Mehmete, reaguj!

[Meho Krljic]

A evo i osam najmuževnijih slika koje postoje na Internetu.

[Son of Man]

Fala za info Meho, sad cu sredim 

[Meho Krljic]

Služimo narodu.


A evo nečega što ja pričam godinama a Cracked ga je sistematizovao:

5 reasons you should be scared of Apple

[crippled_avenger]

Ja mislim da su ŽUTE DUNJE o nekrofiliji. Inače, na ovoj listi fale Foo Fighters EVERLONG.

[Meho Krljic]

Evo nešto solidno sa krekda:


6 Famous movie wisemen who were totally full of shit

[crippled_avenger]

Odlično. Činjenica je da su filmovi prepuni nasilnika koji se ubiše od propovedanja nenasilnosti. Setimo se Seagala.

[crippled_avenger]

Suri Krishnamma ("A Man of No Importance") will direct the film adaptation of acclaimed New Age author Deepak Chopra's graphic novel "Beyond" says The Hollywood Reporter.

The supernatural thriller follows an American businessman and his family who journey to India on vacation. In the midst of a teeming bazaar, the son sees his mother wander into a small store but never come out, leading to a frenzied search for her whereabouts.

Gotham Chopra, Sharad Devarajan, John Garland and Michael Dufficy will produce the UK film production.

[crippled_avenger]

Cannon fan Jox (of dolph-ulitmate.com) has made a major find in the Spanish horror magazine La Cosa. It's an Albert Pyun interview in which he gives some amazing specifics about how far along in production Cannon's Spider-Man and Masters of the Universe 2 were when the plug was pulled, which he alleges was because Cannon bounced the rights check to Marvel! In true Cannon fashion, Pyun was to have directed both simultaneously, but ended up turning all the prep for both movies into 1989's Cyborg. (Cannon had also attempted to make Spider-Man with Joe Zito as director in 1986.) Below is part of the interview, in English. (Click here for the full interview from Pyun's site):

"Cyborg" was a product of what could have been a career shifting period of my life. I knew that Cannon had the rights to "Spider-Man" and sequel rights to "Masters of the Universe". I also knew that the "Spider-Man" rights were about to expire. I proposed to Menahem Golan and Yoram Globus that I make both pictures back to back in North Carolina (at De Laurentiis' studio in Wilmington). Cannon agreed. And I cast both pictures. I can't remember who we cast for Peter Parker, but big wave surfer Laird Hamilton was cast as He-Man (replacing Dolph Lundgren).

Brooklyn sets for "Spider-Man" were built on the Wilmington stages and I had a number of creative discussions with Stan Lee and Joe Calamari of Marvel. I had wanted to use the Black Spidey costume, but this was vetoed. The script was based on the original story only. The budget was my largest at $6 million. "Masters of the Unverse 2" was based on my story. Sets and costumes were built. The film was fully cast. Mattel Toys had a great many approvals and it was a trying process getting everything okayed by the corporate giant. It had a budget of $4.5 million.

The concept was to shoot 2 weeks of "Spider-Man" first. The section of Peter Parker's story before he was bitten. Then we would shoot 6 weeks of "Masters 2". The actor cast to play Parker would undergo a streneuous 8 week workout regimen supervised by a fitness professor at UCLA, Dr. Eric Sternlicht to build size and muscle mass. After shooting "Masters 2" we would resume shooting "Spider-Man". Two weeks away from shooting, it was discovered that Cannon had bounced the rights check to Marvel, canceling the deal and it was discovered that Mattel was owed a large rights payment as well. With Cannon in deep financial straights, the negotiations with Marvel and Mattel fell apart! Remember this was 1988 and the junk bond market which had fueled Cannon's rise had collapsed.

Having spent well over $2 million on sets, costumes, and prep, Cannon was desperate to find away to recoup their spend. I suggested we do a film that could utilize as much of what had been built and prepped and that would cost very little in addition. I wrote a first draft of what became "Cyborg" over a weekend and brought in a young actor - who wanted to be a screenwriter - to do polishes. His name was Don Michael Paul and he has gone on to write and direct "Half Past Dead" and Harley Davidson and the "Marlboro Man".

I was interested in Chuck Norris to star as he was under contract to Cannon. Instead Menahem suggested a Belgian kickboxer they had just starred in "Bloodsport". That's how Van Damme became the lead. His accent was so thick, that we had to change the character from an over the hill ex-Army Ranger to what the Gibson character became. It pretty much gutted the character arc.

What I remember most from the film was exhaustion. The turnabout from prepping to shoot "Spider-Man" and "Masters 2" to writing and shooting "Cyborg" was punishing. We had to figure out ways to use what had been built and created for two different films in a short period of time. As I recall, the budget on "Cyborg" was less than $500,000 including Van Damme's salary. It was shot in 24 days of principal. All in all, my expectations were quite low for the film's success given the mad circumstances."

[Meho Krljic]

Holi šit!! Cannon i Spajdermen, kakav bi to a match made in hell bio!!!

