The tea leaves have aligned, and industry insider Daniel Richtman sees another casting for Lionsgate‘s Highlander reboot emerging from the pattern. According to Richtman, Michael Fassbender plays the villain in the Chad Stahelski-directed reimagining of the classic action film. According to Richtman, Fassbender is in talks to star alongside Henry Cavill as a “Mongol Warrior.”
Please remember that whispers about Michael Fassbender’s involvement with Highlander are rumors. We must wait for Lionsgate to make it official.
The new rumor already has Highlander fans buzzing about Fassbender playing a version of the original Highlander villain, the Kurgan. Portrayed by Clancy Brown in the 1986 fantasy action-adventure film, the Kurgan is an immortal warrior and thorn in the side of Connor MacLeod, the Highlander (Christopher Lambert).
Lionsgate is looking to Stahelski to guide the short- and long-term creative direction, franchise strategy, and strategic growth of the Highlander and John Wick properties to ensure that quality,...
Please remember that whispers about Michael Fassbender’s involvement with Highlander are rumors. We must wait for Lionsgate to make it official.
The new rumor already has Highlander fans buzzing about Fassbender playing a version of the original Highlander villain, the Kurgan. Portrayed by Clancy Brown in the 1986 fantasy action-adventure film, the Kurgan is an immortal warrior and thorn in the side of Connor MacLeod, the Highlander (Christopher Lambert).
Lionsgate is looking to Stahelski to guide the short- and long-term creative direction, franchise strategy, and strategic growth of the Highlander and John Wick properties to ensure that quality,...
- 2/8/2024
- by Steve Seigh
- JoBlo.com
If there can only be one, it might as well be Chad Stahelski. There’s massive news coming from Lionsgate today with word that John Wick mastermind Chad Stahelski will direct the highly-anticipated Highlander reimagining for the studios. In addition to getting behind the camera for Highlander, Stahelski is assuming creative oversight of the John Wick and Highlander franchises across all media.
Per an official press announcement from Lionsgate:
Chad Stahelski, the visionary director behind all four of Lionsgate’s John Wick films, has struck a deal with the studio in which the billion-dollar filmmaker will direct a reimagination of the Highlander franchise as his next feature film and assume creative oversight of the Highlander and John Wick franchises across film, television, and all multimedia platforms. The director and his team at 87Eleven Entertainment have taken the lead in designing a comprehensive multi-platform content strategy for both franchises, and this...
Per an official press announcement from Lionsgate:
Chad Stahelski, the visionary director behind all four of Lionsgate’s John Wick films, has struck a deal with the studio in which the billion-dollar filmmaker will direct a reimagination of the Highlander franchise as his next feature film and assume creative oversight of the Highlander and John Wick franchises across film, television, and all multimedia platforms. The director and his team at 87Eleven Entertainment have taken the lead in designing a comprehensive multi-platform content strategy for both franchises, and this...
- 1/16/2024
- by Steve Seigh
- JoBlo.com
Stunt master and director Chad Stahelski will oversee the “John Wick” and “Highlander” franchises across all media for Lionsgate, the company announced Tuesday.
His next feature film will be directing the “Highlander” reboot, starring Henry Cavill as the immortal Scottish action hero. Under his expanded partnership with Lionsgate, Stahelski will have creative oversight of “Highlander” and “John Wick” across film, TV and all multimedia platforms.
His production company 87Eleven, co-founded with David Leitch, will design a “comprehensive multiplatform content strategy for both franchises” and “guide the short- and long-term creative direction, franchise strategy and strategic growth of these two iconic properties to ensure that quality, tone and vision remain consistent.” Stahelski will work with Thunder Road’s Basil Iwanyk and Erica Lee on the “John Wick” franchise and Neal H. Moritz and the estate of the late Peter S. Davis on “Highlander.”
“I am pleased to be able to grow...
His next feature film will be directing the “Highlander” reboot, starring Henry Cavill as the immortal Scottish action hero. Under his expanded partnership with Lionsgate, Stahelski will have creative oversight of “Highlander” and “John Wick” across film, TV and all multimedia platforms.
His production company 87Eleven, co-founded with David Leitch, will design a “comprehensive multiplatform content strategy for both franchises” and “guide the short- and long-term creative direction, franchise strategy and strategic growth of these two iconic properties to ensure that quality, tone and vision remain consistent.” Stahelski will work with Thunder Road’s Basil Iwanyk and Erica Lee on the “John Wick” franchise and Neal H. Moritz and the estate of the late Peter S. Davis on “Highlander.”
“I am pleased to be able to grow...
- 1/16/2024
- by Jordan Moreau
- Variety Film + TV
Chad Stahelski, who Deadline already told you was set to direct the reboot of Highlander starring Henry Cavill, has inked a deal with Lionsgate to oversee the creative on both that franchise and John Wick. Remember, John Wick is beginning to spinoff with the Ballerina this summer; Stahelski already an EP on that film.
Stahelski will have supervision of the brands across film, television, and all multimedia platforms. “The director and his team at 87Eleven Entertainment have taken the lead in designing a comprehensive multi-platform content strategy for both franchises,” reads a press release this Am.
Stahelski will work side by side with the franchise producers – Thunder Road’s Basil Iwanyk and Erica Lee on the Wick franchise and Neal H. Moritz and the estate of the late Peter S. Davis on Highlander.
“This deal expands on the great creative relationship we already have in place on John Wick and...
Stahelski will have supervision of the brands across film, television, and all multimedia platforms. “The director and his team at 87Eleven Entertainment have taken the lead in designing a comprehensive multi-platform content strategy for both franchises,” reads a press release this Am.
Stahelski will work side by side with the franchise producers – Thunder Road’s Basil Iwanyk and Erica Lee on the Wick franchise and Neal H. Moritz and the estate of the late Peter S. Davis on Highlander.
“This deal expands on the great creative relationship we already have in place on John Wick and...
- 1/16/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Chad Stahelski is finally making his long-gestating Highlander movie. The director has been developing the project since 2016, and now has set it as his next film.
Henry Cavill is attached to star in Highlander, a reimagining of the 1986 film of the same name that starred Christopher Lambert, Sean Connery and Clancy Brown as immortals who must battle to collect more power. Because as the movie’s tagline goes, “there can be only one” immortal left standing.
Highlander’s green light is part of a sweeping new deal Stahelski and Lionsgate announced Tuesday. The pact will give Stahelski oversight of two franchises: Highlander and John Wick, the latter of which has spanned four films directed by Stahelski and starring Keanu Reeves. Those films, and Stahelksi’s stunt-focused 87Eleven Entertainment, have been praised for reinventing the action genre, with the latest installment standing as the series highest grossing with $440 million globally. It...
Henry Cavill is attached to star in Highlander, a reimagining of the 1986 film of the same name that starred Christopher Lambert, Sean Connery and Clancy Brown as immortals who must battle to collect more power. Because as the movie’s tagline goes, “there can be only one” immortal left standing.
Highlander’s green light is part of a sweeping new deal Stahelski and Lionsgate announced Tuesday. The pact will give Stahelski oversight of two franchises: Highlander and John Wick, the latter of which has spanned four films directed by Stahelski and starring Keanu Reeves. Those films, and Stahelksi’s stunt-focused 87Eleven Entertainment, have been praised for reinventing the action genre, with the latest installment standing as the series highest grossing with $440 million globally. It...
- 1/16/2024
- by Aaron Couch
- The Hollywood Reporter - Movie News
John Wick franchise director Chad Stahelski has finalised a deal with Lionsgate to helm the studio’s Highlander reboot as his next feature.
Stahelski and his team at 87Eleven Entertainment will additionally assume creative oversight of the Highlander and John Wick franchises across film, television, and all multimedia platforms.
Lionsgate is looking to Stahelski to guide the short- and long-term creative direction, franchise strategy, and strategic growth of the two properties.
Stahelski will work alongside the franchise producers: Thunder Road’s Basil Iwanyk and Erica Lee on Wick property and Neal H. Moritz and the estate of the late Peter S. Davis on Highlander.
Stahelski and his team at 87Eleven Entertainment will additionally assume creative oversight of the Highlander and John Wick franchises across film, television, and all multimedia platforms.
Lionsgate is looking to Stahelski to guide the short- and long-term creative direction, franchise strategy, and strategic growth of the two properties.
Stahelski will work alongside the franchise producers: Thunder Road’s Basil Iwanyk and Erica Lee on Wick property and Neal H. Moritz and the estate of the late Peter S. Davis on Highlander.
- 1/16/2024
- by Jeremy Kay
- ScreenDaily
In a thrilling announcement for film enthusiasts, Henry Cavill, previously acclaimed for his roles in ‘Superman’ and ‘The Witcher,’ is confirmed to lead the upcoming reboot of the iconic ’80s fantasy flick – ‘Highlander.’ Directed by Chad Stahelski, renowned for his work on the ‘John Wick’ series, this project promises to merge the grandeur of the original movie with a touch of modern cinematic brilliance.
The original ‘Highlander,’ which graced the silver screen back in 1986, featured the likes of Christopher Lambert, Clancy Brown, and Sean Connery. It painted a world where immortals roamed modern-day New York City, pursuing one another in a relentless quest for power. With the tagline “There can be only one,” it paved the way for a series of sequels and TV spin-offs. Queen’s unforgettable soundtrack only added to its legacy.
Lionsgate is gearing up to launch sales of this much-anticipated reboot at the AFM. Given its...
The original ‘Highlander,’ which graced the silver screen back in 1986, featured the likes of Christopher Lambert, Clancy Brown, and Sean Connery. It painted a world where immortals roamed modern-day New York City, pursuing one another in a relentless quest for power. With the tagline “There can be only one,” it paved the way for a series of sequels and TV spin-offs. Queen’s unforgettable soundtrack only added to its legacy.
Lionsgate is gearing up to launch sales of this much-anticipated reboot at the AFM. Given its...
- 10/27/2023
- by Hrvoje Milakovic
- Fiction Horizon
Exclusive: In the world of Highlander reboots, there can still only be one…and it’s a good one at that.
For the first time, Lionsgate will be launching sales at the AFM on their long-gestating fantasy reboot which has Henry Cavill aboard to star as the eponymous Scottish swordsman and John Wick filmmaker Chad Stahelski set to direct.
We hear this will be a big-budget proposition, north of $100M. Stahelski himself has previously talked about it as akin to John Wick with swords. The team is eyeing a 2024 start.
This will be welcome news for AFM buyers whose pool of pre-sale projects has been diminished by the ongoing strike.
The new movie will be based on the 1986 original, which starred Christopher Lambert, Sean Connery and Clancy Brown as immortal beings, hunting down one another and collecting more power. The time-jumping film — with its “There can be only one” tagline...
For the first time, Lionsgate will be launching sales at the AFM on their long-gestating fantasy reboot which has Henry Cavill aboard to star as the eponymous Scottish swordsman and John Wick filmmaker Chad Stahelski set to direct.
