helium. Carter meets him in the prisons of Warhoon, and they're forced to battle in a gladitorial match. They become allies as only former gladiators can, and Kan assists him on his quest to save Mars / Barsoom. I found it difficult to picture the secondary characters in Princess of Mars, so I feel lame in saying "Purefoy is perfect as Kan!" but he'll fit the part of a seasoned naval captain. He'll be quite dashing, even. (Actually, I think Purefoy would have made a good Carter.)

Church will be playing Tal Hajus, who THR calls "a vicious Thark warrior who is determined to become king." In the books, he's a Jabba the Hut type who lusts after Princess Dejah Thoris, and is happily ensconced as a leader, so this might be one of the first big changes you'll see in the story. It would probably make things a lot more interesting to have Church play him as a capable bastard than a slobby wreck.

Read more over at SciFi Squad

Wall-E is such a good, sappy, funny, adventurous, touching, and enjoyable movie, that by the time you get to the end you're exhausted. Plus you probably have a single tear sliding down your cheek like Iron Eyes Cody. So by the time the end credits roll, you're looking for something to bring you back down to Earth, no pun intended. Aw, who am I kidding -- that pun was definitely intended.

Thankfully that thing isn't a Randy Newman song, although it does come via his cousin Thomas Newman who thank all the stars above wisely lets Peter Gabriel sing the outtro song "Down to Earth." Hey, it netted him an Oscar nod. The song is slow, beautiful, and plays out against visual images depicting the "new" history of mankind on the planet: cave drawings, hieroglyphics, mosaics, sketches, pointilism, Van Gogh skies ... and when it finally slides down underground and turns into a traditional credit crawl, you've got 8-bit graphics closing things out. Great stuff.

To quote Rob Reiner, "But hey, enough of my yakkin'! Whaddaya say? Let's boogie!" Check out the full end sequence after the jump.

If it wasn't for Andrew Stanton at the helm of John Carter of Mars, I think the interest might completely bottom out with its casting. ComingSoon had the scoop via Twitter that Taylor Kitsch and Lynn Collins were set to star, and the rumor became reality in The Hollywood Reporter.

Kitsch will be playing the titular Carter, a Civil War veteran who is transported (via astral projection, leaving his lifeless body behind) to Mars. There he meets the lovely Martian princess Dejah Thoris, wins her hand, rediscovers his own humanity, and rescues Mars. The film is tipped to begin filming in 2010, and they've been scouting Utah for Martian locations.

When Stanton discussed the project earlier this year, he mentioned they wanted an unknown despite the fact Hugh Jackman was tipped as a fan favorite. How odd then that they've managed to recast 2/4 of Jackman's X-Men Origins: Wolverine. THR notes that Jon Hamm and Josh Duhamel also tested for the part, and while I've got nothing against Kitsch (I'm not going to hold Gambit against him), I really wish they had chosen Hamm. An ex-Confederate needs a bit of age and weariness to him instead of being a fresh faced up and comer ... but then again, a lot of Civil War soldiers were ridiculously young when they enlisted, so perhaps Kitsch can play it as disillusioned and old-before-his-time. One can hope ...

John Carter of Mars news always seems to fly under the radar, and this delightful little blurb was no exception. Hidden in a Deadline Hollywood Daily post about Michael Chabon switching agencies was far more interesting little footnote that he was now writing the script for Andrew Stanton's Mars.

The Amazing Website of Kavalier & Clay (a very dedicated Chabon fansite) decided to just do the obvious and ask the man himself. Surprise! It's true: "I've been hired to do some revisions to an already strong script by Andrew Stanton and Mark Andrews. I wrote my original screenplay The Martian Agent back in 1995 because I wished I could do [Edgar Rice] Burroughs's Barsoom. So this is pretty much a dream come true for me."

Back in January, Stanton was pretty candid about how difficult the story was to adapt, but insisted they were past the writing stage, and into pre-production and casting. Clearly they've backtracked a little, but can anyone really be worried that they've stopped work to bring on Michael Chabon? This is a win-win situation all around, particularly since Chabon still hasn't managed to see any more of his work on the big screen. If John Carter spawns a Kavalier and Clay film, how happy the world will be!

I nearly crammed this into a Geek Daily before deciding the quotes were just too long, and that some John Carter fans might read "Nick Fury" in the title of that and skip right over. We can't have that!

MTV caught up exclusively with Pixar's Andrew Stanton, who confirmed the film is real. "We're full bore on it right now. We're over the hump of the writing phase, and we're certainly far from rewrites." In fact, they're well into pre-production, and even looking at casting the hero. "I know everybody wanted Hugh Jackman forever. But he's only getting older and more exposed now, so it's a tough call. I'm your typical filmmaker, I want to find the next best unknown."

Penning a script out of an episodic story has been one of the major pitfalls of all movie attempts, but is a problem Stanton thinks he cracked. "It almost had an absence of a story for a feature film because it was very episodic. In its day it was a comic book. I mean, this book was written in 1912. It was the comic book you got in the time before there was such thing as comic books. So, it was really just about the next fight, the next adventure, the next romance. The key was putting a story into it and creating characters that had to grow and real basic stuff that we all know a movie needs."