[Meho Krljic]

Krekd objašnjava filozofiju dodele oskara.

[crippled_avenger]

Mada ipak verovatno najveća bizarnost iz vrlo specifične istorije Cannona

But no hustle was better than what happened with the 'lambada' movies after Cannon fell; it's quite possibly the only time in history that a family rivalry from Israel has played out through dance fad B-movies released in American theaters.

As the rival cousins prepped production slates with their own independent film companies, the lambada craze swept America. The single "Lambada" by the group Kaoma was a #1 hit, and the sensual, body-grinding dance made its way to almost every radio station and club in the United States.

Needless to say, the lambada dance was classic Golan - Globus material. The two had a major hit in 1984 with Breakin', which was produced in about a month for $1 million, and collected a hefty $35 million at the box office. They tried to do a repeat six months later with Breakin' 2: Electric Boogaloo to limited success. Likewise, Cannon's Rappin' from 1986 and Salsa from 1988 didn't make too many waves.

But the lambada dance was white-hot and ripe for the picking. As the craze peaked near the end of 1989, the two rival cousins went in for blood. Globus announced Lambada for a release on May 4, 1990; he took a Stand and Deliver rip-off script he had sitting around and commissioned the screenwriter to add a lambada element to it. Director Joel Silberg (the veteran musical auteur of Breakin' and Rappin') was put at the helm of the quickie production.

Golan, not to be outdone, announced Lambada: The Forbidden Dance, to be released on April 6. His film, to be directed by Greydon Clark (an '80s schlock film staple, the director of It Came Without Warning and Joysticks), would be shot and edited in a month. The screenwriters say they came up with the premise on the way to Golan's office to pitch the film.

Globus pushed up production on Lambada to get it out to compete with Golan's movie.

Unfortunately for Golan, Globus beat him in registering the title "Lambada" with the MPAA. Lambada: The Forbidden Dance had to officially drop lambada from its title. It became The Forbidden Dance with "is Lambada" as its tagline. 

As was the norm, Golan and Globus took out ads in all the trade papers trumpeting their quickie productions. Globus filed a complaint with the MPAA several weeks before the films came out over the use of the word lambada in Golan's advertising copy; the MPAA ruled that Golan did have the right to use the word, just not in the film's title.

Golan's film did have one big thing going for it, however. The Forbidden Dance production secured exclusive film rights to the actual "Lambada" single, a fact that Golan trumpeted in huge type on all of the ads and posters.

Suddenly, in February it became clear that The Forbidden Dance might actually be done before its original April 6th release date. Golan announced, in a memorable two-page Variety ad on March 8th, that the film would come out on March 16th, and said "I am proud and honored to have had the opportunity to create the one and only original Lambada film that truly depicts the lambada dance."

The Forbidden Dance had wrapped shooting on February 17th; Lambada, now subtitled "Set The Night On Fire," had finished shooting on March 5th, just days before Golan's announcement.

The two cousins had a decade of experience in putting out bad movies quickly and cheaply. They had already learned (like the rest of Hollywood did only recently) to edit movies while they were still filming. In this way, both movies were practically done when they finished shooting. So, as hard as it is to believe, Globus pushed his post-production team even harder, and Lambada: Set The Night on Fire, which had finished shooting only 11 days earlier, was also ready for a March 16th release.

On Friday, March 16, 1990, Cannon Films released Lambada, starring J. Eddie Peck, Alfredo "Shabadoo" Quinones, and Melora Hardin. The 21st Century Pictures Corporation released The Forbidden Dance (is Lambada), starring Laura Herring, Jeff James and Richard Lynch.

No two wide-release 'competing' movies had ever been released on the same day. Even when two studios are working on similar films and racing to come out first, the marketing departments never release on the same day (take Mission To Mars and Red Planet for a recent example) because the potential box office will always be split between the two flicks. But the family rivalry of Golan and Globus prevented them from even making sound fiscal decisions.

As Golan told Premiere magazine in March 1990, right before the movies came out: ''I'm already doing the sequel, Lambada 2: The Forbidden Quest. We have also created 'How to Lambada, ' an instructional videotape. All our company, the whole 21st Century Film production company, is now busy with one thing -- lambada.''

Perhaps this wasn't the wisest business priority for 21st Century. Amid a firestorm of critical disapproval, Globus won a pyrrhic victory; Lambada - Set The Night On Fire grossed $2 million in 1,117 theaters, while The Forbidden Dance scared up a measly $720,000 in 637 theaters. 

******

The two lambada movies are cinematic marvels: The most amazing aspect of both is that they exist at all. Most films take more than a year to plan and execute. These movies took two months from start to finish. And they represent everything lovable and endearing about Golan-Globus movies.

The Forbidden Dance is the more satisfying film of the two. Greydon Clark crafted a masterful international tale of corporate greed, environmental destruction, and lambada. The film tells the story of Nissa (Herring), a princess from a Brazilian tribe whose land is being threatened by an evil corporation. With no money, Nissa travels to the United States to find a way to save her land.

Thankfully, Nissa has one marketable skill -- lambada.

