News has broken about NBC remaking the murder mystery series, Murder, She Wrote. This time around, Octavia Spencer, who won an Oscar for her role in The Help, will star as Jessica “J.B.” Fletcher, mystery writer and angel of death*. A few changes are being made to the series, beyond having an actress younger than Angela Lansbury was when she played Jessica. First, instead of the main character being a widow who wrote mysteries to supplement her income and getting a break, the new JB Fletcher will be a hospital administrator in her day job. With Jessica having a regular job, she won’t be able to travel around as much as in the original series. Second, Jessica will be a self-published author instead of going through a publishing company. This reflects the huge changes in the publishing industry since the original series left the air.
The usual question when anything is remade is, “Why do a remake?” In this case, NBC is still rebuilding after the fiasco of moving Jay Leno to a 10pm time slot, losing five dramas including the long-running Law & Order. NBC is still rebuilding, trying to regain the lost audience, a tough chore when the options available are almost boundless. The network has already cancelled one remake, Ironside, after three episodes, replacing it with Dateline for the most part in the time slot**.
The difference, though, between Ironside and Murder, She Wrote is familiarity. The original Ironside starred Raymond Burr, who was better known for Perry Mason. The old series, while falling one short of having 200 episodes over eight seasons, never received much syndication beyond the 70s; Murder, She Wrote lasted twelve seasons with 284 episodes, plus came out when syndication was far more established with the 500 channel cable line up looming. Murder, She Wrote had a larger impact, and, having ended its twelve season run in 1996, is better remembered. NBC may be counting on people wondering about the differences between the original and the remake to get a decent number of viewers for the pilot episode.
There will be complaints. With the Internet and social media, people have many places to vent about a series sight unseen. There are three areas of contention that I can see. First, Jessica has a day job. The original series was more an anthology series featuring whodunits, and with JB Fletcher being a successful author able to live off her royalties, there was no need to anchor her to any one location. If one episode needed her in LA one week and the next week’s show needed her in Miami, the script writers could hand wave her being in both cities as being on a book signing tour. Or she could visit friends and relatives anywhere in the world*** for any number of reasons. The new Jessica Fletcher, though, has a day job – hospital administrator. The new Jessica can’t gallivant around the country. Being self-published, she can’t yet live off her royalties. Book tours would either be self-funded or virtual. However, being at a hospital means that she would see the bodies that come in, giving her a chance to notice that the odd death isn’t of natural causes. This also means that, in a large enough city, she’s not going to be the harbinger of death. In the original Murder, She Wrote, everywhere JB Fletcher went, someone died, to the point where people could call her Entertainment’s most successful serial killer.
The second area of contention is the choice of actress in the new series. As mentioned about, Spencer is an Oscar winner. However, Angela Lansbury was much beloved in the role. It may be difficult to separate her from JB Fletcher. I’d have called it unremakable, alongside Columbo, for the same reason; the lead character and her actress have become one and the same to many viewers. Spencer will have to bring her own interpretation to the character and hope that people are willing to accept her version.
The third issue is tone. Remakes tend to go in one of two directions, the comedic approach or the dark and gritty approach. The original Murder, She Wrote was light fare. Sure, there was at least one body per episode, but to have a murder mystery, there needs to be a murder. At the same time, Jessica made the rounds, talking to suspects and investigating the crime scene, giving the viewers a way to solve the mystery alongside her. The end reveal showed the clues, letting viewers know that there wasn’t anything pulled out of thin air. The new series needs to keep the mystery aspect, keep the viewers following for clues. The level of gore might be raisable, thanks to shows like CSI: Crime Scene Investigation, and still remain light entertainment.
This isn’t to say that the show will be bad. Nothing has been filmed yet. The show can still succeed or fail on its own merits. NBC needs to have a deft touch with the new series, to bring in fans of the original, while still satisfying new viewers. Best of luck!
* Everywhere Jessica went, someone died. Her hometown of Cabot Cove, Maine, was probably happy to see her leave for a book signing; it gave the townsfolk a breather from waiting for the next murder.
** Also coming up in the Ironside timeslot, a live version of The Sound of Music.
*** World being, for the most part, the Lower 48 States with maybe a detour into Canada. Maybe.
AMC working on Walking Dead spin-off.