We hear this will be a big-budget proposition, north of $100M. Stahelski himself has previously talked about it as akin to John Wick with swords. The team is eyeing a 2024 start.
This will be welcome news for AFM buyers whose pool of pre-sale projects has been diminished by the ongoing strike.
The new movie will be based on the 1986 original, which starred Christopher Lambert, Sean Connery and Clancy Brown as immortal beings, hunting down one another and collecting more power. The time-jumping film — with its “There can be only one” tagline...
- 10/27/2023
- by Andreas Wiseman
- Deadline Film + TV
Genre: Action, Adventure, Sci-Fi
Rating: R
On 4K Ultra HD: December 13, 2022
Running Time: 117 minutes
Cast: Christopher Lambert, Roxanne Hart, Clancy Brown, and Sean Connery
Written by: Gregory Widen, Peter Bellwood, and Larry Ferguson
Directed by: Russell Mulcahy
Produced by: Peter S. Davis, William N. Panzer
Executive Producers: E.C. Monell
Associate Producers: Eva Monley, Harold Moskovitz, John H. Starke
Director of Photography: Gerry Fisher
Production Designer: Allan Cameron
Edited by: Peter Honess
Casting by: Diane Dimeo, Anne Henderson, Michael McLean
Costume Designer: Jim Acheson
Synopsis:
The original Highlander, in electrifying 4K! When Connor MacLeod (Christopher Lambert) is slain in battle in the Scottish Highlands, his kinsfolk don’t mourn the tragedy of his death – they mourn the seeming witchcraft that’s brought him back to life. But MacLeod can’t die, and neither can Juan Ramírez (Sean Connery), who befriends Connor and shows him what it means to be immortal. Time dissolves,...
Rating: R
On 4K Ultra HD: December 13, 2022
Running Time: 117 minutes
Cast: Christopher Lambert, Roxanne Hart, Clancy Brown, and Sean Connery
Written by: Gregory Widen, Peter Bellwood, and Larry Ferguson
Directed by: Russell Mulcahy
Produced by: Peter S. Davis, William N. Panzer
Executive Producers: E.C. Monell
Associate Producers: Eva Monley, Harold Moskovitz, John H. Starke
Director of Photography: Gerry Fisher
Production Designer: Allan Cameron
Edited by: Peter Honess
Casting by: Diane Dimeo, Anne Henderson, Michael McLean
Costume Designer: Jim Acheson
Synopsis:
The original Highlander, in electrifying 4K! When Connor MacLeod (Christopher Lambert) is slain in battle in the Scottish Highlands, his kinsfolk don’t mourn the tragedy of his death – they mourn the seeming witchcraft that’s brought him back to life. But MacLeod can’t die, and neither can Juan Ramírez (Sean Connery), who befriends Connor and shows him what it means to be immortal. Time dissolves,...
- 10/12/2022
- by ComicMix Staff
- Comicmix.com
Peter S. Davis, the producer of the popular cult Highlander franchise, died in his sleep February 21 at home in Calabasas, CA, his son, Epic magazine co-founder Joshua Davis, told Deadline. He was 79.
Davis began his career as a Wall Street lawyer and launched his own firm in his 20s before heading to Hollywood in 1977. He produced more than 20 films during his career, including the early Brad Pitt starrer Cutting Class (1988), Joe Pesci’s Family Enforcer aka Death Collector (1976), and Sam Peckinpah’s last film The Osterman Weekend (1983). He worked with Bob Shaye and Bill Panzer to produce New Line Cinema’s first film, Stunts starring Robert Forster.
Above all, Davis is known for Highlander (1986), which began as an overlooked script written by UCLA undergrad Gregory Widen. Davis convinced Fox and Thorn/Emi to back the film in the early 1980s and recruited Sean Connery for the role of Juan Sánchez-Villalobos Ramírez.
Davis began his career as a Wall Street lawyer and launched his own firm in his 20s before heading to Hollywood in 1977. He produced more than 20 films during his career, including the early Brad Pitt starrer Cutting Class (1988), Joe Pesci’s Family Enforcer aka Death Collector (1976), and Sam Peckinpah’s last film The Osterman Weekend (1983). He worked with Bob Shaye and Bill Panzer to produce New Line Cinema’s first film, Stunts starring Robert Forster.
Above all, Davis is known for Highlander (1986), which began as an overlooked script written by UCLA undergrad Gregory Widen. Davis convinced Fox and Thorn/Emi to back the film in the early 1980s and recruited Sean Connery for the role of Juan Sánchez-Villalobos Ramírez.
- 2/23/2021
- by Dino-Ray Ramos
- Deadline Film + TV
Peter S. Davis, the producer behind the cult film “Highlander,” died this past weekend at his home in Calabasas, California, at the age of 79.
Davis was key to the creation of the hit 1986 film, having discovered the initial screenplay written by Gregory Widen while he was a student at UCLA. Davis gathered the team behind the film, including financing from studio Thorn Emi. But the biggest get for Davis was the casting of the late Sean Connery as Juan Sánchez-Villalobos Ramírez, the immortal warrior who welcomes Christopher Lambert’s Connor MacLeod into the battle among immortals to gain an unknown but powerful prize.
“The Highlander” struggled when it was first released, but began to gain a cult following in Europe and later in the U.S. when it was released on VHS. Soon, the mantra “there can be only one” became a part of pop culture, with MacLeod becoming a star-making role for Lambert.
Davis was key to the creation of the hit 1986 film, having discovered the initial screenplay written by Gregory Widen while he was a student at UCLA. Davis gathered the team behind the film, including financing from studio Thorn Emi. But the biggest get for Davis was the casting of the late Sean Connery as Juan Sánchez-Villalobos Ramírez, the immortal warrior who welcomes Christopher Lambert’s Connor MacLeod into the battle among immortals to gain an unknown but powerful prize.
“The Highlander” struggled when it was first released, but began to gain a cult following in Europe and later in the U.S. when it was released on VHS. Soon, the mantra “there can be only one” became a part of pop culture, with MacLeod becoming a star-making role for Lambert.
- 2/23/2021
- by Jeremy Fuster
- The Wrap
Peter S. Davis, the colorful producer on the Christopher Lambert-starring 1986 film Highlander that launched a bevy of sequels, television offshoots and video games, has died. He was 79.
Davis died Sunday in his sleep at his home in Calabasas, his son, Joshua Davis, told The Hollywood Reporter.
Davis produced other features including The Death Collector (1976), starring Joe Pesci in his first credited role; Stunts (1977), starring Robert Forster in an early New Line Cinema film; The Osterman Weekend (1983), director Sam Peckinpah’s final feature; and Cutting Class (1989), featuring a young Brad Pitt.
Highlander began as an overlooked script about immortals written by UCLA undergrad Gregory ...
Davis died Sunday in his sleep at his home in Calabasas, his son, Joshua Davis, told The Hollywood Reporter.
Davis produced other features including The Death Collector (1976), starring Joe Pesci in his first credited role; Stunts (1977), starring Robert Forster in an early New Line Cinema film; The Osterman Weekend (1983), director Sam Peckinpah’s final feature; and Cutting Class (1989), featuring a young Brad Pitt.
Highlander began as an overlooked script about immortals written by UCLA undergrad Gregory ...
- 2/23/2021
- The Hollywood Reporter - Movie News
Peter S. Davis, the colorful producer on the Christopher Lambert-starring 1986 film Highlander that launched a bevy of sequels, television offshoots and video games, has died. He was 79.
Davis died Sunday in his sleep at his home in Calabasas, his son, Joshua Davis, told The Hollywood Reporter.
Davis produced other features including The Death Collector (1976), starring Joe Pesci in his first credited role; Stunts (1977), starring Robert Forster in an early New Line Cinema film; The Osterman Weekend (1983), director Sam Peckinpah’s final feature; and Cutting Class (1989), featuring a young Brad Pitt.
Highlander began as an overlooked script about immortals written by UCLA undergrad Gregory ...
Davis died Sunday in his sleep at his home in Calabasas, his son, Joshua Davis, told The Hollywood Reporter.
Davis produced other features including The Death Collector (1976), starring Joe Pesci in his first credited role; Stunts (1977), starring Robert Forster in an early New Line Cinema film; The Osterman Weekend (1983), director Sam Peckinpah’s final feature; and Cutting Class (1989), featuring a young Brad Pitt.
Highlander began as an overlooked script about immortals written by UCLA undergrad Gregory ...
- 2/23/2021
- The Hollywood Reporter - Film + TV
Not long after it was announced that John Wick co-director David Leitch will helm the Deadpool sequel, it's now been revealed that the other director of the 2014 Keanu Reeves-starring action film will take the reins of Lionsgate's Highlander reboot.
According to The Hollywood Reporter, Chad Stahelski has been hired by Lionsgate to helm the Highlander reboot. Stahelski—who has a history as a stunt coordinator with his and Leitch's 87Eleven company that is as impressive as it is lengthy—recently directed John Wick: Chapter 2.
While plot details are unknown for the upcoming Highlander film, it will be a new take on the fantasy adventure franchise that first hit theaters with the release of 1986's Highlander, which was followed by numerous sequels and several TV shows. The original film followed an immortal Scottish warrior who has been in a centuries-long chess match of bloodshed, battles, and wits with other immortal beings.
According to The Hollywood Reporter, Chad Stahelski has been hired by Lionsgate to helm the Highlander reboot. Stahelski—who has a history as a stunt coordinator with his and Leitch's 87Eleven company that is as impressive as it is lengthy—recently directed John Wick: Chapter 2.
While plot details are unknown for the upcoming Highlander film, it will be a new take on the fantasy adventure franchise that first hit theaters with the release of 1986's Highlander, which was followed by numerous sequels and several TV shows. The original film followed an immortal Scottish warrior who has been in a centuries-long chess match of bloodshed, battles, and wits with other immortal beings.
- 11/22/2016
- by Derek Anderson
- DailyDead
The 1986 fantasy film “Highlander” is getting the Hollywood reboot treatment with “John Wick’s” Chad Stahelski set to direct for Lionsgate.
The remake has been in the works since 2008 and previously had Justin Lin, Juan Carlos Fresnadillo and Cedric Nicolas-Troyan attached to direct, with Stahelski now officially taking the lead.
“I’ve been a huge fan of the original property since I saw it in high school,” Stahelski told The Hollywood Reporter, who reported the news first. “Such great themes of immortality, love, and identity are all wrapped up in such colorful mythology. I can’t think of a better property that gives the opportunity to create interesting characters, mythic themes and action set pieces.”
The film will be produced by Neal H. Moritz and Peter Davis. The studio is currently looking for a writer to pen the script.
Read More: ‘John Wick: Chapter Two’ Teaser Trailer: Keanu Reeves...
The remake has been in the works since 2008 and previously had Justin Lin, Juan Carlos Fresnadillo and Cedric Nicolas-Troyan attached to direct, with Stahelski now officially taking the lead.