She dances in a Los Angeles club and wins the attention of Greg, a rich Hollywood playboy played by Jeff James. Nissa and Greg endeavor to win a "National Lambada Contest" during which Nissa can speak on national television and inform the American people about the plight of her tribe.

Of course, the evil corporate goons, one of whom is memorably portrayed by Cannon regular Richard Lynch, conspire to stop Nissa and Greg from winning the contest. No prizes for guessing the ending, although Clark does give us a touching freeze-frame at the end of the film telling us that "this movie is dedicated to the preservation of the rain forest." Maybe they were sincere.

Lambada: Set The Night On Fire, on the other hand, is a more standard Cannon Stand and Deliver rip-off movie, with a few lambada elements thrown in for good measure. Hunky soap opera staple J. Eddie Peck plays Kevin Laird, mild-mannered Beverly Hills high school teacher by day, East L.A. lambada dancer by night.

He takes some of the kids who dance at the lambada club and starts teaching them math. They have a rather predictable face-off with the snooty Beverly Hills teenagers at the end of the film, followed by a "lambada-off" where everyone joins together on the dance floor.

The most exciting part is when Peck tearfully explains at the end that he was born with the name Carlos Gutierrez, and he wanted to use education to help some of his fellow Hispanics get out of the barrio. Apparently, knowing how to lambada is also a big help in this regard, at least in early 1990.

Golan's and Globus' successful B-movies have a level of hipness to them that transcends all conventional notions of cinematic quality. Cult movies come and go, but films like Death Wish 3 and The Forbidden Dance are forever; they exist as an affront to art cinema and critics, but also as an affront to the big studio film, as it manages to take chances that most pictures wouldn't.

Audiences and reviewers get lost in the obvious critiques of these films without seeing this internal beauty. Cannon films have an ambition that far surpasses most other films of the day. By achieving some of that ambition, and leaving the rest to the fertile, thrill-soaked (and often Reaganite, right-wing fantastical) imagination of the 1980's, these films have become for some a very precious cultural document of the time.

[Melkor]

posle teske dvojbe koj link izabrati i na koji topik ga smestiti, posto su me pre neki dan optuzili za sovinizam 

The 10 Greatest Moments In Celebrity Boob Grabbing History

The 101 Hottest Slave Princess Leia Photos

[ridiculus]

posto su me pre neki dan optuzili za sovinizam

Ako si šovinista, onda si jedini šovinista koga znam da kupuje ženi feminističku literaturu za poklon!

[Milosh]

The 101 Hottest Slave Princess Leia Photos

Zašto ovako nešto nismo imali na Beokonu?

[Melkor]

To mora da je bio neki beokon na kome nisam bio 

Nemoj da zaboravis da sam joj to uzeo za 8. mart. Ja sam latenti sovinista, samo ponekad izadjem iz ormana 

[Meho Krljic]

Lepe slike.

Nego, evo, Krekd:

5 Movies That Were One Flaw Away From Being Classics

[Meho Krljic]

A evo i kako bi mogao da izgleda skript za Spejs Invejders. Ne najbolji tekst Danijela O'Brajena ikad, ali ima nekoliko duhovitih momenata.

[Meho Krljic]

Ovaj mu je bolji:

If Tiger Woods' Apology was honest

[crippled_avenger]

Kick-Ass and Wanted creator Mark Millar has revealed to STV more about his latest comic book work Nemesis, which he promises will be a "complete inversion" of superheroes as we know them.

The Scottish comic book writer also talked about how he's also been approached by three big-name film directors about the project, but that he's holding off auctioning off any more of his work for movie adapations until Kick-Ass is released - a wise move given that it's been predicted to be a huge box office success.

Millar explained of the new work's origins: "Nemesis is the next in this wave that I was planning. Stan Lee created all these amazing characters in the 1960s. Nobody gives him credit for this, but Stan is the cornerstone of modern Hollywood: Stan Lee, Jack Kirby and Steve Ditko, the two artists that he worked with.

"These guys created Spider-Man, The Hulk, X-Men, Avengers, all these things that are making billions, each franchise is making billions. He's like J.K. Rowling, Ian Fleming and Robert Ludlum all rolled into one person, and nobody gives him the credit. It's pretty bizarre, he's bigger than Walt Disney to me, and has made more money now, probably, with those movies too, for the studios."

He added: "I just think it's weird nobody's done it for the modern day, so I'm trying to create a little wave: there's Wanted, Kick-Ass and the next one coming out. I've got about five or six on the go at the moment, and the next one coming out is Nemesis.

"The idea of Nemesis is a reversal of the superhero movie. I just think there's been all these superhero pictures but no films about supervillains yet, and I love cinema about crime, cinema about the bad guys. Like Goodfellas, Godfather, The Departed, all these things, it's always about the bad guys and it's really interesting, so I thought to flip superhero cinema around on its head.