The spin-off of the TV series adapted from the comic is slated for a 2015 debut. Robert Kirkman, who created the original comic series, will use the spin-off to expand the world of /The Walking Dead/.
The Final Girls to star Jamie Lee Curtis.
The series will be a drama featuring a group of girls who survived horror stories as the sole survivor. The name comes from the trope where the last character to reach the end credtis of a horror movie is usually the well-behaved girl. Curtis herself played one in Halloween.
Stephen King nervous about reaction to The Shining sequel.
Doctor Sleep follows Danny Torrence after he has grown up. King hopes that people think that the book will be better than The Shining, reflecting the experience he has gained since the original book was published.
A Wrinkle in Time adapted as a graphic novel.
Madeleine L’Engle’s classic children’s novel has been adapted by Hope Larson as a graphic novel.
Star Wars adapted to, wait, Shakespeare? Really?
Verily. In an effort to help students grasp Shakespearean plays, Ian Doescher wrote William Shakespeare’s Star Wars. After Doescher sent in the first act, Lucas Films encouraged him to continue. “True it is, that these are not the droids for which thou search’st.”
Commissioner Gordon to get prequel series.
The announcement came on the same day that Agents of S.H.I.E.L.D. premiered. Fox managed to outbid Warner Bros. TV on the series, which will focus on the time Gordon spent as a detective on the Gotham City Police Department. Bruno Heller, creator of The Mentalist, will helm the show.
Dark Horse announces Firefly/Serenity continuation comic.
Firefly is seeing a resurgence lately, with tabletop RPG, boardgame, and now a new comic. A release date and a writer have both not been set.
Constantine may be developed for NBC.
NBC has ordered a script based on the DC Comics character John Constantine. A pilot has still has yet to be greenlit.
Lost Three Stooges film found!
A copy of the seventeen minute short “Hello, Pop!” has been discovered in a shed in Austrailia. The short was thought to be lost in 1967 in a fire.
Voice work begins on Thunderbirds Are Go!
A remake of the Supermarionation TV series will be a mix of puppetry and CGI. David Graham will reprise the role of Parker, Lady Penelope’s driver. Lady Penelope will be played by Rosamund Pike.
Live action Cruella de Vil movie in works.
Glenn Close, who played the puppy-fur-loving villain in the live action 101 Dalmations and 102 Dalmations is the executive producer of the movie. Disney also has a live action Cinderella in the works.
CBS to adapt The Songs of the Seraphim novels.
Angel Time is in development with author Anne Rice signed on as executive producer. Vampires are not involved.
ReBoot rebooted.
Rainmaker Entertainment, who bought Mainframe Entertainment, has announced a reboot of the CGI animated series ReBoot. Rainmaker renamed its TV division to Mainframe Entertainment in conjunction with the news on the 20th anniversary of the creation of ReBoot.
There was much rejoicing.
Walter White’s obituary runs in Albuquerque newspaper.
Fans of Breaking Bad paid for an obituary for lead character Walter White after the series finale.
Harrison Ford open to Blade Runner sequel.
The adaptation of Do Androids Dream of Electric Sheep may have a sequel. A script is in the works.
Some time back, I reviewed Spider-Man, the Sam Raimi helmed adaptations of the comics. Since then, the movie series has been rebooted, turning the new movie, The Amazing Spider-Man into an adaptation and a reboot at the same time.
The history of Spider-Man was covered in the previous review, but a brief recap of Amazing Fantasy #15 wouldn’t hurt. Nebbish, nerdy Peter Parker, a high school student, was bitten by a radioactive spider during a field trip. The venom interacted with Peter’s blood, giving him the proportional strength and agility of a spider and a preternatural sense for pending danger. As he learns how to handle his powers, he uses his knowledge and skills to create web-shooters; wrist-mounted devices that shoot out artificial webs. Peter then patrols the streets of New York as the Amazing Spider-Man.
For the movie, The Amazing Spider-Man, the writers returned to the classic stories instead of using Marvel’s Ultimate universe. The difference, beyond the source of Spider-Man’s powers*, is the love interest. The Raimi film used Mary Jane Watson, who, prior to One More Day, was Peter’s wife in the main line comic. However, early Spider-Man stories had Peter paired with Gwen Stacy, a fellow geek. The new movie explores their relationship, especially in light of the job Gwen’s father has, a police captain looking for the new spider-themed vigilante terrorizing New York. And, as in the comics, Spider-Man’s foe is someone that Peter has gotten close to; this time, the classic villain, The Lizard who is Gwen and Peter’s mentor, Dr. Curt Connors.