“I’ve been a huge fan of the original property since I saw it in high school,” Stahelski told The Hollywood Reporter, who reported the news first. “Such great themes of immortality, love, and identity are all wrapped up in such colorful mythology. I can’t think of a better property that gives the opportunity to create interesting characters, mythic themes and action set pieces.”
The film will be produced by Neal H. Moritz and Peter Davis. The studio is currently looking for a writer to pen the script.
Read More: ‘John Wick: Chapter Two’ Teaser Trailer: Keanu Reeves...
- 11/22/2016
- by Liz Calvario
- Indiewire
“John Wick” co-director Chad Stahelski will direct a reboot of “Highlander,” TheWrap has learned. The project has been in the works since 2008 at Lionsgate and now the hunt for a screenwriter will be underway. Neal H. Moritz is producing the film along with Peter Davis. Stahelski and his “Wick” co-director David Leitch, who run production and stunt company 87Eleven, may also wind up producing. Also Read: 'Black Panther' Adds Angela Bassett as Chadwick Boseman's Mother Stahelski is a self professed “Highlander” fan, who first watched the 1986 action-fantasy film starring Sean Connery when he was in high school.
- 11/22/2016
- by Meriah Doty
- The Wrap
The Hollywood Reporter is telling us today that John Wick co-director Chad Stahelski has been brought on to helm the upcoming Highlander reboot. This news arrives just days after the other co-director of John Wick, David Leitch, landed the Deadpool 2 directing gig, proving that the Keanu Reeves-led actioner gave both men a significant boost as far as their careers go.
Circling back to Highlander though, and it’s understood that a search for a new writer is now underway, while Neal H. Moritz and Peter Davis remain on board to produce. Speaking about his love for the franchise, Stahelski said the following:
“I’ve been a huge fan of the original property since I saw it in high school. Such great themes of immortality, love, and identity are all wrapped up in such colorful mythology. I can’t think of a better property that gives the opportunity to create interesting characters,...
Circling back to Highlander though, and it’s understood that a search for a new writer is now underway, while Neal H. Moritz and Peter Davis remain on board to produce. Speaking about his love for the franchise, Stahelski said the following:
“I’ve been a huge fan of the original property since I saw it in high school. Such great themes of immortality, love, and identity are all wrapped up in such colorful mythology. I can’t think of a better property that gives the opportunity to create interesting characters,...
- 11/22/2016
- by Mark Cassidy
- We Got This Covered
There can be only one and, in this case, it's Chad Stahelski.
Stahelski, who, along with David Leitch, was the filmmaker behind John Wick, has signed on to direct the long-gestating reboot of Highlander for Lionsgate.
"I've been a huge fan of the original property since I saw it in high school," Stahelski told The Hollywood Reporter. "Such great themes of immortality, love, and identity are all wrapped up in such colorful mythology. I can't think of a better property that gives the opportunity to create interesting characters, mythic themes and action set pieces."
Neal H. Moritz and Peter Davis are producing the...
Stahelski, who, along with David Leitch, was the filmmaker behind John Wick, has signed on to direct the long-gestating reboot of Highlander for Lionsgate.
"I've been a huge fan of the original property since I saw it in high school," Stahelski told The Hollywood Reporter. "Such great themes of immortality, love, and identity are all wrapped up in such colorful mythology. I can't think of a better property that gives the opportunity to create interesting characters, mythic themes and action set pieces."
Neal H. Moritz and Peter Davis are producing the...
- 11/21/2016
- by Borys Kit
- The Hollywood Reporter - Movie News
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Legendary stunt coordinator Andy Armstrong talks to us about his work on Highlander, Thor, Catwoman, and what makes a great action scene...
For over 40 years, Andy Armstrong has worked on a huge array of stunts and action sequences in TV and film. From directing 1,000s of extras in Stargate to a full body burn in Danny DeVito's Hoffa, Armstrong's experiences as a stuntman, stunt coordinator and unit director have taken him all over the world.
The brother of Vic Armstrong, the stunt coordinator and director who famously doubled for Harrison Ford in the Indiana Jones movies, Andy Armstrong's career began when he doubled for Sir John Mills on the 1970s TV series, The Zoo Gang. That early job jumpstarted a life in filmmaking which has taken in three James Bond movies, 90s action (Total Recall, Universal Soldier) and superhero movies (The Green Hornet, Thor, The Amazing Spider-Man).
Those 40 years of filmmaking experience are the pillar of Armstrong's book, the Action Movie Maker's Handbook. Intended as a reference for those thinking of starting a career in stunts or action unit directing, it also offers a valuable insight for those outside the industry, too. The book reveals the range of talents required to bring an effective action scene to the screen - organisation, storytelling, an understanding of engineering and physics - and how much input a coordinator and unit director has on how those sequences will look in the final film.
We caught up with Andy Armstrong via telephone to talk about his book and some of the highlights in his career so far. Read on for his thoughts on creating the action sequences in Thor and The Amazing Spider-Man, his hilarious behind-the-scenes memories from the 80s cult classic, Highlander, and what went wrong on the 2004 Catwoman movie...
Your book gave me a new appreciation for what second unit directors and stunt coordinators do. I didn't realise how much design work you do when it comes to action scenes, for example.
Yeah, it is true that a lot of people don't realise how much development goes into action. Especially nowadays, it's such a complex business. That becomes a huge part of it - the technicalities of it and the storytelling part of it. Some things might look great, but when you put them all together they don't necessarily work for that movie. A lot of what I've made a living doing is really creating action that is appropriate for the movie. Because the wrong type of action is just like the wrong costume or the wrong actor or something - it just takes you out of the film.
You get a lot of movies that actually have too much action in them. Then what happens is, you can't appreciate it. It's like a feast where the starter is such a huge meal that you don't even want the main course because you're full. That's like so many action movies - they'd actually benefit from having some of the action taken out of them. I'm always fascinated when you see an audience in an action movie.
When I feel there's too much action in a movie, or it goes on for too long, I always look around in a cinema. It's interesting to see people chatting to each other or doing something else. You should never have that in an action movie. Action should be like sex or violence - you want to be left just wanting a bit more. That gets forgotten in a lot of movies, which are just relentless. Stuff going on the whole time.
What happens then is that, when it comes to something special for the third act, some fantastic fight or something, you can't raise the bar enough, because the bar's been high all the way through the movie. It's a weird thing.
They have to build, action scenes.
They do have to build, absolutely. That's why I do that little graph in the book, which is something I do in every movie, just to work out how much action there should be and where it should go and, on a scale of one to 10, how big it is. It's funny how crude that looks, and yet if you compare it to any of the really great action movies, they'll fit that graph. There'll be something at the opening, there'll be something happening at the end of the first act and into the second act, and there'll be bits and pieces happening in the second act and then a big third act finale. Whether it's a movie made in the 60s or now, that formula of action still becomes the sweet spot.
A lot of these superhero movies, there's some fantastic action going on, but by the end of the movie, nobody cares. You have nowhere to go with it.
Some of them are very long as well.
Far too long. Far, far too long. You're absolutely right. I think any movie, past two hours, has got to be either incredibly spectacular or it's an ego-fest for the filmmakers. Keeping somebody in a seat for more than two hours - you'd better have a really good tale to tell. And I don't think many of these modern ones do - they just have lots of stuff in them.
So what films have impressed you recently in terms of action?
Kingsman, definitely. I thought it was absolutely brilliant, a really good take on it. I loved that it was Colin Firth and not a traditional action hero that's covered in muscles and torn t-shirts and things. And for the same reasons, really, I love the Taken series of movies with Liam Neeson. I loved them, particularly because they're grounded in reality, or set just above reality. Obviously, Kingsman you go more above reality, but they're still grounded with real gravity and real people. It's a bit hypocritical, because I've made a great living doing some superhero movies, but they're not more favourite movies by any chance. I'm very proud of the work I've done on them, but the movies I love aren't even action, really. I haven't seen the third Taken, I need to get that, but I thought the first two Takens were really very cool.
I quite liked both the Red films. I was going to do the second one of those, because the guy who directed the second one is a friend of mine. So I'd have liked to have done that, but they wanted to go with the person they used on the first film. Dean Parisot is a very good friend of mine, I did Galaxy Quest with him. That's one of my favourites.
But a lot of movies I've seen lately, I've been underwhelmed by some of them. It's funny. I like tight little movies. I think it's a shame we've not had more John Frankenheimers making things like Ronin, you know. Great action but well placed - the right action in the right place. Again, grounded in reality, real people.
Do you think stunts go through trends? Obviously, you've recently been doing a lot of wire work on superhero movies lately.
Oh, absolutely. It's kind of gone in a tight full circle, because a few years ago action went fully CG, and then the brief we were given when we did the first Amazing Spider-Man is that they want to get away from that feel, to go more gravity based, more reality. That's what we spent a lot of time doing on that first Spider-Man is the way he jumps around. I based it on real physics.
Some of the stuff on the first Amazing Spider-Man I'm really very, very proud of. We filmed some groundbreaking rig systems and high-powered winches that moved around so there was a proper organic travel when Spider-Man jumps around. It's funny, because when I agreed to do the movie, that was the brief - they want to make Spider-Man's movement much more realistic. I said, "Yes, absolutely, we can do it." But when I came out of the meeting, I have to be honest - I had no idea how the hell we were going to do that.
We did a lot of testing. They were good enough to give us a lot of time to test. One of the things I did was bring in an Olympic gymnast, and I had him swing from three bars, from one bar to the next bar to the next bar, doing giant swings on them. I videoed it, because I knew that something on the original [Sam Raimi] Spider-Man didn't look right. It sounds really obvious in the end, because your eye goes straight to it, but when I brought the gymnast in, I realised that when you see a human swinging, their downward swing is really violent. It gets faster, faster, faster until it nearly pulls the arms out of the sockets, and then as they swing up it gets slower, slower, slower until they get negative. Then they grab the next bar and it happens again. It's the massive variation in velocity that made me realise, "I get it. That's what's real." Then you can tell it's a real guy. When you see Spider-Man and his speed is the same going down as it is going up, even though you haven't analysed it in your mind, you know that it's not right. It's like the five-legged horse syndrome: if you saw one standing in a field, even though you've never seen one in your life, you'd know that it's not something from nature.
It's something I spend a lot of time doing, making things organic and real. In the book you've see a lot of reference to Buster Keaton and things, because I like to go back to that. When you've seen something done for real, then you can make anything as fantastic as you want. But you have to know where the baseline is, where real is, before you start doing something too spectacular. Or what will happen is, even though an audience has never seen an athlete on giant bars, or a guy swinging on a spider web, they'll know instinctively that it looks wrong. We're conditioned to do that - no matter how realistic a dummy in a shop window is, we know as humans that it isn't a real person. Animals know all that - they can spot their own species, they can spot other species and know what they are.
