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I suspect from the trailer they’ll just play them over again. :smile:


I feel exactly the same way. If he’s not writing I’m far less interested. If he’s also not directing then I don’t even know why anyone should care or why the studio should risk an R-rated Star Trek movie without his star power to back it up.


Yeah the trailer reuses them all. I don’t know if Firth alone can draw me to this one like before.


Where is this idea that Tarantino isn’t directing the Star trek movie coming from? The article above repeatedly states that he intends to direct it. The writer is being brought in so that the script can be written while Tarantino directs his current film and will be ready to go once he finishes it.


Back when it was announced a few weeks ago, they were only saying he “might” direct it:

Apparently Tarantino recently pitched an idea for a Trek movie to producer J.J. Abrams, who loved it, and they’ll soon begin to assembling a writer’s room to flesh it out. If everything falls into place, Tarantino could be interested in directing with Abrams producing.

This isn’t something that’ll be happening soon, though. Next up for the iconic director is his still-untitled 1969-set movie, which Sony Pictures just picked up. That already has a release date of August 9, 2019, so there’s no doubt that’s next for him. That leaves almost two years of time for a script to get written that could woo Tarantino into doing several things he’s never done before.

He’s never directed a feature he didn’t write. He’s never done a scifi film. He’s never done a major franchise film. If he does make this movie, it could potentially be his 10th movie, and he’s famously said he would retire after 10 movies. Would he really go out with a Star Trek movie? And there are probably 15 other things that make this news that surprising.


I don’t think there would be much point to this if he weren’t directing the movie. Probably another good reason why he won’t be writing is to alay the concerns that his Star Trek would be unrecognizable to the existing franchise.


On the Bright/Shadowrun thing, in the poster/cover I talked about in the post I’m replying to, you’ll see on a building, in the distance, is some sort of magic weilding malarky going on… What was its connection to the main action?.. It really fascinated me.

There was a magic rooftop moment, involving phone lines, that in my head just felt like a version of this. I loved it!


Talk about taking Trek to the Q continuum!




I admire her ability to forge her own destiny. It’s rare for actors of any sex these days.


Maybe something for the random thread, but exactly how old was Marion when she had the affair with Indiana Jones?

Lucas: I was thinking that this old guy could have been his mentor. He could have known this little girl when she was just a kid. Had an affair with her when she was eleven.

Kasdan: And he was forty-two.

Lucas: He hasn’t seen her in twelve years. Now she’s twenty-two. It’s a real strange relationship.

Spielberg: She had better be older than twenty-two.

Lucas: He’s thirty-five, and he knew her ten years ago when he was twenty-five and she was only twelve… It would be amusing to make her slightly young at the time.

Spielberg: And promiscuous. She came onto him.

Lucas: Fifteen is right on the edge. I know, it’s an outrageous idea, but it is interesting. Once she’s sixteen or seventeen, it’s not interesting anymore. But if she was fifteen and he was twenty-five and they actually had an affair that last time they met. And she was madly in love with him… at the time and he left her because obviously it wouldn’t work out… It’s not only that they like each other, it’s a very bizarre thing, it puts a whole new perspective on this whole thing. It gives you lots of stuff to play off of between them. Maybe she still likes him. It’s something he’s rather forget about and not have come up again…


Never thought about this before, but maybe these guys were a bit too influenced by European films.


Reminds me of an interview I heard with Luc Besson’s producer on Leon. Besson called them “Phillistines” for telling him Leon and Matilda couldn’t have a sexual relationship.


How old was Anakin when he first met Padme? :thinking:
Pretty sure he’s eleven.


Doesn’t count as it’s an alien races thing. In 3 years she ages in real time while he is 10 years older. :wink:


So Obi-Wan just lives a really hard life on Tatooine for six real-time years, for Luke to become grown up. Must have been a lot of stress involved there. :sweat_smile:


All evidence on screen says he’s been sleeping rough.


Spielberg’s comments in that are hilarious. First he says she better be older than 22, but then right after that when Lucas suggests Indy got it on with a 12 yr old, Steven’s add is that she was “promiscuous” and came in to him.

Make up your mind, Spielberg! Are you not okay with an affair with a 12 yr old unless they initiate it? :flushed:


I’m pretty sure we talked about this a few years ago. It’s not the first time the transcript has surfaced.

I’ve never read that.

I do know that the Mathilda’s age varied from draft to draft. Portman was rejected as too young initially.

The film makes it clear that they don’t have a sexual relationship and that he doesn’t want one. Leon’s embarrassment when she starts playing at being Marilyn Monroe is funny and sad and really well handled. She’s innocent, playing at being more adult than she is. He’s not innocent, but he’s also not someone who’s ever had an intimate relationship, and he’s not looking for one with her.

Besson’s Frenchness may mean he’s not afraid to use the ideas in those scenes, to poke at the audience, but he’s also clear that the film isn’t going to take that path for these characters. He wants us to side with Leon and he’s got an uphill battle with the man being an assassin already.


The interesting thing is that Jones really is a cad and a scoundrel and few people really see that right off. He’s really about as bad as Mike Hammer in Kiss Me Deadly, but something about Harrison Ford just glosses that over the same way he did with Rick Deckard who’s also a terrible person from an objective perspective.

I like the way in TEMPLE OF DOOM they start with Indy as basically a criminal and smuggler - a grave robber more than a tomb raider - but he achieves a level of dignity and heroism at the end of that.

But he actually is still the striving grave robber in the beginning of RAIDERS. Which is why Belloq can get to him in the movie. As far as motivations, there really is no difference between the two of them. One’s working for the Nazis and the other’s working for the Americans - but neither one of them is doing it for them. They just want to get their hands on the Ark. If anything, Belloq is the better of the two. He believes in the Ark while Indy just sees it as another prize.

Throughout the movie, Indy puts his desire for the Ark above all other concerns. He leaves Marion tied up and gagged (even gags her) in the tent because he doesn’t want to alert the Nazis to his second dig. He really doesn’t do anything for her.

Meanwhile, the audience is cheering him on because he’s cool. We’re like the Arabs in the movie who cheer him on when he goes after the Nazis on horseback or the crew on the ship when he shows up on the submarine. We hate them so whatever he’s doing must be good, right?

No, he’s just in it for himself. I think there might be some deeper insight into American exceptionalism underlying that movie.