As mentioned previously in Lost in Translation, superhero comics tend to intertwine, making it hard to adapt everything the character has been involved in. Thus, the concept of various related-but-separate universes, such as the DC Animated Dini-verse and the Marvel Cinematic Universe of The Avengers. While Marvel Studios was busy with The Avengers Initiative, it had to work with Sony, owner of Columbia Pictures, to get the Daily Bugle into a shot in The Avengers**. Right now, Sony has the rights to Spider-Man and related characters, so cameos by other characters other than Ghost Rider is unlikely.***
The Amazing Spider-Man/ holds up on its own as a movie, without needing prior knowledge. All the characters are introduced, Spidey’s origin is shown again. This time around, the writers remembered that Spider-Man doesn’t just fight; he talks at his opponents. The comic version of Spider-Man always maintained snappy patter, in part to psych himself up and in part to keep his opponents off-balance. The rebooted version also had the patter, the insults, the taunts. The nature of the threat kept with the theme of runaway science that appeared in the comic; the Lizard looked to change the residents of the city into his subjects.
The movie does represent the core of Spider-Man well; the responsibility, the dangers of misusing science and radiation, and the heart of the character. Allowing the movie to create a new cinematic Spider-verse, separate from the prior Raimi films and from the Avengers-verse, allowed the filmmakers to explore what placing the duties of a superhero does to a teen.
Next week, the October adaptational news round out.
* Genetically altered spider versus radioactive spider. Both reflect the fears of the era the comics were created in.
** Ultimately, the shot wasn’t used.
*** Ironically, Spider-Man made guest appearances in every new Marvel title to establish that the book belonged to the overall universe and to bring attention to the title.
This past weekend, October 11-13, 2013, saw Can*Con 2013, the 33rd Conference on Canadian Content in Speculative Arts and Literature, held in Ottawa, Ontario. This year, Can*Con also hosted the Aurora Awards, celebrating the best in Canadian science fiction and fantasy. Can*Con is small compared to media conventions such as Anime North, Toronto FanExpo, and the San Diego ComicCon, but the size helped focus the direction of panels towards readers and writers of speculative fiction.
The conference had three panel tracks plus a special events track. The panels were aimed at authors both published and aspiring and at readers. Fan works, webcomics, graphic novels were also part of the mix; Can*Con acknowledged the breadth of formats available on paper and the web for speculative fiction. The special events track included the Auroras plus readings by guest authors and pitch sessions held by Canadian publishers. Friday and Saturday evening featured concerts and filking*.
There was a small dealer’s room with tables piled with books where authors and publishers sold their works. The diversity of the wares went from comics and graphic novels to anthologies to novels both light and dark.
The Aurora awards took place Sunday. The winners were:
Robert J. Sawyer – Lifetime Achievement Award
Best Novel – English**: The Silvered, Tanya Huff[link]
Best YA Novel – English: Under My Skin: The Wildings Vol. 1, Charles de Lint
Best Short Fiction – English: “The Walker of the Shifting Borderland”, Douglas Smith, On Spec #90
Best Poem/Song – English: “A sea monster tells his story”, David Clink, The Literary Review of Canada, July/August
Best Graphic Novel*** – English: Weregeek, Alina Pete
Best Related Work – English: Blood and Water, edited by Hayden Trenholm
Best Artist – Erik Mohr, cover art for Chizine Publications
Best Fan Publication: Speculating Canada blog, edited by Derek Newman-Stille
Best Fan Filk – Kari Maaren
Best Fan Organizational: Randy McCharles, Chair and Programming, When Worlds Collide, Calgary
Best Fan Related Work: Ron Friendman, conception and delivery of the Aurora Awards voter package.
Takeaways from the convention: Canadian speculative fiction authors, published and aspiring, would do well here. The panels are informative, there’s a chance to network with other authors, with publishers, and with fans. Fans can easily mingle with writers; panels existed for fan activities. The convention was open and welcoming, and small enough to be intimate. I will be returning.
* The singing of popular songs with the words changed to a more geeky version. The name is derived from folk music.