"I think we hopefully reinvented superheroes with Kick-Ass, but now to do a complete inversion of it with Nemesis will be interesting, where the lead character in the thing is a bad guy. It's the trappings of a regular superhero: he's a billionaire by day, a glamorous socialite kind of guy who has an amazing plane, cars, all this sort of stuff, but at night-time he's the ultimate anarchist. He wears a mask and cape and he's the only super character in the city and the cops are all that stand between us and him.

"I think it could be quite terrifying, a superhero up against the city, so if you can imagine Se7en with superpowers it's something like that. It's definitely an 18 [certificate], you know."

When asked if it's already been optioned by a studio to become a movie, Millar replied: "We turned everyone down. It's really weird; I've been getting advice from pals who said wait until Kick-Ass comes out and you'll have much more latitude in what you can do, you'll get a better deal for starters, and probably the best directors.

"Some big directors have come forward, we've had three directors approach about it, and it feels weird turning them down, because it's people whose movies you love. But I'm sticking by this, I'm waiting till Kick-Ass comes out and then it can go out to auction.

"I want it in the right hands, I'm less concerned about the cash, and I want it to be a director as good as the first two directors I've worked with, so that the quality is there."

[crippled_avenger]

Kick-Ass writer Mark Millar has talked to STV about how the upcoming blockbuster's independent status was preferable to the studio system behind Superman - he was behind a pitch for a new reboot of the movie franchise, which he goes into in further detail later - and explained how its success could change how film-making is approached by top directors.

He also revealed how director Matthew Vaughn raised $45m during a single party to fun the upcoming blockbuster, because no studio would touch it - at least not until they saw the finished movie then scrambled to pay a premium fee for it.

The award-winning comic book writer - his Wanted was recently adapted into a worldwide box-office success - was also involved with Vaughn in pitching for the new Superman movie, but after comparing that process with the making of their new movie thinks that the independent approach he's taken with his own work will be the way to go in future for the likes of big-name directors Christopher Nolan and David Fincher.

Talking about how the movie of Kick-Ass came about, Millar explained how he and the film's director Matthew Vaughn were introduced by fellow comic book geek Jonathan Ross (while Vaughn was attached to helm the X Men 3 movie).

He continued: "We got on well and he said we should meet for lunch. He said 'I'd like to do a project with you sometime', he liked my stuff, and I had this thing called Kick-Ass that I was writing.

"I'd only written the first two or three scripts when I met him, and he said 'Aw, can I see that? I'd like to make something that nobody's ever seen before.' Because all the big characters like Superman, Batman, Iron Man, Spider-Man, they'd all been done, and they were looking for a new wave of characters to create.

"I showed him Kick-Ass and he really liked it, and he said 'I want to do this'. He started doing to screenplay and we ended up with Jane Goldman, Jonathan's wife who came in and did a polish on it, and we ended up with what we thought was the Pulp Fiction of superhero movies. We thought 'This is going to be great, everybody's going to love this', and we were so pleased with ourselves."

Millar added: "Then Matthew sent it to Paramount, and they were like 'This is rubbish, we absolutely hate it'. And they said 'Do you mind if we take it out to anybody else?' they said 'Feel free'. They took it to Sony, Warner Bros, everybody, and everybody universally hated it, they said it was the worst superhero thing that they had ever read, because it was so different from other superhero things, and it just didn't follow the rules. We thought that that was what was good about it, but they said 'We're not putting $70m into a film that breaks all the taboos, nobody's going to go and see this'.

"So Vaughn is quite cocky and he said I'm going to go and make this film myself, so he actually went and raised $45m from his friends, he literally had a dinner party and raised $45m, he's got a lot of rich pals. He made the film in England with his own cast with borrowed money, put some dough into it himself as well, made the film he wanted to make totally uncompromising - not taking any notes from any studios - took it back to the studios, told them they were wrong and got them to pay twice as much money for it. It was insane.

"Looking back at it now, it just takes an amazing amount of guts, and you realise how wrong it could have gone."

Talking about the fiercely independent approached, Millar said: "It's funny how similar to comics it is. What happened with comics for years was you could only work with Marvel or DC Comics, if you were a writer, an artist, and what we did with Kick-Ass was we made it outside the system and we owned it then instead of Marvel or DC owning it.

"You take a risk: I did it for free, I had no salary for eight months while I was doing this, and the artist was the same. It could have wrong, it was very similar to the movie, and then it came out and outsold Spider-Man so we got a lot of money and got paid really well on the book. And the same thing happened with the movie: Matthew worked outside the system, and he'll reap the rewards of it.

"I think that's what's going to happen. Really good guys like Chris Nolan and your David Finchers, the guys who do movies people like and make lots of money, they'll be thinking 'Why should I take a payday anymore when I can just do this outside the system? If I'm good it's going to make money back.'"

Indeed, such a system seems a contrast to the prolonged process when it's come to making the new Superman movie, which Millar and Vaughn pitched for but is now in the hands of Batman Returns and Dark Knight scriptwriter David Goyer (who turns out to be a friend of Millar's).

Millar explained: "The thing is, ultimately when you go to a studio I think it's quite demeaning.

"You walk in and you say 'Please love me, please like my idea, will you give me money to do this?' I just think there's something horrible about that, it just seems undignified.

