The “Wonder Woman” trailer was released recently at Comic-Con, and naturally this new film from DC Comics looks pretty badass. Gal Gadot is beautiful and seems like a perfectly cast actress for the part. Even fans of the amazing Lynda Carter will likely be impressed as well.
The WWI setting for the film offers an interesting perspective on the story – let’s see if this ends up being a good decision.
With 124 make-up credits and 64 effects credits to his name so far, Greg Nicotero is one of the busiest and most respected make-up and effects professionals in Hollywood. Originally inspired to take up special effects after seeing “Jaws,” he broke into the business working for the legendary gore-effects maestro Tom Savini on zombie-master George Romero’s 1985 splatter opus, “Day of the Dead. ”
A few years later, Nicotero had decamped from Romero’s Pittsburgh’s to show-biz’s Los Angeles and formed the multi-award winning KNB Efx Group with friends Robert Kurtzman and Howard Berger. Aside from his intimate involvement in such effects heavy films as “Sin City,” “Kill Bill,” “Minority Report,” “Serenity,” “Spiderman 3” and, yes, “Ray,” Nicotero has also branched out into directing, helming the second unit on Frank Darabont’s “The Mist” and making his own short subject, a funny and endearing homage to several generations of classic movie monsters, “United Monster Talent Agency.”
When I met with Nicotero and last Summer’s Comic-Con, however, it was to promote the already highly buzzed new AMC series, “The Walking Dead,” which reunites Nicotero with writer-director Darabont in an adaptation of Robert Kirkman’s Eisner Award-winning comic book series. Premiering Halloween night, the show will be taking a more dramatic look at the cannibal zombie mythos originally created by George Romero in his 1968 “Night of the Living Dead,” combining slow-moving zombies with the kind of in-depth characterization and complex yarn-spinning that’s making the onetime “vast wasteland” of television into something more like the last refuge of classical storytelling.
There’s only one problem. I’m kind of scared to actually watch the thing. You see, much as I admire the craft of someone like Greg Nicotero, I’m not exactly the usual gorehound media-fan for whom the more, and more realistic, cinematic gore he can create, the better. There was no point in hiding it.
There aren’t many producers around these days whose name can help sell a movie or TV show, but Gale Anne Hurd is the rare exception. Probably best known as one of the co-creators of “The Terminator” franchise, Hurd has been an important player in numerous mega- or merely major productions, including both “Hulk” and “The Incredible Hulk,” “The Abyss,” “Armageddon,” “The Punisher,” and the underrated 1999 comedy “Dick,” which starred Dan Hedaya as Richard Milhous Nixon and a young Kirsten Dunst and Michelle Williams as a couple of teenagers who wind up bringing down a presidency.
Clearly one of the more hands-on producers around, Hurd is pleasant and businesslike when talking to a member of the show-biz press, but clearly has the gumption to deal with the biggest and most difficult of personalities, which is how I segue into the obligatory mention of the fact that she spent the part of the late eighties and early nineties being married to first James Cameron and then Brian De Palma. Moreover, she began her career working for one the most fascinating and effective producers in the history of the medium, Roger Corman, but more of that in the interview.
Still, nothing she’s done is quite like her current project, the zombie horror drama and comic book adaptation, “The Walking Dead.” The AMC television series, adapted from a series of acclaimed comics by Robert Kirkman primarily by writer-director Frank Darabont (“The Shawshank Redemption,” “The Green Mile,” “The Mist”) is currently receiving maximum exposure on the web. The publicity train was only just getting started when I spoke to Ms. Hurd at a mammoth new San Diego hotel adjacent to the Comic-Con festivities last summer.
I had typed my questions on my laptop, which I was afraid might be a little off-putting. So, after a quick greeting, I tried to explain why.
A lot of fascinating things have happened in the history of movie making, but offhand I can’t think of an example of nationwide protests to keep a film in a particular country, but that’s exactly what happened today in New Zealand, where it’s actually already tomorrow. The issue, of course, are the continuing threats amid the probably inevitable hardball negotiations to move production away from the small island nation in the wake of battles with local actors unions. Here’s what’s happening as the biggest protest is led by Richard Taylor of the famed WETA workshop which did such a great job on the effects in the “Lord of the Rings” films.
It’s important to remember, I think, that as successful as he is, Richard Taylor is very much an independent entrepreneur who has to keep a steady flow of work going for WETA. I spoke to him briefly at Comic-Con as he was helping to promote what appears to be a very unpromising and very low budget effects driven production. Thinking of him as someone who has collaborated closely with a guy like Peter Jackson, I was perplexed until I realized that, for a guy like him with a payroll, it’s always about the next job. Money is money and he can’t be too proud about the projects he takes on, as long as he delivers the best he can for the money. In the case of this particular next job, an entire country, small though it is, is seriously impacted.
For a bit more background, I have a great piece of video — including a very blunt interview with Peter Jackson (that’s Sir Jackson, to you) from last week.
And one final note: Notice how New Zealand Finance Minister Gerry Brownlee assures anchor Mark Sainsbury that there was no negotiations going on between his government and Warner Brothers for improved tax incentives. If you read the THR story from today I linked to above, you’ll note that whether or not such negotiations are going on, people seem to assume they might be.
Talking about “Scott Pilgrim” shortly before Comic-Con with someone I know whose work straddles the world of comic books and show biz and who I think has a very good understanding of both mediums, the person commented that the trailer for Edgar Wright’s highly anticipated film version really captured the comic book it’s based on in some rather specific ways.
I was slightly surprised. Wasn’t Bryan Lee O’Malley’s comic book manga-style and aren’t actors like Michael Cera and Mary Elizabeth Winstead blessed with normal sized heads and eyeballs? Isn’t the book in black and white and the movie in rather vivid color?
I was surprised but also being semi-facetiously silly and superficial, there’s obviously a lot more to visuals than color and the shape of people’s eyeballs and heads. Now, here to prove that point is this very nice reconstruction of the trailer using panels from O’Malley’s comics together with audio from the trailer.