This one's a little heartwarming, folks, especially if you're predisposed (as I am) to admiring pretty much everything about the Pixar company.

Last fall, a young woman named Courtney saw the WALL-E teaser -- the one where Andrew Stanton talks about the meeting in 1994 where the story was first conceived -- and was reduced to a puddle of tears by its adorableness. Seems she has a soft spot for robots, and in particular for lonely, child-like, wide-eyed robots. So she videoed herself watching the trailer on her computer, knowing it would have the same effect on her again, and then she posted the video on her blog and on YouTube. (We've got it here after the jump.)

The video made its way around the Internets, as these things do, and Courtney began to get e-mails from people within the Pixar family who had seen it and appreciated her enthusiasm. Then one of the film's producers sent her a Pixar jacket as a Christmas gift, along with a note thanking her for the video.

And then they invited her to the film's wrap party in San Francisco.

The media is playing two pointless games of "gotcha" with Pixar's wonderful Wall-E at the moment. Eric Kohn addressed the first -- conservative critics griping about the film's "left-wing" message -- over here. The other, best articulated in this post by CHUD's Devin Faraci and this mind-boggling missive from the New York Post's Kyle Smith, but also showing up in Todd McCarthy's Variety review, is that Wall-E's supposed anti-consumerist bent is "hypocrisy" on account of it's released by Disney. I think that's a stupid and dishonest argument, and here's why.

In its latter half, Wall-E presents a vision of the future in which humanity is fat, lazy, basically immobile but for their hoverchairs, and in thrall to a mega-corporation called Buy 'N Large that tells everyone what to do, what to think, and what to buy. The rest of the film is dedicated to Wall-E, EVE, and the spaceship Axiom's human population defying the corporation and returning back to Earth to recolonize. This is disingenuous, the thinking goes, because the Disney empire bears more than a few similarities to Buy 'N Large and, in fact, cynically counts on unthinking, overweight masses, to see its movies, buy its merchandise, and ride the rides at Disney World.

What you'll notice from the folks making this argument is a coy ambiguity about who exactly is being hypocritical here. If the claim is that Disney is being hypocritical by releasing Wall-E, then that may well be right -- but it's also not surprising, newsworthy, or even worth mentioning. Is anyone really shocked that a large, profit-seeking corporation is being opportunistic and ideologically inconsistent? Where is all the outrage about Disney flicks that push the individuality and non-conformism message, when the Walt Disney Company is dependent on a herd mentality among its consumers?

A couple of people have been griping about Wall-E director Andrew Stanton's refusal to admit that his cute little movie about a robot in love actually contains some pretty upfront green politics, but there's a far more polarizing reference in the film than its harmless pro-environment agenda. It's no major plot spoiler to reveal that, about an hour or so into the story, Fred Willard appears in a recorded message as the mysterious president of Earth's corporate government and orders the ship's captain (Jeff Garlin) to "stay the course." Wait, we've heard this one before: It was the go-to statement used by the Bush administration for about three years or so when describing its modus operandi in Iraq (the term was abandoned when staying the course started to sound like a bad idea). In Wall-E, the context is quite different -- it's an order to not do something, rather than take action -- but hard to ignore nonetheless.

Certain critics with (surprise!) conservative slants have taken issue with this. At Dirty Harry's Place, John Nolte expresses his disappointment in the first paragraph of his review: "Have we lost the wonderful studio who brought us The Incredibles and Ratatouille to Bush Derangement Syndrome?" he asks. New York Post critic Kyle Smith picked up the rant and decided to write his own, even though he hadn't seen the film yet: "This kind of crack, lame as it is, also breaks the spell of the movie by hurling you out of the theater and back into reality."

" ... and some Hunter may express
Wonder like ours, when thro' the wilderness
Where London stood, holding the Wolf in chace,
He meets some fragments huge, and stops to guess
What powerful but unrecorded race
Once dwelt in that annihilated place."

-- Horace Smith, Ozymandias

WALL-E, from Pixar studios, shows us a ruined city, centuries from now, where a single (and singular) robot toils to cube trash and, it seems, will never lack for work. WALL-E (Waste Allocation Load Lifter (Earth-Class)), a two-treaded solitary worker robot, spends his days cubing trash and his nights shut in safe from the cataclysmic garbage-gales that sweep the planet, inside a repair truck he's filled with things that have fascinated him; garden gnomes, butane lighters, a copy of Hello, Dolly! And in WALL-E's nearly-silent opening minutes, we get a sense of the world he lives in. Everything is ruined; there are no signs of life but for cockroaches; the only voices you hear come when the motion-activated Buy 'n' Large holo-billboards go off. WALL-E strips his broken-down brethren for parts and recharges by the sun's rays and stacks trash-cubes to imitate the skyscrapers decaying all around him, garbage as a pale reflection of glory.