** The French Aurora Awards ceremony will be held at Boréal in Montreal.
*** Four webcomics were up for Best Graphic Novel – English.
Last week, I reviewed Doom, a movie that adapted its source well for the most part but still fell flat. If the parts that didn’t work were fixed, what would happen?
Scott Pilgrim vs. the World.
Okay, a bit of a stretch. Scott Pilgrim and Doom are in two different genres of movie. Doom went with a cross between horror, science fiction, and action. Scott Pilgrim isn’t as easy to define.
Before I get too far ahead, the background. Scott Pilgrim started, as creator Bryan Lee O’Malley puts it, as a “manga-influenced comic”. O’Malley wrote six manga-inspired graphic novels featuring the titular character as he tries to win the girl of his dreams, Ramona Flowers while still dealing with the rest of his life, his current girlfriend Knives Chau, and the other people in his band, Sex Bob-omb. Complicating things are Scott’s sister Stacey, his roommate Wallace, and life in Toronto. Oh, and Ramona’s seven evil exes. Through the six volumes, Scott must defeat Ramona’s evil exes in order to stay with her.
The movie adaptations, Scott Pilgrim vs. the World, is a partial adaptation, like Blade Runner was. The graphic novels take place over the course of a year; the movie treats the time as malleable, with most of the events taking place in a snowy April. The core arc of the graphic novels, Scott dealing with Knives, Ramona, Ramona’s evil exes, and maturing, was kept; the rest had to be removed to keep the movie under two hours. However, that parts that were adapted are taken directly from the comic. “Taken” might not be the accurate word. Scott Pilgrim vs. the World may be the most accurate adaptation reviewed in Lost in Translation. Scenes that do appear in the movie appear exactly as the did in the comic, sound effects and titles included. The comic was the storyboard for the movie. The DVD extras includes a gallery that shows a side by side comparison of a panel in the comic and its corresponding scene in the movie.
Helping with the accuracy of the adaptation was the location for filming. O’Malley used real locations in Toronto in the comic. Edgar Wright, director of this movie and the Cornetto Trilogy, decided that Toronto should play Toronto, something that the city seldom plays. The fight at Casa Loma was filmed at the real Casa Loma, complete with the scaffolding up for the refurbishment the building was undergoing. The Pizza Pizza beside the Goodwill does exist.
Scott Pilgrim vs. the World didn’t fare well at the box office, though. Both the comic and the movie can be described as a slice of life fantasy coming of age with video game elements. The movie really didn’t fit into any one slot. It’s a video game movie not based on a specific video game*. It’s a romance, but from the man’s point of view. It’s a comic book movie, without superheroes. The audience needed to know about video games, especially the fighting genre of games, comics, metafiction**, Toronto, television sitcoms, and music. Universal’s marketing department must have gone mad trying to figure out what approach to use to advertise Scott Pilgrim vs. the World. The movie is seeing a better reception through DVD, though, becoming a cult hit.
The lack of reception, however, does not take away that Scott Pilgrim vs. the World may be the best adapation reviewed here at Lost in Translation. The director kept to the plot of comic, consulting with the creator to ensure that the original vision reached the screen.
Next week, The Amazing Spider-Man.
* There is a video game based on the movie, though.
** Scott Pilgrim vs. the World has shout-outs to the idea of it being a movie and the nature of movies. To quote Scott, “They make movies in Toronto?”
Adapting video games to movies is difficult. Lost in Translation has discussed this before, in a general sense. DOOM is a good example of the problems inherent to adapting video games.
The video game itself, while not the first, greatly influenced the nature of first-person shooters. DOOM also allowed for custom levels, reskinning of the monsters, and multi-player. The studio, id Software, used shareware* for distribution. The player took the role of an unnamed Marine assigned to Mars for assaulting his commanding officer after being given the order to shoot civilians. The Marine then became the only thing between Earth and invading demons. id Software estimated that there was two million paid copies and another ten million copies of the shareware demo of DOOM installed. Considering that the game was released in December 1993, twelve million players is an impressive user base.