It's why, with a superhero movie, especially, I like to do a bible beforehand, so that you can have a reference. How strong is Spider-Man? Can he throw cars or push a building over? Can he just pick up a sofa? You have to have a yardstick of what people can do. Otherwise it's all over the place. We've seen those movies, where the power of the superheroes [varies]. One minute he gets knocked out by someone in a bar, the next he's pushing a house over.
It has to have some kind of internal logic, doesn't it.
It has to have some kind of logic, no matter how mad that logic is, it has to be consistent. We had it on Thor: how powerful is Thor? How much can he do with a hammer? What happens when the hammer really hits something? You have to have all these mad conversations at the beginning of the movie. If you see someone punch through a building, it's tough to then see that same person slap someone in their face without tearing their head off. You need a yardstick to go to.
I was interested to read what you said about Catwoman, and the idea you had for the big fight.
Yeah, that was a classic case. In the end I was proved right. The movie could have been fantastic. Halle Berry - in the outfit, she could stop traffic. And she was such a perfect choice for Catwoman - she had all the abilities. The movement down, the whole thing. It was such a waste, because the script got crappier and crappier. There was a rewrite every week or so. Each one was worse than the last one. It was like someone was drinking and writing worse and worse versions of it. I feel sorry for Halle as well - I don't think it did her career any good. She's such a trooper anyway.
It's funny, I remember when I saw the first TV commercial for the movie, and I'd been a bit depressed - I don't like leaving movies. I remember coming out, and you always have that second thought as to whether you should have left it or not. But I'm quite strict about only doing good stuff. The interesting thing is, I fought to get the motorcycle sequence in there, and the directors and the producers - none of them wanted it. The moment I saw that first commercial, and it was nearly all motorcycle. I remember shouting at the screen that I was absolutely right. You know when they put that in the trailer that it's the only good thing in the movie! It's very funny.
Why do you think that happens sometimes in these big Hollywood films, where you get this death spiral of script rewrites? You hear about it quite a lot.
Oh, God knows. If you could answer that I think you'd be a gazillionaire. A lot of these rewrites just get worse and worse. It's like cooking, putting this and that in, until you've got this inedible bowl of crap that's like the vision you originally set out to make. That happens so often. I think part of it happens in the main studio system because a lot of films get made by committee. That happens a lot. It didn't happen with some of the greats of the 50s, 60s and 70s, because some of those people were tyrannical, but the movies they made had a personal identity to them.
John Boorman doesn't always make great movies, but he's a great moviemaker and every movie he makes is a John Boorman movie. You look at Excalibur, you look at Deliverance, you look at Hope And Glory, they're all different, you can like them or not like them, but they have a real authority and identity to them. What happens in a studio system is you have a lot of junior executives and they all want to put a comment in there, they all want to use this actor or that actress. In the end, for right or wrong, a film has to have one real author. If it doesn't... there's the old saying that a camel is a horse designed by committee. That's what happens to movies. There are so many people in different areas in the studio that want to keep their fingers in the pie.
The big thing about studios is, most studio executives are all eventually going to get fired or run another studio or something. The rule of thumb is, most studio executives want to be just attached to a movie enough that if it's a huge success they can say they were or part of it, and they can point out the bits they changed or suggested or whatever. And if it's a Catwoman, they can distance themselves from it as if it were a disease. That's a real thing - a fine line executives work. Because you can get the blame for a picture that you may have had nothing to do with in some ways, you had no say in it if you were a studio executive, necessarily, and you can also get lots of praise and lots of awards and a million-dollar job at another studio because you're considered to be the guy or girl that brought this or that movie to the studio and it made $300m. It's a funny game, that.
In the end, who knows what's going to be successful? Who'd have thought movies like Fast & Furious would still be successful?
Yeah, there's gonna be eight or nine of them.
It's incredible. Vic [Armstrong] and I were offered, I guess it was three or four, and then they made a change with the action team and they've had the same action team since. But we'd just started Thor so we turned it down. It's funny because they went off and did more and more of those Fast & Furious films and we did the two Spider-Mans and Season Of The Witch and some other things. I think in the end we kind of made the right choice. I'm proud of the stuff I've done.
When you think of how advanced the look of Highlander was - Russell invented that look. The very long lenses, the very wide lenses. Fantastic cuts between things. It's absolutely timeless. I watched it again recently. It's as good now as it was when we made it. And it's a beautiful looking movie.
I'm really proud of the stuff I've done on it. It's amazing to think it's 30 years [old]. There's a lot of funny stories about Highlander. When they hired Sean Connery first of all as Ramirez, it’s funny because it's a Scotsman playing a Spaniard and a Frenchman playing a Scotsman! The funny thing is, Peter Davis and Bill Panzer, the producers, cast Connery - and the movie's called Highlander, so Connery thought he was playing the Highlander!
He got some huge fee, and then they let him know that he's playing Ramirez, this Spanish guy. He went, "Oh fine", but his fee was the same - he got about a million dollars for however many weeks he was on the movie. And then Christopher Lambert, who'd only done Greystoke before, as far as English-speaking movies went, they cast him and hadn't met him. Apparently, when they did Greystoke, he learned his lines parrot fashion - he just learned the line he had to speak. He couldn't speak English. But he's such a lovely guy.
When they first met him and he answered "Yes" to every question, they realised he didn't know what the hell they were talking about. [Laughs] They were in a bar or restaurant, and Peter Davis and Bill Panzer both came outside, and they left him at the table, and said, "He can't fucking speak English!" And they'd already cast him! The deal was done! It was fantastic, you know?
It just shows you. He was so charismatic in that movie. He learned English during the movie and was brilliant.
He's also incredibly short-sighted, Christophe. I did some really cool sword fight sequences with him. He couldn't see the sword! Incredible. His muscle memory and ability to be taught a fight with his glasses on, and then take is glasses off and then shoot was absolutely astounding. I've never met anyone like it. He never missed a beat, and yet he couldn't see - he couldn't see which end of the sword he had a hold of.
You look at those sword fights, and he's better than most stuntmen doing them. Yet he could hardly see his opponent, let alone the sword. Fascinating.
Clancy Brown, who played the villain, he's still a friend. He was fantastic. A couple of funny things happened on that, I think they're in the book. We were doing some car action in New York, and I had cameras on the front of the Cadillac. The Cadillac was my choice - originally it was written as a big four-wheel drive. I wanted something classically American that would slide around.
When we were towing it through town with the cameras on for the close-ups of the two actors, Clancy's there with his slit throat with the safety pins in it and all that, and I would jump off the back of the camera car when we got to a decent bit of road or bridge or something, and I'd turn all the cameras on.
At one point, I was turning the cameras on and the cop who was helping us - or supposed to be helping us in a typical sort of New York, aggressive cop way, said, "If you get off the camera car again, I'm going to arrest you."
Now, meanwhile, the cameras are rolling. I'm not really arguing with the cop, but I'm a bit pissed off to say the least. So I got back on the camera car. But while I'm doing that, Clancy, just dicking around, was [sings] "New York, New York!" And that was just him playing around. It was actually in response to me arguing with a New York cop, really.
Anyway, Russell, when he was putting the chase together, loved that little moment. He'd done all the Queen videos, and that's when Queen came in and saw it, and they loved it. So that's when they re-recorded their version of New York, New York and it became a hit record for Queen.
That's amazing.
It started as a mild confrontation between me and a rather aggressive New York cop! [Laughs] Whenever I see Clancy, we still laugh about it. It wasn't in the script or anything, it was just one of those things.
Andy Armstrong, thank you very much!
Action Movie Maker's Handbook is available from Amazon now.
See related Does it matter whether stars do their own stunts? Speed 2: how a dream sparked one of the biggest stunts ever Olivier Megaton interview: Taken 2, Liam Neeson and stunts Sam Mendes interview: Skyfall, stunts & cinematography Movies Interview Ryan Lambie Andy Armstrong 14 Jun 2016 - 05:40 Highlander Catwoman The Amazing Spider-Man The Amazing Spider-Man 2 interview Andy Armstrong movies...
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Legendary stunt coordinator Andy Armstrong talks to us about his work on Highlander, Thor, Catwoman, and what makes a great action scene...
For over 40 years, Andy Armstrong has worked on a huge array of stunts and action sequences in TV and film. From directing 1,000s of extras in Stargate to a full body burn in Danny DeVito's Hoffa, Armstrong's experiences as a stuntman, stunt coordinator and unit director have taken him all over the world.
The brother of Vic Armstrong, the stunt coordinator and director who famously doubled for Harrison Ford in the Indiana Jones movies, Andy Armstrong's career began when he doubled for Sir John Mills on the 1970s TV series, The Zoo Gang. That early job jumpstarted a life in filmmaking which has taken in three James Bond movies, 90s action (Total Recall, Universal Soldier) and superhero movies (The Green Hornet, Thor, The Amazing Spider-Man).
Those 40 years of filmmaking experience are the pillar of Armstrong's book, the Action Movie Maker's Handbook. Intended as a reference for those thinking of starting a career in stunts or action unit directing, it also offers a valuable insight for those outside the industry, too. The book reveals the range of talents required to bring an effective action scene to the screen - organisation, storytelling, an understanding of engineering and physics - and how much input a coordinator and unit director has on how those sequences will look in the final film.
We caught up with Andy Armstrong via telephone to talk about his book and some of the highlights in his career so far. Read on for his thoughts on creating the action sequences in Thor and The Amazing Spider-Man, his hilarious behind-the-scenes memories from the 80s cult classic, Highlander, and what went wrong on the 2004 Catwoman movie...
Your book gave me a new appreciation for what second unit directors and stunt coordinators do. I didn't realise how much design work you do when it comes to action scenes, for example.
Yeah, it is true that a lot of people don't realise how much development goes into action. Especially nowadays, it's such a complex business. That becomes a huge part of it - the technicalities of it and the storytelling part of it. Some things might look great, but when you put them all together they don't necessarily work for that movie. A lot of what I've made a living doing is really creating action that is appropriate for the movie. Because the wrong type of action is just like the wrong costume or the wrong actor or something - it just takes you out of the film.
You get a lot of movies that actually have too much action in them. Then what happens is, you can't appreciate it. It's like a feast where the starter is such a huge meal that you don't even want the main course because you're full. That's like so many action movies - they'd actually benefit from having some of the action taken out of them. I'm always fascinated when you see an audience in an action movie.
When I feel there's too much action in a movie, or it goes on for too long, I always look around in a cinema. It's interesting to see people chatting to each other or doing something else. You should never have that in an action movie. Action should be like sex or violence - you want to be left just wanting a bit more. That gets forgotten in a lot of movies, which are just relentless. Stuff going on the whole time.
What happens then is that, when it comes to something special for the third act, some fantastic fight or something, you can't raise the bar enough, because the bar's been high all the way through the movie. It's a weird thing.
They have to build, action scenes.
They do have to build, absolutely. That's why I do that little graph in the book, which is something I do in every movie, just to work out how much action there should be and where it should go and, on a scale of one to 10, how big it is. It's funny how crude that looks, and yet if you compare it to any of the really great action movies, they'll fit that graph. There'll be something at the opening, there'll be something happening at the end of the first act and into the second act, and there'll be bits and pieces happening in the second act and then a big third act finale. Whether it's a movie made in the 60s or now, that formula of action still becomes the sweet spot.