"I like the idea of not having these people there, and generally, if you walk into a studio and it's Steven Spielberg sitting there you think 'Okay, I'll defer to you, you know what you're doing, I'll take your advice.' But if you're sitting there with a guy who's never made a film in his life, he's probably got 10 DVDs and he's been in that job for a year, how you possibly take notes from someone like that if you know what you're doing.

"So I just think it's the natural way to go if you're any good, to work outside the system and the use the studio for distribution fees."

He added: "Superman's the perfect example. We pitched it, lots of people pitched. They didn't want us to do it, and they moved on with someone else, which is perfectly fine, but isn't it nice to create your own characters and never be in that situation where you're pitching in with other people and everything? I don't know, it's just not the way I want my career to go."

When asked how long it had taken him to come up with the Superman movie idea, which was to span the length of a trilogy, Millar laughed and said: "An hour or something like that! Being Scottish I'm a great believer that I don't work for nothing. If they want some ideas I'll give them some very loose, broad ideas that I scribbled down on a pad.

"I did not submit a text or anything like that to the guys. What happened was I'd tried for Superman a few years ago and they said 'Sorry, you're a Marvel guy, we can't even entertain you', and I was like 'Okay, fair enough'.

"Then Warner Bros got in touch with Matthew and said 'We're really interested in you doing Superman and he said 'I'd like to bring you in as the writer for it because I know you have this idea'. So we talked about it and he verbally pitched it to them out there, so I didn't even go into the meeting, so no, I don't believe in wasting your time or anything like that."

[crippled_avenger]

Na ovo je hintovao McGuigan pre neki dan...

Wanted and Kick-Ass writer Mark Millar is aiming big for his first directorial outing, taking his cues from District 9 to create an epic Scottish superhero movie that will have a 21st-century Trainspotting vibe while being "as cool as X Men 2", with plans to shoot this summer using a local cast and crew.

The award-winning Coatbridge-born comic book writer has tasted huge success with his work on characters including Spider-Man and Superman, his creative talent for original characters now translating to the big screen in the form of Wanted and the upcoming Kick-Ass, which is poised to become one of the year's biggest movies.

Despite thinking of himself as "quite lazy", Millar describes himself as having "this weird Scottish work ethic" and has several projects on his plate. In terms of comics, this year alone Millar wants to create three brand new comics as well as doing a big Spider-Man story for Marvel. In addition he's gearing up to write and direct a superhero movie set in Scotland which he plans to shoot this summer, attempting to use exclusively local talent for his first film in the director's chair and casting young unknown actors in the lead roles.

In first part of our extensive interview with Millar about all his projects, he explained: "The plan with the Scottish movie was that I realised that everything I'd written, even though I'm a Scottish guy from Coatbridge, everything I'd written was set in New York or Los Angeles. I just thought that's quite weird; normally people will do something that is a wee bit to do with where they came from, so I thought that it was quite odd that I've never done that. It's a lazy shorthand to always set something in America that everybody understands.

"I saw District 9, the South-African alien movie. I thought that that was quite interesting to see something that people don't associate with South Africa, which is alien invasions, to juxtapose two things and make something quite interesting and quite odd, and I thought wouldn't it be cool to do a superhero movie in Scotland.

"Not a cheesy BBC Scotland comedy kind of thing, but to make it cool, as cool as X Men 2 was or whatever. Not costumes and that kind of stuff, a 21st century Trainspotting kind of thing about people with superpowers and make it epic, make it big and grand in scope, try and do something that's unexpected.

Millar added: "So my plan is to start directing that in June, June and July. We're prepping it just now. We want to do it with an entirely new cast, people nobody have seen before, young people from Glasgow and Edinburgh and work with local teams. Everyone that works on the movie we want to try and keep Scottish and just create a superhero movie with its own unique flavour."

Although Millar said he learned a lot from the directors he's worked with on Wanted and Kick-Ass, he added: "Comics is an amazing training ground for directing.

"It's so similar, because as a comic writer people think you just put the balloons in, but really you've a blank piece of paper and you have to tell the story visually: start with a close-up, pull-back and all the wee tricks that we employ when we make a film as well, so it felt quite seamless actually, the idea of going into film.

"It feels like comics, it's a world I'm really comfortable with, and if you're a geek you're a geek, I've got as many DVDs as I've got comics. The house is just filled with stuff like that, so I'm in my comfort zone."

Though some would see a gradual transition from comic books to movie-making over the past few years, Millar was keen to stress that he won't be giving up the medium with which he made his name.

Talking about his shift into the film world, he explained: "Well, the thing is I've never ever seen it as a stepping stone, from comics, although it is quite a logical stepping stone for a lot of people.

"I've always done comics because that's what I've always wanted to do, and a lot of my friends and family have said to me 'Right, okay, now you've got Hollywood films and all that when are you quitting comics?' and I was like 'Never, I didn't get into it to get out of it.' This is what I'm doing for the rest of my life hopefully.

"I just love it, I really enjoy it, and it's going so many rewards that film doesn't have. If I write something, three months later it's in someone's hands exactly as I've written it. With movies there's so many compromises and budget limitations and everything. It's a collaboration in a way that comics are much more autonomous, it's more like writing a novel or something, it's quite personal.

"I've been lucky though with film. Timur Bekmambetov, the guy who directed Wanted, is an amazing director and made it look great. Matthew Vaughn's come along and done Kick-Ass and it's looking even better. I've fallen backwards into movies very accidentally, I've had no brilliant plan or anything, it just worked out really nice, and I'm going to try and do both."

Millar talked about the process of the film adaptation of Wanted, and how as a producer on the movie he had a "J.K. Rowling kind of relationship" with the material because of the creator-owned deal he and the artist had for the comic book.

He added: "It was funny because they phoned me up and said 'You know this thing you're doing, Wanted, we really like it but we'd like to radically change it, we want to change half of it. I was just so pleased at the idea of getting a film made I was just like 'Yeah, anything you want! Of course.'

"It was the first film I ever did, and it was such a great calling card. I mean really, if you're lucky your first five films are rubbish, and that's if you're lucky that you're getting five films. So to get a big film with Morgan Freeman, Angelina Jolie, James McAvoy and a brilliant director, and it makes $340m is an amazing stroke of luck, but probably 40 minutes of the movie was absolutely nothing to do with the book at all. The first hour's identical, then it goes off and does its own thing and then comes back again at the end to being like the book.

"You compromise in film, it's just the way it goes. Sometimes you write a black character that when it comes out in the movie it's a white character and so on. It's a collaborative process and everybody's got an opinion, and if you do something in the studio system you have to defer sometimes.

"So it was a learning process, but I think it worked out great, I was really, really happy with it, and it also meant that I could go on and then have a movie career too, so on the strength of Wanted I sold maybe three other movies, and then those three will hopefully be good and a bigger career will emerge."

[Meho Krljic]

Millar je stvarno superheroj samopromocije i hiperbole. 

[crippled_avenger]

Aha. Svakome je on sasuo sve u lice. Samo on zna. Samo je on hrabar. Kao da smo sisali vesla i ne znamo kako Holivud funkcioniše. KICK ASS je meni drag i voleo bih da uspe, ali koliko vidim, uprkos tome što ga je producirao Plan B distribuira ga Lionsgate a ne Warner ili Paramount. Millar sada pokušava da nam proda kao svoju inovaciju da reditelji žele da budu vlasnici svog materijala a to je oduvek tako bilo kad god su bili u mogućnosti. Ovo što sada rade Stone, Mann i Soderbergh nije inovacija nego je iznuđeno cutovanjem development troškova u studijima zbog recesije.

[Milosh]

http://www.aintitcool.com/node/44238

[Meho Krljic]

Auh!!

[crippled_avenger]

A Lionsgate release presented with MARV of a MARV Films/Plan B production. Produced by Matthew Vaughn, Brad Pitt, Kris Thykier, Adam Bohling, Tarquin Pack, David Reid. Executive producers, Pierre Lagrange, Stephen Marks, Mark Millar, John S. Romita Jr., Jeremy Kleiner. Co-producer, Jane Goldman. Directed by Matthew Vaughn. Screenplay, Jane Goldman, Vaughn, based on the comicbook by Mark Millar, John S. Romita Jr.

Dave Lizewski/Kick-Ass - Aaron Johnson
Chris D'Amico/Red Mist - Christopher Mintz-Plasse
Frank D'Amico - Mark Strong
Mindy/Hit Girl - Chloe Grace Moretz
Marty - Clark Duke
Katie - Lyndsy Fonseca
Todd - Evan Peters
Damon/Big Daddy - Nicolas Cage
Big Joe - Michael Rispoli
Sgt. Marcus Williams - Omari Hardwick
Det. Gigante - Xander Berkeley
Lobby Goon - Jason Flemyng

"Kick-Ass" most certainly does. Equal parts audacious dark comedy, wish-fulfillment fantasy and over-the-top, tongue-in-cheek action-adventure, Matthew Vaughn's bloody funny adaptation of a cult-fave comicbook series manages to be sufficiently faithful to its source material to please fervent fanboys while remaining easily accessible for ticketbuyers unfamiliar with the superhero storytelling conventions Vaughn ("Layer Cake") and co-scripter Jane Goldman satirize as well as celebrate. Scenes of hilariously overstated violence perpetrated by an 11-year-old girl doubtless will discomfort many and incense quite a few. But this deservedly R-rated Lionsgate release should nonetheless score a knockout in theatrical and homevid venues.

The title is both an alias and an attitude adopted by Dave Lizewski (Aaron Johnson), an all-too-ordinary Manhattan high schooler who's neither especially nerdish, despite his immersion in comicbook culture, nor confidently cool. He's so eager to transcend his anonymity -- and, not incidentally, impress a pretty classmate (Lyndsy Fonseca) -- that he clads himself in a DIY superhero costume (a green-and-yellow scuba outfit ordered online) and sets out to prove you don't need otherworldly origins to fight crime and do derring-do. Unfortunately, Dave's first attempt at superheroics as Kick-Ass end with -- well, with his getting his ass kicked. But even a forced trip to the hospital is not enough to dissuade him.

While Dave takes his tentative first steps toward heroism, bespectacled eccentric Damon Macready (Nicolas Cage) and spunky young daughter Mindy (Chloe Grace Moretz) make bold strides forward in their preparations for purpose-driven lives as relentless vigilantes. Dad is encouraging but implacably demanding as he teaches his little girl how to survive point-blank gunfire and wield lethal weaponry. Fortunately, she's a quick learner, and Damon is so pleased with her progress that he buys her all the ice cream she wants -- and helpfully shoots the sole survivor of her first armed assault on felons.

The latter gesture comes as a kicker to a jaw-dropping, mind-frying sequence in which Mindy -- decked out in cape, mask and purple wig as the aptly named Hit Girl -- violently dispatches a dozen or so bad guys to the tune of the "Banana Splits" theme. (Her father, whose own disguise closely resembles Batman's, assumes the identity of Big Daddy.) Hit Girl's dramatic arrival is perfectly timed: Before she shows up, Dave/Kick-Ass once again is outmatched by unfazed foes.

To be sure, the would-be hero scores enough relatively minor triumphs to become an instant celebrity -- enough to attract millions of hits for the YouTube video of his skirmish with street thugs. But Kick-Ass simply isn't in the same league as Hit Girl and Big Daddy. (For one thing, he'd prefer not to actually kill anybody.) He's not even as ruthless as another masked marvel, Red Mist, who's really Dave's classmate Chris D'Amico (Christopher Mintz-Plasse). Chris also is the son of a slick, sadistic crime lord (Mark Strong) who's trying to smoke out the heroes who are decimating his henchmen.

Here and there, "Kick-Ass" offers some genuinely clever observations about the creation of celebrity in a world where viral video clips and latenight talkshow quips can turn attention seekers into overnight sensations (and inadvertent role models). Pic also takes a few potshots at not-so-innocent bystanders who refuse to get actively involved in anyone else's emergencies.

For the most part, however, "Kick-Ass" is less concerned with social commentary than slam-bang outrageousness. Hit Girl's increasingly escalating mayhem is a running joke that somehow gets funnier as the pic progresses, and Moretz's deft mix of girlish sincerity and steely ferocity only increases the laugh quotient. Of course, that won't be enough to keep some professional moralists from taking issue with her onscreen activity.

As Dave, Johnson (a young Brit soon to be seen by U.S. auds as John Lennon in "Nowhere Boy") makes a reasonably credible and thoroughly ingratiating transition from enthusiastic klutz to self-empowered hero, while Mintz-Plasse amusingly plays Chris as a kind of darker, more dangerous variation of the McLovin' character he memorably essayed in "Superbad." Mark Strong, recently a seriously menacing villain in "Sherlock Holmes," brings the right touch of wink-wink overplaying to this pic's antagonist. And Cage earns some big laughs as he channels the smiley spirit of several '50s TV sitcom dads while teaching his daughter how best to kill miscreants.

Fans of Mark Millar and John S. Romita Jr.'s original comicbook series -- the sort of savvy aficionados who will catch all the inside jokes about Steve Ditko, the Spirit and other graphic-novel icons -- might complain about certain liberties taken by Vaughn's adaptation. (The motivation for Cage's character is substantially different here, and pic allows Dave more romantic success than the comicbook ever did.) According to the press notes, however, scripters Vaughn and Goldman began and completed their scenario before the comicbooks ever wrapped up their ongoing storyline.

Production values are fine, though perhaps not up to the standard one would expect of a more serious and straightforward comicbook pic.

Camera (Technicolor), Ben Davis; editors, Jon Harris, Pietro Scalia, Eddie Hamilton; music, John Murphy, Henry Jackman, Marius De Vries, Ilan Eshkeri; music supervisor, Ian Neil; production designer, Russell De Rozario; art director, John King; set decorator, Tina Jones; costume designer, Sammy Sheldon; sound (Dolby Digital/DTS/SDDS), Simon Hayes; second unit director, Tim Maurice-Jones; visual effects supervisor, Mattias Lindahl; special effects supervisor, David Harris; casting, Lucinda Syson, Sarah Halley Finn. Reviewed at SXSW Festival (opener), March 12, 2010. MPAA Rating: R. Running time: 117 MIN.

[Meho Krljic]

Evo:

5 Reasons The Internet Could Die At Any Moment

[crippled_avenger]

"Smallville" creators Miles Millar and Alfred Gough are attached to pen an adaptation of Nick Spencer's comic book series "Existence 2.0" for Paramount Pictures and Platinum Dunes says Reuters.

The story follows an amoral and selfish physicist who awakens to find his mind now residing in the body of an assassin that just killed him.

After indulging in the killer's lifestyle for a while, things turn serious when his daughter is kidnapped by the men who ordered his death.

Michael Bay, Andrew Form, David Alpert and Brad Fuller are producing.