With the success of DOOM, id produced two sequels plus interstitial levels for the game. Doom 3 returned to the original game’s plot and expanded on it. The new game also pushed against hardware limitations; not all video graphics cards of the time, 2004, could handle the game. The game’s graphics greatly improved on the original’s, and added lighting as an effect. Players would have to switch from weapon to flashlight and back as needed. Like the original, Doom 3 could be modified, adding custom levels, monster skins, and effects. Extra details were added in the unnamed Marine’s PDA, where emails and phone calls of the missing could be played. Doom 3 was a success, selling 3.5 million copies.
In 2005, Universal released the movie Doom, with Dwayne “The Rock” Johnson, Karl Urban, and Rosamund Pike. The plot involves a Rapid Response Tactical Squad of eight marines being sent to investigate and quarantine a situation involving dead and missing scientists on a Martian research lab run by the Union Aerospace Corporation. As the movie progresses, the fate of the scientists is discovered, as is the realization of what happened to the previous population of Mars. Along the way, monsters appear and attack the marines. An autopsy of one of the dead monsters reveals its human origins. The movie ends with a continuous shot that is based on Doom 3 from the eyes of “Reaper”, Karl Urban’s character.
The movie did not perform well in theatres, getting a decent opening weekend then tanking, not even earning back its budget. Much of the problem was the combination of horror and action, two genres that don’t have much in common. Horror requires suspense and tension to be built through atmosphere and limited viewer information. Action uses tension, but suspense is based on stunt work. It is possible to combine the two, but the atmosphere of a horror movie, which typically involves dark or dim areas with ominous sounds, clashes with the needs of an action movie where lighting needs to show the physical conflict, The nature of the monsters also turned fans of the game off from the movie; instead of demons from Hell, the monsters were changed by the addition of a twenty-fourth chromosome, unleashing the victims’ darker sides. The nature of a movie as opposed to a video game also worked against the movie; players are far more active and involved in a game than viewers are with a movie. Video games are active; players make the decisions and pull the trigger. Movies are passive; even with the first-person shooter segment, the viewers are there for the ride, not making decisions. One last factor is the R rating instead of PG-13. Most studios see PG-13 as the sweet spot; a mature enough rating to get adults in while still not preventing teenagers from getting together and going to it. A movie rated Restricted means that the teen market can’t get in. During the summer, that’s the kiss of death for a movie. In late fall, early winter, it’s not as big a problem, but the loss of potential family movie nights could not have helped Doom.
However, as an adaptation, Doom worked. Barring the change in the nature of the monsters, everything one would expect from DOOM was in /Doom/; the weapons, the appearance of the corridors, the lighting, even the monsters all came from the video game. The BFG made an early appearance, working as a Chekhov’s (big f***ing) gun. The production crew took care to make sure that the visual look of the movie mirrored that of the games. The extras on the DVD are well worth the price and show what the crew did to recreate the video game, including how the first-person shooter segment was shot.
Doom isn’t a bad movie. Like Battleship, it’s also not a good movie. Doom may be, though, a rare example of a good adaptation still failing at the box office.
Next week, Scott Pilgrim
* The first episode was free as a demo. Further episodes had to be paid for.
Last week’s link round up included several movies being turned into TV series and one TV series being adapted as a movie. The former tends to be successful; the format of a series allows the development of characters and plots over more time. TV series adapted into movies haven’t had the same success. The root cause has been a lack of respect to both the original material and the fans.
Lost in Translation hasn’t looked at many TV series adapted to movies. The more successful ones, like Star Trekand The Naked Gun were made with the original creative staff and cast; the transition was to take what was being done on television to the big screen. In the case of The Naked Gun, the move allowed the creators to indulge without having to worry about restrictions imposed by the network’s Broadcast Standards and Practices group. Meanwhile, works like Land of the Lost and Starsky & Hutch played the ideas behind the original shows for laughs, missing the point of the original work. The A-Team remake ran into the passage of time; The Vietnam War was still lurking in American culture when the TV series debuted while the Gulf Wars didn’t affect the American psyche with returning soldiers vilified.
This leads to the news of Dwayne Johnson, “The Rock” himself, being cast to play Colt Seavers in a Fall Guy remake movie. For those not familiar with the show, The Fall Guy was about a stuntman who moonlighted as a bounty hunter to make ends meet. Colt would use tricks of the stunt trade to help track down the men and women who skipped bail, with the help of his cousin Howie and fellow stunt performer Jody. The show was light action/adventure, with humour coming from the byplay between the core cast. Note that the show wasn’t a comedy, though; the humour came from reactions of characters. The trick is to trim back the 80s era cheese while still keeping the core of The Fall Guy and also feature Johnson and give him a solid role to build on. At the same time, Johnson brings in his own physicality and can bring a new dimension to the character. Ultimately, Johnson has to respect Lee Majors’ work while adding his own element.