A lot of these superhero movies, there's some fantastic action going on, but by the end of the movie, nobody cares. You have nowhere to go with it.
Some of them are very long as well.
Far too long. Far, far too long. You're absolutely right. I think any movie, past two hours, has got to be either incredibly spectacular or it's an ego-fest for the filmmakers. Keeping somebody in a seat for more than two hours - you'd better have a really good tale to tell. And I don't think many of these modern ones do - they just have lots of stuff in them.
So what films have impressed you recently in terms of action?
Kingsman, definitely. I thought it was absolutely brilliant, a really good take on it. I loved that it was Colin Firth and not a traditional action hero that's covered in muscles and torn t-shirts and things. And for the same reasons, really, I love the Taken series of movies with Liam Neeson. I loved them, particularly because they're grounded in reality, or set just above reality. Obviously, Kingsman you go more above reality, but they're still grounded with real gravity and real people. It's a bit hypocritical, because I've made a great living doing some superhero movies, but they're not more favourite movies by any chance. I'm very proud of the work I've done on them, but the movies I love aren't even action, really. I haven't seen the third Taken, I need to get that, but I thought the first two Takens were really very cool.
I quite liked both the Red films. I was going to do the second one of those, because the guy who directed the second one is a friend of mine. So I'd have liked to have done that, but they wanted to go with the person they used on the first film. Dean Parisot is a very good friend of mine, I did Galaxy Quest with him. That's one of my favourites.
But a lot of movies I've seen lately, I've been underwhelmed by some of them. It's funny. I like tight little movies. I think it's a shame we've not had more John Frankenheimers making things like Ronin, you know. Great action but well placed - the right action in the right place. Again, grounded in reality, real people.
Do you think stunts go through trends? Obviously, you've recently been doing a lot of wire work on superhero movies lately.
Oh, absolutely. It's kind of gone in a tight full circle, because a few years ago action went fully CG, and then the brief we were given when we did the first Amazing Spider-Man is that they want to get away from that feel, to go more gravity based, more reality. That's what we spent a lot of time doing on that first Spider-Man is the way he jumps around. I based it on real physics.
Some of the stuff on the first Amazing Spider-Man I'm really very, very proud of. We filmed some groundbreaking rig systems and high-powered winches that moved around so there was a proper organic travel when Spider-Man jumps around. It's funny, because when I agreed to do the movie, that was the brief - they want to make Spider-Man's movement much more realistic. I said, "Yes, absolutely, we can do it." But when I came out of the meeting, I have to be honest - I had no idea how the hell we were going to do that.
We did a lot of testing. They were good enough to give us a lot of time to test. One of the things I did was bring in an Olympic gymnast, and I had him swing from three bars, from one bar to the next bar to the next bar, doing giant swings on them. I videoed it, because I knew that something on the original [Sam Raimi] Spider-Man didn't look right. It sounds really obvious in the end, because your eye goes straight to it, but when I brought the gymnast in, I realised that when you see a human swinging, their downward swing is really violent. It gets faster, faster, faster until it nearly pulls the arms out of the sockets, and then as they swing up it gets slower, slower, slower until they get negative. Then they grab the next bar and it happens again. It's the massive variation in velocity that made me realise, "I get it. That's what's real." Then you can tell it's a real guy. When you see Spider-Man and his speed is the same going down as it is going up, even though you haven't analysed it in your mind, you know that it's not right. It's like the five-legged horse syndrome: if you saw one standing in a field, even though you've never seen one in your life, you'd know that it's not something from nature.
It's something I spend a lot of time doing, making things organic and real. In the book you've see a lot of reference to Buster Keaton and things, because I like to go back to that. When you've seen something done for real, then you can make anything as fantastic as you want. But you have to know where the baseline is, where real is, before you start doing something too spectacular. Or what will happen is, even though an audience has never seen an athlete on giant bars, or a guy swinging on a spider web, they'll know instinctively that it looks wrong. We're conditioned to do that - no matter how realistic a dummy in a shop window is, we know as humans that it isn't a real person. Animals know all that - they can spot their own species, they can spot other species and know what they are.
It's why, with a superhero movie, especially, I like to do a bible beforehand, so that you can have a reference. How strong is Spider-Man? Can he throw cars or push a building over? Can he just pick up a sofa? You have to have a yardstick of what people can do. Otherwise it's all over the place. We've seen those movies, where the power of the superheroes [varies]. One minute he gets knocked out by someone in a bar, the next he's pushing a house over.
It has to have some kind of internal logic, doesn't it.
It has to have some kind of logic, no matter how mad that logic is, it has to be consistent. We had it on Thor: how powerful is Thor? How much can he do with a hammer? What happens when the hammer really hits something? You have to have all these mad conversations at the beginning of the movie. If you see someone punch through a building, it's tough to then see that same person slap someone in their face without tearing their head off. You need a yardstick to go to.
I was interested to read what you said about Catwoman, and the idea you had for the big fight.
Yeah, that was a classic case. In the end I was proved right. The movie could have been fantastic. Halle Berry - in the outfit, she could stop traffic. And she was such a perfect choice for Catwoman - she had all the abilities. The movement down, the whole thing. It was such a waste, because the script got crappier and crappier. There was a rewrite every week or so. Each one was worse than the last one. It was like someone was drinking and writing worse and worse versions of it. I feel sorry for Halle as well - I don't think it did her career any good. She's such a trooper anyway.
It's funny, I remember when I saw the first TV commercial for the movie, and I'd been a bit depressed - I don't like leaving movies. I remember coming out, and you always have that second thought as to whether you should have left it or not. But I'm quite strict about only doing good stuff. The interesting thing is, I fought to get the motorcycle sequence in there, and the directors and the producers - none of them wanted it. The moment I saw that first commercial, and it was nearly all motorcycle. I remember shouting at the screen that I was absolutely right. You know when they put that in the trailer that it's the only good thing in the movie! It's very funny.
Why do you think that happens sometimes in these big Hollywood films, where you get this death spiral of script rewrites? You hear about it quite a lot.
Oh, God knows. If you could answer that I think you'd be a gazillionaire. A lot of these rewrites just get worse and worse. It's like cooking, putting this and that in, until you've got this inedible bowl of crap that's like the vision you originally set out to make. That happens so often. I think part of it happens in the main studio system because a lot of films get made by committee. That happens a lot. It didn't happen with some of the greats of the 50s, 60s and 70s, because some of those people were tyrannical, but the movies they made had a personal identity to them.
John Boorman doesn't always make great movies, but he's a great moviemaker and every movie he makes is a John Boorman movie. You look at Excalibur, you look at Deliverance, you look at Hope And Glory, they're all different, you can like them or not like them, but they have a real authority and identity to them. What happens in a studio system is you have a lot of junior executives and they all want to put a comment in there, they all want to use this actor or that actress. In the end, for right or wrong, a film has to have one real author. If it doesn't... there's the old saying that a camel is a horse designed by committee. That's what happens to movies. There are so many people in different areas in the studio that want to keep their fingers in the pie.
The big thing about studios is, most studio executives are all eventually going to get fired or run another studio or something. The rule of thumb is, most studio executives want to be just attached to a movie enough that if it's a huge success they can say they were or part of it, and they can point out the bits they changed or suggested or whatever. And if it's a Catwoman, they can distance themselves from it as if it were a disease. That's a real thing - a fine line executives work. Because you can get the blame for a picture that you may have had nothing to do with in some ways, you had no say in it if you were a studio executive, necessarily, and you can also get lots of praise and lots of awards and a million-dollar job at another studio because you're considered to be the guy or girl that brought this or that movie to the studio and it made $300m. It's a funny game, that.
In the end, who knows what's going to be successful? Who'd have thought movies like Fast & Furious would still be successful?
Yeah, there's gonna be eight or nine of them.
It's incredible. Vic [Armstrong] and I were offered, I guess it was three or four, and then they made a change with the action team and they've had the same action team since. But we'd just started Thor so we turned it down. It's funny because they went off and did more and more of those Fast & Furious films and we did the two Spider-Mans and Season Of The Witch and some other things. I think in the end we kind of made the right choice. I'm proud of the stuff I've done.
When you think of how advanced the look of Highlander was - Russell invented that look. The very long lenses, the very wide lenses. Fantastic cuts between things. It's absolutely timeless. I watched it again recently. It's as good now as it was when we made it. And it's a beautiful looking movie.
I'm really proud of the stuff I've done on it. It's amazing to think it's 30 years [old]. There's a lot of funny stories about Highlander. When they hired Sean Connery first of all as Ramirez, it’s funny because it's a Scotsman playing a Spaniard and a Frenchman playing a Scotsman! The funny thing is, Peter Davis and Bill Panzer, the producers, cast Connery - and the movie's called Highlander, so Connery thought he was playing the Highlander!
He got some huge fee, and then they let him know that he's playing Ramirez, this Spanish guy. He went, "Oh fine", but his fee was the same - he got about a million dollars for however many weeks he was on the movie. And then Christopher Lambert, who'd only done Greystoke before, as far as English-speaking movies went, they cast him and hadn't met him. Apparently, when they did Greystoke, he learned his lines parrot fashion - he just learned the line he had to speak. He couldn't speak English. But he's such a lovely guy.
When they first met him and he answered "Yes" to every question, they realised he didn't know what the hell they were talking about. [Laughs] They were in a bar or restaurant, and Peter Davis and Bill Panzer both came outside, and they left him at the table, and said, "He can't fucking speak English!" And they'd already cast him! The deal was done! It was fantastic, you know?
It just shows you. He was so charismatic in that movie. He learned English during the movie and was brilliant.
He's also incredibly short-sighted, Christophe. I did some really cool sword fight sequences with him. He couldn't see the sword! Incredible. His muscle memory and ability to be taught a fight with his glasses on, and then take is glasses off and then shoot was absolutely astounding. I've never met anyone like it. He never missed a beat, and yet he couldn't see - he couldn't see which end of the sword he had a hold of.
You look at those sword fights, and he's better than most stuntmen doing them. Yet he could hardly see his opponent, let alone the sword. Fascinating.
Clancy Brown, who played the villain, he's still a friend. He was fantastic. A couple of funny things happened on that, I think they're in the book. We were doing some car action in New York, and I had cameras on the front of the Cadillac. The Cadillac was my choice - originally it was written as a big four-wheel drive. I wanted something classically American that would slide around.
When we were towing it through town with the cameras on for the close-ups of the two actors, Clancy's there with his slit throat with the safety pins in it and all that, and I would jump off the back of the camera car when we got to a decent bit of road or bridge or something, and I'd turn all the cameras on.
At one point, I was turning the cameras on and the cop who was helping us - or supposed to be helping us in a typical sort of New York, aggressive cop way, said, "If you get off the camera car again, I'm going to arrest you."
Now, meanwhile, the cameras are rolling. I'm not really arguing with the cop, but I'm a bit pissed off to say the least. So I got back on the camera car. But while I'm doing that, Clancy, just dicking around, was [sings] "New York, New York!" And that was just him playing around. It was actually in response to me arguing with a New York cop, really.
Anyway, Russell, when he was putting the chase together, loved that little moment. He'd done all the Queen videos, and that's when Queen came in and saw it, and they loved it. So that's when they re-recorded their version of New York, New York and it became a hit record for Queen.
That's amazing.
It started as a mild confrontation between me and a rather aggressive New York cop! [Laughs] Whenever I see Clancy, we still laugh about it. It wasn't in the script or anything, it was just one of those things.
Andy Armstrong, thank you very much!
Action Movie Maker's Handbook is available from Amazon now.
See related Does it matter whether stars do their own stunts? Speed 2: how a dream sparked one of the biggest stunts ever Olivier Megaton interview: Taken 2, Liam Neeson and stunts Sam Mendes interview: Skyfall, stunts & cinematography Movies Interview Ryan Lambie Andy Armstrong 14 Jun 2016 - 05:40 Highlander Catwoman The Amazing Spider-Man The Amazing Spider-Man 2 interview Andy Armstrong movies...
- 6/13/2016
- Den of Geek
Tom Cruise is reportedly being courted to star in a reboot of the "Highlander" franchise at Summit Entertainment says The Wrap.
VFX supervisor and second-unit director Cedric Nicolas-Troyan is set to make his feature directorial debut on the big-budget project. The reboot is expected to go back to the original 1986 film which starred Christopher Lambert as Connor MacLeod and Sean Connery as his mentor Juan Ramirez. Summit is said to be keen on Cruise playing the role Connery did.
The story followed an immortal Scottish swordsman on a quest for revenge against a barbarian who has chased him across time as they battle for 'The Prize'. The franchise that spawned ultimately consisted of five films, two TV series, several novels and various animated projects.
A Cruise representative says the project one of many on offer to him and he is "far from talks". Another insider says Summit is not in negotiations with Cruise,...
VFX supervisor and second-unit director Cedric Nicolas-Troyan is set to make his feature directorial debut on the big-budget project. The reboot is expected to go back to the original 1986 film which starred Christopher Lambert as Connor MacLeod and Sean Connery as his mentor Juan Ramirez. Summit is said to be keen on Cruise playing the role Connery did.
The story followed an immortal Scottish swordsman on a quest for revenge against a barbarian who has chased him across time as they battle for 'The Prize'. The franchise that spawned ultimately consisted of five films, two TV series, several novels and various animated projects.
A Cruise representative says the project one of many on offer to him and he is "far from talks". Another insider says Summit is not in negotiations with Cruise,...
- 11/20/2014
- by Garth Franklin
- Dark Horizons
Growing up in a house with no cable I can tell you that I watched every episode of Highlander mostly because it was what was on, and I really did enjoy it. But I know the movies and series have some real mega fans out there and I’m curious what you all think.
We’ve been reporting on the Highlander movie reboot, though it’s been more than a year since we’ve had anything to report. Previously-reported director Juan Carlos Fresnadillo has been replaced by Cedric Nicolas-Troyan, who is making his directorial debut after being visual effects supervisor and second unit director for Snow White And The Huntsman.
The script is being written by Art Marcum and Matt Holloway (Iron Man). Neal H. Moritz and Peter Davis are producing with Justin Lin as executive producer. This all according to Deadline.
Deadline goes on in their article to an...
We’ve been reporting on the Highlander movie reboot, though it’s been more than a year since we’ve had anything to report. Previously-reported director Juan Carlos Fresnadillo has been replaced by Cedric Nicolas-Troyan, who is making his directorial debut after being visual effects supervisor and second unit director for Snow White And The Huntsman.
The script is being written by Art Marcum and Matt Holloway (Iron Man). Neal H. Moritz and Peter Davis are producing with Justin Lin as executive producer. This all according to Deadline.
Deadline goes on in their article to an...
- 11/11/2013
- by Jess Orso
- ScifiMafia
The long-gestating reboot of “Highlander” has now chosen its director. Cedric Nicolas-Troyan is “the one.” This will be the first feature where he’ll serve as director, after cutting his teeth as a visual effects supervisor and second unit director on films like “Snow White and The Huntsman.” Deadline broke the news and spoke to the man himself, fresh from landing the gig:
“I have been working on my pitch for this since the summer, and when I got there I met the original producer and I just started geeking out and he loved it. The first movie came out when I was a teenager in France and it was one of my favorite films of those years. I loved the series also, they shot a lot of it in France, on the Seine River. My first reaction, like everybody else, was, really, do we need a remake? Then I read the script,...
“I have been working on my pitch for this since the summer, and when I got there I met the original producer and I just started geeking out and he loved it. The first movie came out when I was a teenager in France and it was one of my favorite films of those years. I loved the series also, they shot a lot of it in France, on the Seine River. My first reaction, like everybody else, was, really, do we need a remake? Then I read the script,...
- 10/29/2013
- by Mario-Francisco Robles
- LRMonline.com
Cedric Nicolas-Troyan is set to make his feature directorial debut on the "Highlander" reboot at Summit Entertainment.
Art Marcum and Matt Holloway ("Iron Man") penned the script which is said to be fairly loyal to Russell Mulcahy's 1986 feature about Scottish immortal Connor MacLeod.
Nicolas-Troyan was a second unit director on "Snow White And The Huntsman" and "Maleficent". He replaces Justin Lin who was briefly attached to direct, and now remains onboard as executive producer.
Nicolas-Troyan is also said to be quite knowledgable of the franchise and its mythology, especially the TV series spin-off. His aim is to deliver a "modern, visceral take" on the iconic characters of the franchise.
He will supervise a script polish ahead of a production start next year. Neal H. Moritz and Peter Davis will produce.
Source: Deadline...
Art Marcum and Matt Holloway ("Iron Man") penned the script which is said to be fairly loyal to Russell Mulcahy's 1986 feature about Scottish immortal Connor MacLeod.
Nicolas-Troyan was a second unit director on "Snow White And The Huntsman" and "Maleficent". He replaces Justin Lin who was briefly attached to direct, and now remains onboard as executive producer.
Nicolas-Troyan is also said to be quite knowledgable of the franchise and its mythology, especially the TV series spin-off. His aim is to deliver a "modern, visceral take" on the iconic characters of the franchise.
He will supervise a script polish ahead of a production start next year. Neal H. Moritz and Peter Davis will produce.
Source: Deadline...
- 10/29/2013
- by Garth Franklin
- Dark Horizons
Cedric Nicolas-Troyan is set to make his feature directorial debut with Summit’s “Highlander” reboot, an individual familiar with the project has told TheWrap. Nicolas-Troyan served as second unit director and visual effects supervisor on “Snow White and the Huntsman.” Also Read: Ryan Reynolds Exits ‘Highlander’ Reboot at Summit (Exclusive) Art Marcum and Matt Holloway wrote the script. Neal H. Moritz is producing with Peter Davis, while Justin Lin will executive produce after previously being attached to direct. Ryan Reynolds is no longer attached to star, as TheWrap first reported. Nicolas-Troyan is a big fan of Russell Mulcahy’s 1986 original and the subsequent TV.
- 10/29/2013
- by Jeff Sneider
- The Wrap
Exclusive: Summit Entertainment has found a director for its reboot of Highlander, the tale of a sword-wielding Scottish immortal Connor MacLeod. Cedric Nicolas-Troyan will make his feature directorial debut after serving as visual effects supervisor and second unit director on Snow White And The Huntsman. Summit is moving ahead with script by Iron Man scribes Art Marcum and Matt Holloway that hews close to the 1986 Russell Mulcahy-directed original that starred Christopher Lambert as the title character, who, after being mentored by Ramirez (Sean Connery), spends centuries dueling rivals until it’s only him and the murderously brutal barbarian Kurgan (Clancy Brown). They battle to be the final immortal who’ll influence mankind’s future. For Kurgan, that means raining hell on the world if MacLeod can’t stop him. Neal H. Moritz is producing with original film and series producer Peter Davis. Justin Lin, who once planned to direct,...
- 10/29/2013
- by MIKE FLEMING JR
- Deadline
While it’s bad news for those wanting a Highlander reboot as soon as possible, I think it’s probably for the best that we found out that Ryan Reynolds has dropped out of the project.
Highlander has been a reboot fraught with difficulties, as many writers have worked on it (Art Marcum, Matt Holloway, Noah Oppenheim, Melissa Rosenberg) and a few directors having looked into it (namely Justin Lin), with just as many departing. The latest was 28 Weeks Later’s Juan Carlos Fresnadillo who left in November. Now, Ryan Reynolds is the one bailing, and I never thought he was a good fit for a Scottish warrior anyhow.
Where does that leave this property? No idea, but I’m sure we’ll be hearing about a new director and star soon, since Summit Entertainment and producers Peter Davis and Neal Moritz are clearly determined to make this happen, whether...
Highlander has been a reboot fraught with difficulties, as many writers have worked on it (Art Marcum, Matt Holloway, Noah Oppenheim, Melissa Rosenberg) and a few directors having looked into it (namely Justin Lin), with just as many departing. The latest was 28 Weeks Later’s Juan Carlos Fresnadillo who left in November. Now, Ryan Reynolds is the one bailing, and I never thought he was a good fit for a Scottish warrior anyhow.
Where does that leave this property? No idea, but I’m sure we’ll be hearing about a new director and star soon, since Summit Entertainment and producers Peter Davis and Neal Moritz are clearly determined to make this happen, whether...
- 6/18/2013
- by Andy Greene
- FamousMonsters of Filmland
Back in the fall of 2011, director Juan Carlos Fresnadillo (Intruders, 28 Weeks Later) was hired to direct Summit Entertainment's film reboot of the fan favorite franchise Highlander. Since then, Ryan Reynolds became attached to lead the film, but late last year Fresnadillo fell away from the project, and now The Wrap reports the film is without a leading man as well. The Green Lantern star has reportedly backed out of the production as well, leaving producers Neal Moritz and Peter Davis to start all over. Reynolds' departure comes after Summit wasn't able to find a replacement for Fresnadillo quickly enough. However, the good news here is that Summit might actually have an easier time finding a director now that they can cast a new lead to their liking. The question is who can step into the shoes once filled by Christopher Lambert? The lead character is that of an immortal...
- 6/18/2013
- by Ethan Anderton
- firstshowing.net
Ryan Reynolds has reportedly dropped out of the long gestating reboot of the "Highlander" franchise at Summit Entertainment.
This follows on from filmmaker Juan Carlos Fresnadillo ("28 Weeks Later") who left back in November after more than a year's work on the project. Justin Lin ("Fast Five") was originally attached to direct.
Reynolds was to play immortal Scottish swordsman Connor MacLeod in this new take on the original 1986 cult hit that spawned a franchise.
