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Kim Voynar

By Kim Voynar

Fun with 3-D Trailers

Last night, I went to the midnight screening of Jonas Brothers: The 3-D Concert Experience, which you can read all about over here, if you’re so inclined. What was almost more interesting to me than the movie — forgive me, experience — itself, though, was the spate of 3-D previews that preceded the film. It was kind of like an extended animated warm-up act for the Big Show, and some of the previews were more interesting than others.
Harry Potter and the Half-Blood Prince, due for release now in July, looks promisingly dark and scary, as it should, given the nature of the storyline. I unabashedly love the Harry Potter books and have read the entire series multiple times. Half-Blood Prince is directed by David Yates, who did a solid job with the previous film, Harry Potter and the Order of the Phoenix, and is set to direct the two-part series finale, Harry Potter and the Deathly Hallows, Parts I and II. The trailer looks great, and with every film I’m struck by how much the three young leads — Daniel Radcliffe in particular — have grown through the series, not just physically, which of course one would expect, but in their range of acting skills. Can’t wait for July 17, and you can bet I’ll be at the midnight early screening with my daughter for that one.
There was a trailer for Monsters Vs. Aliens, which my pack of kids are eager to see, and also a trailer for G-Force, which, on the surface, sounds pretty banal — a squad of super-intelligent, special forces … guinea pigs (and a fly) try to save the world from an evil rich guy. And yet, my interest was piqued when I saw that Terry Rossio and Ted Elliot are listed in the “screenplay” credits, along with Tim Firth (who penned the smart Calendar Girls and Kinky Boots before tackling Confessions of a Shopaholic). Marianne and Cormac Wibberly, the screenwriting husband-and-wife team responsible for the scripts for both National Treasure Films and the 2006 remake of The Shaggy Dog are also credited, which would be concerning, but the presence of Rossio, Elliot and Firth does give one hope that it won’t completely suck.
There’s an all-star cast voicing the admittedly cute super-guinea pigs, including Nic Cage, Penelope Cruz, Sam Rockwell, Bill Nighy, Steve Buscemi and more, and the animation looks pretty spiffy, so hopefully it will end up being better than it looks based on the pitch. Not that you can (or should) judge a film just by its trailer, anymore than you can judge a film by it’s script, but this one might be cute.

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3 Responses to “Fun with 3-D Trailers”

  1. T. Holly says:

    Wish the Jonaboys would get a life and stop faking the orgiastic looks on their faces when they perform.

  2. Kim Voynar says:

    T Holly, you made me laugh so suddenly I nearly choked to death on my sammich.

  3. T. Holly says:

    I was bleching before the “questionable moment when the boys grab giant foam guns,”!!!

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon