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Directed by Adam Davidson. With Kim Dickens, Cliff Curtis, Frank Dillane, Alycia Debnam-Carey. Travis, Madison, and their blended family set sail on Strand's boat off. Money Monster is a 2016 American thriller film directed by Jodie Foster and written by Alan Di Fiore, Jim Kouf and Jamie Linden. The film stars George Clooney (who. Tickets for Concerts, Sports, Theatre and More Online at TicketsInventory.com.
Their manager Ken Kamins has begun taking meetings with the filmmakers on Monster Hunter, a wildly popular video game IP from Capcom, the Japanese video game maker that developed and distributes Resident Evil. Anderson has written the first film’s script, and they come armed with still and VFX visual renderings of the creatures (including the above image of a dragon wreaking havoc on LAX) and a detailed game plan that will include a partnership with Dennis Berardi. He’s the co- founder and president of Toronto- based VFX house Mr.
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X that helped enable Anderson and Bolt to bring in the Resident Evil series for reasonable net budget in the $5. D pictures. Monster Hunter will cost a similar amount. The role- playing video game Monster Hunter is a bestseller for Capcom and should be catnip for tentpole IP- hungry studios; the game is especially popular in Japan (where the Universal theme park already has an attraction) and in China. The logline: For every Monster, there is a Hero. An ordinary man in a dead end job discovers that he is actually the descendant of an ancient hero.
He must travel to a mystical world to train to become a Monster Hunter, before the mythical creatures from that world destroy ours. While films by Anderson and Bolt haven’t been beloved by critics and not all of them have succeeded — Pompeii, with Game Of Thrones’ Kit Harington that Anderson directed before this final Resident Evil was a misfire — Anderson and Bolt have crafted a largely unsung success story with Resident Evil. That started modestly in 2. Sony it deserved a theatrical release. It has been an exceptional franchise in that its global grosses continue to grow with each new installment, with Clint Culpepper’s Screen Gems releasing in the U. S. Anderson, who wrote all the screenplays, directed the first film, skipped the next two and returned to direct the last three 3.
D efforts. The series was well out front of the zombie craze that preceded The Walking Dead and WWZ, and it became one of the rare action film franchises anchored by an actress. Here, Anderson and Bolt explain how Resident Evil became the rare video game property to find long term screen success, how they are wrapping up the clash between Alice and the insidious Umbrella Corporation that caused the zombie apocalypse, and how they hope a successful formula will help them turn Monster Hunter into another long- running film series. DEADLINE: Why end Resident Evil here, and how deliberately did you build in payoffs when you did the first film? Free Fire (2017) Movie On Dvd.
ANDERSON: When we made Afterlife, the first 3. D movie where I returned as director, we said we wanted to make a trilogy, building toward the climax. When we made the very first movie, we dreamed that maybe we could make a franchise that might hold audience interest for another movie or maybe two.
A lot of the ideas we pay off in this film were ideas that we had 1. The agenda of the Umbrella Corporation, truth about the Red Queen, the truth about the Alice character.
Those were all secrets that we’ve been keeping for 1. Hopefully what it does is make people want to watch all the movies again, with all the new knowledge they get from this film, and reconsider what they’ve seen. DEADLINE: How much of the mythology of Resident Evil was informed by the video game? ANDERSON: The video game was the starting point and if you’re a fan, you can see its DNA built into the films. The way they look, the way they’re shot, and their influence even on characters like Alice who are not in the video game. She’s very much based on archetypes in the video game.
It’s probably the only video game adaptation where the central character is not from the game. DEADLINE: How did it start? ANDERSON: I was playing the Resident Evil video games and I disappeared for two weeks, to the point where Jeremy was a little worried about me. JEREMY BOLT: He wasn’t returning any calls. ANDERSON: I was in my apartment, just down from the Chateau Marmont, playing the first three Resident Evil games back to back. I emerged with stubble and red rimmed eyes from not having slept, see Jeremy and say, we have to turn this into a movie.
I loved the games but also I loved what they were based on. I was a huge fan of the last cycle of zombie movies, the George Romero movies, the Lucio Fulci movies. When I was a teenager, that was the hot genre; a movie came out every month. And I loved this game, the first of which has you playing characters who go into a mansion in the woods that is overrun with monsters. Underneath the mansion is a secret high- tech facility and a laboratory, overrun with monsters. Clearly, there has been some kind of terrible accident or disaster, and you, as one of the video game characters, have to deal with it. I thought it would be great for the movie to tell the story of what that disaster was.
The first film was essentially the prequel to the first video game. We used the locations and creatures from it, and the storyline, but we told the pre- story of what happened to that lab and the people in it. DEADLINE: Most video game movies disappoint. Why has this lasted? ANDERSON: I think it’s a combination of passion and experience. I had already done one video game adaptation that worked, Mortal Kombat.
That was my first American movie and the reason I didn’t get shipped back to England. I learned an awful lot about what fans like from adaptations and what they don’t.
I had a real passion both for the Mortal Kombat and Resident Evil games, and that was the reason we made those movies. I played Mortal Kombat in the arcades in London, and knew all the characters and backstory. While some saw Mortal Kombat as people punching one another and ripping their spines out, I knew there was a mythology there. BOLT: You were also very inspired by Enter The Dragon. ANDERSON: Mortal Kombat, like Resident Evil, was based on some really strong original movie IP. Enter The Dragon had a lot of Jason And The Argonauts in it.
For me, that’s what Mortal Kombat was: Jason And The Argonauts meets Enter The Dragon. BOLT: I think that’s an important point. Because we’re both really big gamers and huge film buffs, when we look at a game, it triggers movie ideas. One of the things about Resident Evil that is key to its success is the Umbrella Corporation and the idea of this ubiquitous, omnipotent, evil corporation.
That is what triggers movies from The Manchurian Candidate to The Ipcress File to The Terminator. ANDERSON: Corporate malfeasance. BOLT: That provided a strong background for the whole series, the small individual taking on the evil corporation.
Alice, taking on Umbrella. ANDERSON: We’ve never seen them as zombie movies as much as science fiction thrillers. I think that’s partly the secret to their success as well. If you look at straight zombie movies or even straight horror movies, the successful ones tend to do business in North America but never travel outside of North America. Home invasion movies are very popular in America, but in Europe the whole concept doesn’t work because no one’s really that concerned about it and it doesn’t really resonate.
A lot of horror movies look like giant successes here but then barely play foreign. I think because we’re not a straight horror movie or a zombie movie, and we’ve had this sci- fi thriller edge, it has allowed us to play so big outside of North America. DEADLINE: Why did you focus on a heroine when most action movies in 2. ANDERSON: My first movie was Shopping, which starred Jude Law and Sadie Frost. Sadie was the reason it got financed because she had been in Dracula and was the central character. Jude had never been in front of a film camera before. We auditioned all the young actors in London at the time and it came down to these two young unknowns Jude, and Ewan Mc.
Gregor, who’ve both done very well. So from our first film, we’ve always liked strong female characters. Then I came to Hollywood, and there studio executives recite this law: female lead action movies don’t work because guys want to imagine they’re that guy.