Art Marcum, Matt Holloway, Noah Oppenheim and Melissa Rosenberg previously worked on the script, while Neal Moritz and Peter Davis are set to produce.
Source: The Wrap...
This follows on from filmmaker Juan Carlos Fresnadillo ("28 Weeks Later") who left back in November after more than a year's work on the project. Justin Lin ("Fast Five") was originally attached to direct.
Reynolds was to play immortal Scottish swordsman Connor MacLeod in this new take on the original 1986 cult hit that spawned a franchise.
Art Marcum, Matt Holloway, Noah Oppenheim and Melissa Rosenberg previously worked on the script, while Neal Moritz and Peter Davis are set to produce.
Source: The Wrap...
- 6/18/2013
- by Garth Franklin
- Dark Horizons
When it comes to "Highlander" stars, there can only be one. Now, however, there are none, as TheWrap has learned that Ryan Reynolds has exited Summit Entertainment's upcoming reboot, leaving producers Neal Moritz and Peter Davis back at square one. Summit has been developing "Highlander" for several years, with Juan Carlos Fresnadillo ("28 Weeks Later") most recently attached to direct. After a year of working on the project, Fresnadillo had a different vision in mind than Summit and they amicably parted ways in November 2012. Summit vowed to move quickly in finding...
- 6/18/2013
- by Jeff Sneider
- The Wrap
The Wrap is reporting exclusively that Ryan Reynolds has dropped out of Summit Entertainment's long-in-development reboot of Highlander with producers Neal Moritz and Peter Davis, following the departure of 28 Week Later director Juan Carlos Fresnadillo last November. Although Summit was reportedly going to move forward to find a replacement for Fresnadillo, who developed the reboot for well over a year before departing, the lack of a director may have forced Reynolds' hand in departing the project himself. Reynolds was meant to play Connor MacLeod, "an immortal Scottish swordsman forced to confront the Kurgan, a brutal barbarian who lusts for the fabled 'Prize.'" Many writers have worked on the reboot including Art Marcum and Matt Holloway, Noah Oppenheim and...
- 6/17/2013
- Comingsoon.net
Juan Carlos Fresnadillo ("28 Weeks Later") has dropped out of directing the reboot of the "Highlander" franchise at Summit Entertainment.
The exit is reportedly amicable and over creative differences after Fresnadillo helped develop the project with Summit for over a year. Art Marcum and Matt Holloway penned the script, with the latest draft by Noah Oppenheim.
Ryan Reynolds remains attached to play the title character in the film, though it seems unlikely they'll stick with the original film's ancient Scottish setting.
Neal H. Mortiz, Peter Davis, Enrique López Lavigne and Belen Atienza will produce.
Source: Deadline...
The exit is reportedly amicable and over creative differences after Fresnadillo helped develop the project with Summit for over a year. Art Marcum and Matt Holloway penned the script, with the latest draft by Noah Oppenheim.
Ryan Reynolds remains attached to play the title character in the film, though it seems unlikely they'll stick with the original film's ancient Scottish setting.
Neal H. Mortiz, Peter Davis, Enrique López Lavigne and Belen Atienza will produce.
Source: Deadline...
- 12/1/2012
- by Garth Franklin
- Dark Horizons
Exclusive: When it comes to directors on the movie Highlander, there can be only one. But it won’t be Juan Carlos Fresnadillo. The 28 Weeks Later helmer has exited Summit’s reboot of the film, which still has Ryan Reynolds poised to play the title character. I’m told that his exit is amicable, and that after a year of working on the project, he and Summit could not get past the fact they had differing views of the film, and finally agreed to disagree. Fresnadillo left a remake of The Crow to join Highlander. It’s unclear at the moment whether that is an option, but come Monday, he will be looking for another movie, and Summit will be looking for another Highlander helmer. Summit Entertainment remains bullish on Highlander, which has a script by Art Marcum and Matt Holloway, with the latest draft by Noah Oppenheim. It’s produced by Neal H.
- 12/1/2012
- by MIKE FLEMING JR.
- Deadline
A little over a year after he first signed on to the project, director Juan Carlos Fresnadillo is leaving Summit Entertainment's upcoming reboot of the Highlander franchise. Deadline has the news, saying that while creative differences between Fresnadillo and the studio led to an amicable split, Ryan Reynolds remains attached to the project to play the leading role. In Highlander , after centuries of dueling to survive against others like him, Connor MacLeod, an immortal Scottish swordsman must confront the last of his kind, a murderously brutal barbarian, who lusts for the Prize. Written by Art Marcum and Matt Holloway, Highlander will be produced by Neal H. Mortiz, Peter Davis, Enrique López Lavigne and Belen Atienza. Rcr Media Group's principles Rui Costa Reis and...
- 11/30/2012
- Comingsoon.net
There can be only one… except when it involves reboots. Ryan Reynolds is stepping into the kilt formerly worn by Christopher Lambert for the remake of The Highlander.
A few movies deserve remakes, while others are best left alone. Cult classic The Highlander is in that latter group. It’s not that special effects and overall appearance couldn’t be improved with an update, but I don’t see how the story itself can be improved.
If you’re not familiar with the storyline, a Highlander named Conner MacLeod fights other immortals with swords in a centuries-old battle to be the last immortal standing. Because he and the others of his kind are immortal, the only way to actually kill them is by chopping off their heads, which is why they use swords in battle.
It’s been recently confirmed that Ryan Reynolds has landed the role of MacLeod, and...
A few movies deserve remakes, while others are best left alone. Cult classic The Highlander is in that latter group. It’s not that special effects and overall appearance couldn’t be improved with an update, but I don’t see how the story itself can be improved.
If you’re not familiar with the storyline, a Highlander named Conner MacLeod fights other immortals with swords in a centuries-old battle to be the last immortal standing. Because he and the others of his kind are immortal, the only way to actually kill them is by chopping off their heads, which is why they use swords in battle.
It’s been recently confirmed that Ryan Reynolds has landed the role of MacLeod, and...
- 6/27/2012
- by Marty Shaw
- Movie Cultists
Last September, we brought you the news when Summit Entertainment signed director Juan Carlos Fresnadillo (28 Weeks Later) to helm their impending Highlander reboot, produced by Neal Moritz and Peter Davis, and penned by Iron Man writers Art Marcum and Matt Holloway.
Now, Variety reports that Ryan Reynolds (R.I.P.D., Deadpool) is the front-runner to star in the reboot. Sources tell the trade that although talks are ongoing and both sides are very interested, Reynolds is weighing other offers and could still pursue a different project.
Highlander is tentatively slated to hit theaters in 2014.
Now, Variety reports that Ryan Reynolds (R.I.P.D., Deadpool) is the front-runner to star in the reboot. Sources tell the trade that although talks are ongoing and both sides are very interested, Reynolds is weighing other offers and could still pursue a different project.
Highlander is tentatively slated to hit theaters in 2014.
- 5/21/2012
- by Jason Moore
- ScifiMafia
Ryan Reynolds has emerged as front-runner to star in Juan Carlos Fresnadillo's reboot of the "Highlander" franchise at Lionsgate-Summit reports Variety.
Both sides are reportedly in talks and keen on working together, though Reynolds is weighing other offers.
The original series followed an immortal swordsman who battled other immortal warriors through the centuries.
Matt Holloway and Art Marcum penned the script while Neal Moritz and Peter Davis are producing.
Both sides are reportedly in talks and keen on working together, though Reynolds is weighing other offers.
The original series followed an immortal swordsman who battled other immortal warriors through the centuries.
Matt Holloway and Art Marcum penned the script while Neal Moritz and Peter Davis are producing.
- 5/19/2012
- by Garth Franklin
- Dark Horizons
He may have missed out on helming the "Thor" sequel, but that hasn't stopped demand for the skill of Brian Kirk who has entered talks to direct the long-gestating adaptation of "The Osterman Weekend" at Lionsgate/Summit Entertainment and Captivate Entertainment reports Deadline.
The second and shortest novel of 'Bourne' series author Robert Ludlum, the story has the host of an investigative news show becoming convinced by a CIA agent that the friends he has invited to a weekend getaway in the country are engaged in a Kgb conspiracy that threatens national security.
The book was adapted once before in 1983 and marked the final film of trend-setting helmer Sam Peckinpah's career. John Hurt, Craig T. Nelson, Rutger Hauer, Dennis Hopper, Meg Foster, Burt Lancaster and Chris Sarandon all starred.
Simon Kinberg and Jesse Wigutow penned the reboot which ditches the Cold War and spy elements and will switch around some of the occupations.
The second and shortest novel of 'Bourne' series author Robert Ludlum, the story has the host of an investigative news show becoming convinced by a CIA agent that the friends he has invited to a weekend getaway in the country are engaged in a Kgb conspiracy that threatens national security.
The book was adapted once before in 1983 and marked the final film of trend-setting helmer Sam Peckinpah's career. John Hurt, Craig T. Nelson, Rutger Hauer, Dennis Hopper, Meg Foster, Burt Lancaster and Chris Sarandon all starred.
Simon Kinberg and Jesse Wigutow penned the reboot which ditches the Cold War and spy elements and will switch around some of the occupations.
- 2/29/2012
- by Garth Franklin
- Dark Horizons
Bourne author Robert Ludlum‘s Hollywood tour continues, as we’ve just learned another one of his novels is making its way to the big screen. According to Deadline, Irish director Brian Kirk is in talks to helm The Osterman Weekend, a Lionsgate/Summit project based on Ludlum‘s 1972 novel of the same name.
The adaptation will be scripted by Simon Kinberg and Jesse Wigutow, telling a story that mixes, in true Ludlum fashion, “conspiracy, murder and a man on the run.” The novel follows John Tanner, who, on the eve of an annual weekend getaway with his friends, “is visited by a reporter who tells him his friends aren’t who he thinks they are. When the reporter turns up dead, Tanner gets caught in downward spiral of doubt and paranoia and, ultimately, a desperate fight to stay alive long enough to figure out who he can trust and...
The adaptation will be scripted by Simon Kinberg and Jesse Wigutow, telling a story that mixes, in true Ludlum fashion, “conspiracy, murder and a man on the run.” The novel follows John Tanner, who, on the eve of an annual weekend getaway with his friends, “is visited by a reporter who tells him his friends aren’t who he thinks they are. When the reporter turns up dead, Tanner gets caught in downward spiral of doubt and paranoia and, ultimately, a desperate fight to stay alive long enough to figure out who he can trust and...
- 2/29/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Exclusive: Brian Kirk is in talks to direct The Osterman Weekend, the adaptation of the Robert Ludlum novel for Lionsgate/Summit Entertainment and Captivate Entertainment. The Irish helmer is also developing Paper Wings at Sony as a potential Tom Cruise vehicle, as well as the Guillermo Del Toro-produced Midnight Delivery at Universal. He most recently directed the BBC miniseries Great Expectations and helmed several episodes of the Idris Elba series Luther. Scripted by Simon Kinberg and Jesse Wigutow, The Osterman Weekend is classic Ludlum, mixing conspiracy, murder and a man on the run. On the eve of an annual weekend getaway with friends, John Tanner is visited by a reporter who tells him his friends aren’t who he thinks they are. When the reporter turns up dead, Tanner gets caught in downward spiral of doubt and paranoia and, ultimately, a desperate fight to stay alive long enough to...