What holds for The Fall Guy holds for other movie treatments of old TV series. Just because the 60s, 70s, 80s, and 90s had different approaches to televised storytelling doesn’t mean that series from those decades can be easily held up for ridicule. The shows did have a following; what is seen as cheesy now was once ground breaking. The grim darkness of today’s works will be seen in similar light in time. Respect for the original work and its fans is critical to success.
Next week, Doom.
It’s been about a week since DC Comics called a meteor swarm upon itself, and things are starting to quiet down. What happened is easy to find; over at Jessica Banks schools you, Jessica and her husband Cam detail the latest problems quite nicely. Why it happened is another question. (more…)
It’s been a busy month in the world of adaptations. Steve already mentioned the new Harry Potter-verse movie being scripted by JK Rowling herself. Here’s the rest of the news.
Spider-Actor injured.
Daniel Curry, who plays one of the nine Spider-Men in Spider-Man: Turn Off the Dark was injured during a performance. The Broadway show cost $75 million to put on and has seen a number of injuries amongst the actors. The show has also put out a casting call to replace Reeve Carney, who has played Peter Parker since 2010.
Rambo to become TV series?
Entertainment One and Nu Image are working with Sylvester Stallone to develop a Rambo TV series. No network has signed on yet, and the project could turn into the fifth Rambo movie. There’s a chance that Stallone would return as the titular character as well as being the creative consultant. Rambo may not be the only movie adapted as a TV series…
Reality Bites being adapted for TV series.
Ben Stiller, who directed the original movie, is on board as executive producer of the TV series, as is Helen Childress, who wrote the script for the original. The TV series will follow Lelaina Pierce, originally portrayed by Winona Ryder, after graduation in the 1990s, following the events of the movie. Keep in mind that, during the closing credits of the movie, it is revealed that Michael Grates, played by Stiller, turned the relationship he had with Lelaina into a TV show.
Star Wars: Episode VII to be shot on film.
Unlike Attack of the Clones and Revenge of the Sith, the next Star Wars installment will be on film instead of digital cameras. Film allows for a different approach, including getting the feel of the original movie and the addition of lens flares. If Episode VII goes 3D, it’ll have to be converted after being filmed.
Matt Damon returning as Bourne?
Damon and Paul Greengrass could be returning for a new Bourne movie. Damon has said that he’d be back if Greengrass was. Meanwhile, Jeremy Renner is still slated to be in a sequel to Bourne Legacy. No word if the two movies will merge or if the two streams will crossover.
Sharktopus sequel wraps up production.
Sharktopus vs. Mermantula brings back the shark-octopus hybrid that terrorized a Carribbean beach resort. This time around, Sharktopus has to deal with Mermantual, a failed experiment in creating the perfect man. Roger Corman, producer of this epic, has also opened “Corman’s Drive-In” on YouTube as an archive of the 400 movies he and his wife have produced.
Terminator 5 in pre-production.
Alan Taylor, director of Thor: The Dark World, is in talks to direct the fifth movie in the Terminator franchise. T5 is the start of a stand-alone trilogy of movies in the Terminator setting. However…
Terminator rights return to James Cameron in 2019.
A change in copyright laws changed the length of time before rights return to the creator to 35 years. The current licensees, Megan and David Ellison of Skydance Productions picked up the rights to make three movies, but the time limit may lead to just two. Cameron could license the rights back if he chooses to do so.
Speaking of Cameron, Avatar to get three sequels.
The three movies will be shot simultaneously. Tapped for screenwriting are Josh Friedman (Terminator: The Sarah Connor Chronicles), Rick Jaffa and Amanda Silver (Rise of the Planet of the Apes), and Shane Saerno (Aliens vs. Predator: Requiem). Release dates are already set for December of 2016, 2017, and 2018.
Bradley Cooper to play Rocket Raccoon.
Cooper joins Zoe Saldana, Dave Bautista, Lee Pace, Michael Rooker, Karen Gillan, Djimon Hounsou, Benicio del Toro, and John C. Reilly in the cast.