- 2/28/2012
- by MIKE FLEMING
- Deadline
Juan Carlos Fresnadillo will direct Summit Entertainment's re-imagination of the cult film "Highlander" co-financed by Rcr Media Group. Summit's "Highlander" is written by Art Marcum and Matt Holloway ("Iron Man"). Neal H. Mortiz and Peter Davis will produce the project along with Enrique López Lavigne and Belen Atienza. Rcr Media Group's principles Rui Costa Reis and Eliad Josephson will executive produce the film. Justin Lin will also executive produce. Summit acquired the rights to remake the cult classic from Davis - Panzer Productions, Inc. in May of 2008. Production on the film is slated to begin spring of 2012. In Highlander, after centuries of dueling to survive against others like him, Connor MacLeod, an immortal Scottish swordsman must confront the last of his kind, a...
- 9/23/2011
- www.ohmygore.com/
Last month, we told you that hot Fast & Furious director Justin Lin left Summit Entertainment’s remake of 1986’s Highlander due to scheduling conflicts. Summit’s Highlander wasn’t developing fast enough to make Lin’s dance card though Lin still intended to serve as an executive producer on the project.
Variety reports that Summit is in talks with director Juan Carlos Fresnadillo (28 Weeks Later, Intacto) for this reboot effort.
Summit has a script written by Iron Man writers Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis serve as producers on the project with Rui Costa Reis and Eliad Josephson of Rcr Media Group as executive producers.
Fresnadillo will also helm Relativity Media’s reboot of James O’Barr’s The Crow.
Summit plans for Highlander to be released in 2014.
Variety reports that Summit is in talks with director Juan Carlos Fresnadillo (28 Weeks Later, Intacto) for this reboot effort.
Summit has a script written by Iron Man writers Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis serve as producers on the project with Rui Costa Reis and Eliad Josephson of Rcr Media Group as executive producers.
Fresnadillo will also helm Relativity Media’s reboot of James O’Barr’s The Crow.
Summit plans for Highlander to be released in 2014.
- 9/13/2011
- by Lillian 'zenbitch' Standefer
- ScifiMafia
Summit Entertainment has confirmed that Juan Carlos Fresnadillo ("28 Weeks Later") will direct a 're-imagination' of the cult film "Highlander", to be co-financed by Rcr Media Group.
Summit acquired the rights to remake the film from Davis-Panzer Productions, Inc., May 2008.
Summit's "Highlander" is written by Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis will produce the project along with Enrique López Lavigne and Belen Atienza. Rcr Media Group's principles Rui Costa Reis and Eliad Josephson will executive produce the film with Justin Lin.
The original, $16 million "Highlander" feature, released in 1986 by 20th Century Fox, was directed by Russell Mulcahy, based on a story by Gregory Widen, following 'Connor MacLeod', an immortal Scottish swordsman.
The film depicted the climax of an ages-old battle between warriors, focusing on an elaborately-interwoven past integrated into present day storylines.
"...From the 'Dawn of Time' we came, moving silently down through the centuries,...
Summit acquired the rights to remake the film from Davis-Panzer Productions, Inc., May 2008.
Summit's "Highlander" is written by Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis will produce the project along with Enrique López Lavigne and Belen Atienza. Rcr Media Group's principles Rui Costa Reis and Eliad Josephson will executive produce the film with Justin Lin.
The original, $16 million "Highlander" feature, released in 1986 by 20th Century Fox, was directed by Russell Mulcahy, based on a story by Gregory Widen, following 'Connor MacLeod', an immortal Scottish swordsman.
The film depicted the climax of an ages-old battle between warriors, focusing on an elaborately-interwoven past integrated into present day storylines.
"...From the 'Dawn of Time' we came, moving silently down through the centuries,...
- 9/13/2011
- by Michael Stevens
- SneakPeek
A couple of months back, Summit Entertainment teased the idea of bringing back the Highlander series to the big screen. Now it isn’t just an idea, it is an actual project. At first Fast Five director Justin Lin was tapped to direct the Highlander reboot, but has since then walked away to direct more Fast and Furious sequels Now Summit Entertainment has confirmation that Juan Carlos Fresnadillo will be the one to helm the director’s chair for the reboot.
Summit Entertainment has made the following statement:
Juan Carlos Fresnadillo will direct Summit Entertainment’s re-imagination of the cult film Highlander co-financed by Rcr Media Group. Summit’s Highlander is written by Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis will produce the project along with Enrique López Lavigne and Belen Atienza. Rcr Media Group’s principles Rui Costa Reis and Eliad Josephson will executive produce the film.
Summit Entertainment has made the following statement:
Juan Carlos Fresnadillo will direct Summit Entertainment’s re-imagination of the cult film Highlander co-financed by Rcr Media Group. Summit’s Highlander is written by Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis will produce the project along with Enrique López Lavigne and Belen Atienza. Rcr Media Group’s principles Rui Costa Reis and Eliad Josephson will executive produce the film.
- 9/13/2011
- by Mike Lee
- FusedFilm
Christopher Lambert's star may have long since faded since he appeared in the 1986 cult classic "Highlander", but the fantasy/action film itself is enjoying something of a revival now, thanks to the announcement of an upcoming remake from Summit Entertainment. Now it's being reported that "28 Weeks Later" director Juan Carlos Fresnadillo has landed at the helm of the franchise reboot, with production expected to begin sometime next spring from a screenplay by "Iron Man" scribes Art Marcum and Matt Holloway. Neal H. Moritz, Peter Davis, Enrique Lopez Lavigne and Belen Atienza will serve as producers, with "Fast Five" helmer Justin...
- 9/13/2011
- by Chris Eggertsen
- Hitfix
Earlier today, we scooped that director Juan Carlos Fresnadillo, in Toronto for the premiere of his latest movie The Intruders, was the front-runner to helm Summit Entertainment’s re-imagining of Highlander, the 1986 fantasy sci-fi film starring Christopher Lambert about immortals who battle with swords, and live and die by the mantra that “there can be only one.” Well, the distributor just confirmed that Fresnadillo is the only one to direct it: Juan Carlos Fresnadillo will direct Summit Entertainment’s re-imagination of the cult film Highlander co-financed by Rcr Media Group. Summit’s Highlander is written by Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis will produce the project along with Enrique López Lavigne and Belen Atienza. Rcr Media Group’s principles Rui Costa Reis and Eliad Josephson will executive produce the film. Justin Lin will also executive produce. Summit acquired the rights to remake the cult classic from Davis – Panzer Productions,...
- 9/12/2011
- by MIKE FLEMING
- Deadline
The reboot of Highlander, which Summit has been working on with various degrees of enthusiasm for the past couple years, is getting a new director. Justin Lin was signed to make the film, but walked [1] not long ago. Now Juan Carlos Fresnadillo, who directed 28 Weeks Later and now, four years later, has Intruders opening at Tiff, is in talks with Summit to direct the remake. Update: This deal has been finalized; the press release from Summit has been added below. Deadline [2] says that Summit is still working with the script drafted by Art Marcum and Matt Holloway (Iron Man), which was polished by Melissa Rosenberg (Twilight). That's what Justin Lin was going to direct when he was attached to the project before bailing to do another Fast/Furious movie for Universal. There aren't many more details on the new version of the 1986 film, which was directed by Russell Mulcahy and...
- 9/12/2011
- by Russ Fischer
- Slash Film
Juan Carlos Fresnadillo will direct Summit Entertainment's re-imagination of the cult film Highlander co-financed by Rcr Media Group. Summit's Highlander is written by Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis will produce the project along with Enrique López Lavigne and Belen Atienza. Rcr Media Group's principles Rui Costa Reis and Eliad Josephson will executive produce the film. Justin Lin will also executive produce. Summit acquired the rights to remake the cult classic from Davis - Panzer Productions, Inc. in May of 2008. Production on the film is slated to begin spring of 2012. In Highlander , after centuries of dueling to survive against others like him, Connor MacLeod, an immortal Scottish swordsman must confront the last of his kind, a...
- 9/12/2011
- Comingsoon.net
Remake of Highlander looks to 28 Weeks Later's Juan Carlos Fresnadillo to replace Justin Lin Summit Entertainment is currently involved in negotiations with Fresnadillo for helming duties on the Neal H. Moritz and Peter Davis-produced reboot of the cult favorite Highlander. This comes after Justin Lin dropped the project to resume directing responsibilities for fans of the Fast and Furious franchise, now in its sixth installment. Art Marcum and Matt Holloway are writing the script for the new version, after Summit's acquisition of Highlander remake rights back in 2008 from Davis-Panzer Productions.
- 9/12/2011
- Upcoming-Movies.com
Remake of Highlander looks to 28 Weeks Later's Juan Carlos Fresnadillo to replace Justin Lin Summit Entertainment is currently involved in negotiations with Fresnadillo for helming duties on the Neal H. Moritz and Peter Davis-produced reboot of the cult favorite Highlander. This comes after Justin Lin dropped the project to resume directing responsibilities for fans of the Fast and Furious franchise, now in its sixth installment. Art Marcum and Matt Holloway are writing the script for the new version, after Summit's acquisition of Highlander remake rights back in 2008 from Davis-Panzer Productions.
- 9/12/2011
- Upcoming-Movies.com
Summit Entertainment has had their sights set on remaking 1986’s Highlander since they acquired the rights to the film back in 2008. Director Justin Lin (Fast Five, Better Luck Tomorrow) had originally been signed on to helm the project in 2009.
[Above: Vin Diesel and Justin Lin]
According to THR, since the success of Fast Five this year has garnered Lin much attention and high caliber projects like the sixth Fast and Furious film and even potentially the next Terminator film, his schedule is filling up quickly. As always, it always comes down to timing. Lin’s schedule didn’t line up with Summit’s timeline to develop the film and he has decided to step aside as director. However, Lin will remain attached to the project as an executive producer.
Summit has a script written by Iron Man writers Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis serve as producers on the project with...
[Above: Vin Diesel and Justin Lin]
According to THR, since the success of Fast Five this year has garnered Lin much attention and high caliber projects like the sixth Fast and Furious film and even potentially the next Terminator film, his schedule is filling up quickly. As always, it always comes down to timing. Lin’s schedule didn’t line up with Summit’s timeline to develop the film and he has decided to step aside as director. However, Lin will remain attached to the project as an executive producer.
Summit has a script written by Iron Man writers Art Marcum and Matt Holloway. Neal H. Mortiz and Peter Davis serve as producers on the project with...
- 8/17/2011
- by Lillian 'zenbitch' Standefer
- ScifiMafia
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