World of Warcraft movie to film in Vancouver.
If Azeroth looks familiar, it’s because Vancouver and environs have been seen in many, many movies and TV series, doubling for such exotic locations as Caprica, Starling City, Storybrook, Maine, and every planet seen in the Stargate TV series.
50 Shades of Grey gets cast named.
Dakota Johnson and Charlie Hunnam have been cast as the leads to the movie adaptation of the Twilight fanfic. 50 Shades is due out in 2014. However…
Fans aren’t happy about the casting choices.
They want the actors EL James used as models for her characters, Alexis Bledel and Mat Bomer, and have set up a Change.org petition. What, they don’t want Kristen Stewart and Robert Pattinson?
HBO ending True Blood in 2014.
After seven seasons, True Blood, based on the Sookie Stackhouse series by Charlaine Harris, will come to an end. Not a bad run for any TV series.
Stargate to get reboot trilogy of movies.
Roland Emmerich, the director of the original Stargate movie, is rebooting the movie franchise. He originally wanted a trilogy of movies the first time round, but MGM went with a Stargate SG-1 instead. Fan reaction will be mixed and heated.
DiCaprio producing The Island of Dr. Moreau.
Leonardo DiCaprio’s company will produce the sixth adaptation of the HG Wells novel about a geneticist running amok and playing God.
Blade Runner sequel in the works.
After over 30 years, Blade Runner may be getting a sequel. Hampton Fancher, who contributed to the original screenplay, and Ridley Scott will be on the project. The script is being rewritten by Michael Green, who worked on the Green Lantern script.
Dwayne Johnson is The Fall Guy.
The old Lee Majors TV series about a bounty hunting stunt man is being remade as a film, helmed by McG. Production has not yet started. Any guesses on what the next old TV series to be remade as a movie?
Anne of Green Gables musical adaptation looking for Canadian filmmaker.
Based on the popular children’s novel, the musical is to be filmed on location in PEI. No release date has been set. Line ups in Tokyo should start the moment one is announced.
Ant-Man rescheduled for Summer 2015.
The release date for /Ant-Man/ has been moved up from November to July, 2015. This places the hero who, in the main Marvel universe, created Ultron almost three months behind the killer robot’s debut in The Avengers: Age of Ultron
Cracked.com covers why remakes don’t work.
A Quick-Fix, but hits several major points. Point #2 is particularly relevant – relevance. Many works are a product of their time and don’t adjust well to modern sensibilities. Not covered, lack of respect for the original work.
Dungeons & Dragons film faces court challenge.
Not from fans of the game who saw the original movie, but from Sweetpea Entertainment. Univsersal Pictures received the D&D license from Hasbro, current owners of Wizards of the Coast, publisher of the RPG. Sweetpea alleges that they had received the D&D license in perpetuity in 1994, when the third edition of the game was released. The timeline given in the story is off; WotC signed the original 1994 licensing agreement, whatever the terms were, and Hasbro purchased WotC in 1999. Looks like many lawyers are going to get experience to level up in this case.
Fourth Jurassic Park sequel given release date.
Universal Pictures has until June 12, 2015 to make Jurassic World, already slated to be in 3D.
The Mortal Instruments: City of Ashes to be delayed.
With the first of the trilogy, City of Bones a financial flop, the second movie is having its release delayed. The film is in production and will add Sigourney Weaver to the cast. Not helping the movies is that the books never reached the mindspace of the general audience that Harry Potter, Twilight, and The Hunger Games had. Most people, even if they haven’t read any of Twilight could name several characters. The Mortal Instruments doesn’t even have that.
Philip K. Dick is the most adapted science fiction writer, with eight novels having been transformed into movies and TV series. Some of Dick’s key elements, the questioning of what is real, what is humanity, and what is God, make it difficult to keep the original story intact. The results have been mixed; Minority Report borrowed from Dick’s short story “The Minority Report” but created its own ending. Total Recall was based loosely on “We Can Remember It For You Wholesale”.
The 1968 novel Do Androids Dream of Electric Sheep is typical of Dick’s works. Rick Deckard, a bounty hunter who specializes in hunting rogue androids who blend in with humanity, takes up the search to find and “retire” (read: kill) six Nexus-6 androids while dealing with a home life that is falling apart. Because androids blend in so well with the human populace, several different tests have been created to help determine who is real, including the Voight-Kampff empathy test. Deckard starts his investigation at the Rosen Industries, manufacturers of the Nexus-6 line, where he meets Eldon Rosen, head of the Rosen Association, and his neice, Rachel. Rosen insists that Deckard should give the Voight-Kampff test to Rachel. When she fails, Rosen says it’s because she grew up on a colony ship heading to Proxima that had to turn back.
Meanwhile, one of the escaped Nexus-6 androids, Pris Stratton, has moved into an apartment building with just one other occupant, J.R. Isidore. Isidore is a genetically damaged driver for an animal repair shop; his disability, brought on by radioactive fall-out, prevents him from leaving Earth. Pris befriends Isidore, and uses him to try to stop Deckard from retiring herself and her fellow escaped androids. Interwoven are elements of the setting, a post-nuclear war Earth where radiation is tracked by weather satellites, animals are artificially created because there are so few left, Mercerism where adherents can feel the suffering of Wilbur Mercer as he climbs a mountain while rocks are thrown at him, and off-world colonization.
Ridley Scott’s adaptation, Blade Runner, has had several versions. The theatrical release had Harrison Ford narrating in a voice over and a happy ending using scenes cut from The Shining. The narration was asked for by the studio and added after test audiences had trouble following the movie. An international theatrical release had more violence, including on-screen eye gouging. In 1992, a “director’s cut” – in realty, a workprint prototype – was discovered and screened at an LA film festival. The print did not have the full soundtrack with Vangelis’ music, using a temp track from Planet of the Apes instead, but was successful enough to convince Warner Bros. to create a proper director’s cut with input from Ridley Scott. This cut removed the voice over and the happy ending and added a dream sequence involving a unicorn. Scott, however, was busy at the time, so could not put his full attention on it. Finally, in 2007, he did get the time and put together the Final Cut that included some newly reshot footage and some redubbing. It is the Final Cut that will be reviewed; it is the version that is closest to what Ridley Scott wanted to make.
Blade Runner is definitely an adaption of Do Androids Dream of Electric Sheep, but the movie doesn’t adapt everything from the book. Some changes, such as the year the story is set, were made to reflect that time has passed since the book’s first release. In 1968, 1992 was a distant future, especially with the Cold War threatening to turn hot and nuclear. In 1982, while the Cold War was still happening, it was starting to build back up through tensions; nuclear war was still a possibility but not as immediate. Deckard was no longer a bounty hunter but a former police operative known as a “blade runner” who tracked Replicants who escaped to Earth. Deckard’s bounty hunter comrade, Dave Holden, became another blade runner, one still working with the police. J.R. Isidore became J.F. Sebastian, a genetic designer with Methuselah Syndrome, a genetic disease causing his body to age faster than normal. Rosen Industries became the Tyrell Corporation, with the founder’s name changing to match. Little details, mostly. Other elements were removed completely; Mercerism isn’t shown or mentioned. Deckard’s wife appears only in a photo, though no explanation was given on his marital status.
Despite the changes, the movie holds to the core of Do Androids Dream of Electric Sheep. The hunt for the androids, the Voight-Kampff empathy test, the budding humanity in the Nexus-6 escapees, Tyrell Corporation trying to create an android that can pass the Voight-Kampff test. The visual look of the movie matches the feel of the novel. Blade Runner isn’t a shot for shot adaptation; the movie is as much Ridley Scott’s vision as it is Philip K. Dick’s, but the issues examined – what is real, what is human – come through clearly in both. The end is where the two works diverge the most. In the novel, Deckard returns home to his wife after meditating in Oregon and finding a toad, Wilbur Mercer’s favorite animal. In the movie, Deckard and Rachel leave his apartment to go, well, Scott left that up to the audience.
Is Blade Runner a good adaptation? For the most part, yes, even with the changes. It helps that the movie is a visual feast. Blade Runner has inspired numerous creators, from TV and movies to video games to tabletop RPGs to music. The movie melded film noire with science fiction, predicted several trends and technologies. Blade Runner is a masterpiece on its own. As an adaptation, it picks and chooses from the original novel, taking what it can do and leaving the bits that won’t work.
Next week, the September link round up of adaptation news.