[Meho Krljic]

Super, pošto trenutno izlazi i Existence 3.0, koji je nastavak ovoga o čemu pišeš.

[Meho Krljic]

Još samo malo i san svih voajera će biti pred ispunjenjem.

Cloak of invisibility takes a step forward

[Ygg]

[lou benny]

meho efendi

Trafikanti - Marakana

[Meho Krljic]

Ou, jea!!!!!!!!!!!!!!!1!

[zakk]

Svilen Konac Project - Jutro Je ( NADA TOPCAGIC COVER).wmv

Svilen Konac Project - Usne Vrele Kao Zar ( NINO COVER).wmv

Svilen Konac Project - Zasto Bas Ti (Mile Kitic Project)

Ja sam u ekstazi

[zakk]

SVILEN KONAC PROJECT - SRCE JE MOJE BAS PEDALA (LEPA LUKIC COVER).avi

[crippled_avenger]

Sam Worthington is looking to start his own franchise and has chosen the sci-fi comic series Dan Dare: Pilot of the Future.  This would be Worthington's third project lined-up as he's already attached to star in Ami Canaan Mann's real-crime flick The Fields (formerly The Texas Killing Fields) and a remake of the Danish thriller The Candidate.

Dan Dare has been around since 1950 and is described as a kind of British Buck Rogers.  Created by Frank Hampson, Dare is one of the most successful comics in UK history. Billionaire Richard Branson picked up the rights with his Virgin Comics and brought on writer Garth Ennis (Preacher) to create a "darker" version of the character (read: more swearing, gruesome violence, and sex).  It's important that comic book heroes no longer have any joy, especially one with such a grim title as Pilot of the Future.

Warner Bros. has picked up the project but no writer or director is currently attached.  Worthington will next be seen in Clash of the Titans in theaters on April 2nd.

[zakk]

Evo i Bleach su uzeli da rade:

http://www.heatvisionblog.com/2010/03/warner-bros-prepping-film-adaptation-of-bleach-manga.html

Warner Bros., already developing an adaptation of the manga "Akira," is in the process of securing the movie rights to "Bleach."

Peter Segal is in negotiations to produce, though not direct, the adaptation with Viz Media, the anime publishing house that releases the books in English in the U.S. Michael Ewing, Segal's partner at Callahan Filmworks, will also produce.

The story centers on a 15-year-old boy who has the ability to see ghosts and meets a female Soul Reaper, a member of an order that escorts the souls of the dead. A fight with an evil spirit causes the Reaper to transfer all her power to the boy, leaving her stranded in the human world and the boy taking over her job as a fighter of evil.

The manga, written and drawn by Tite Kubo, has been published in weekly installments in Japan since 2001. Viz has collected the stories in graphic novel format, so far releasing 29 volumes.

"Bleach" has been adapted into an anime TV series that airs in Japan. An English version airs on Cartoon Network and Canada's YTV. In Japan, the title has spawned features and a musical.

As the director of such comedies as "Get Smart" and "50 First Dates," Segal might seem an odd choice to shepherd the "Bleach" adaptation, but he's been seeking to expand his portfolio by taking on darker, more action-oriented material.

[Meho Krljic]

Zabavan je ovaj Svilen Konac Prodžekt. Držaće li oni neke koncerte?

Što se tiče Dana darea, Ennisov strip uopšte nije bio tako mračan i krvav kako zvuči iz ovog teksta. Mislim, jeste bio ozbiljniji i manje blentav od starog stripa, ali za Ennisove standarde, veoma pitomo.

[crippled_avenger]

Nešto ekstremno odvratno, postovao for pure profiling reasons

MIKA - Kick Ass Official Music Video

[Meho Krljic]

A ovo je for ril Ofišl Kikes mjuzik vidio??? Kuku.

[crippled_avenger]

da, sramno. evo da se malo smiriš...

Haris Dzinovic & Goran Bregovic - Zvijezda tjera mjeseca

[Meho Krljic]

...Zagoru ga zatjera...

[crippled_avenger]

Kada to kaže Hari Dži, odeven kao član Village Peoplea i sa ozloglašenom reputacijom, makes you wonder...

[Meho Krljic]

Brkovi su, što bi rekli Ameri, a ded givevej.

[Meho Krljic]

Uzgred, naterao sam se sinoć da gledam Turneju i shvatio da tebi mora da je laknulo kad je GM to snimio jer više ne može da se kaže da si igrao u njegovom daleko najgorem i politički najsramotnijem filmu.

[crippled_avenger]

Sad me konačno razumeš. TITO I JA je u odnosu na TURNEJU ipak filmčina.

[Meho Krljic]

Da.

[crippled_avenger]

Goran sad misli da je veliki demijurg koji može iz neke puke konstrukcije da napravi film. A svi najbolji filmovi su mu upravo bili manje ili više bazirani na spontanosti situacija i karaktera, odnosno onome što već postoji u društvu a on to samo malo ampupuje...

[Meho Krljic]

Ma ja bih i to progutao samo kada to ne bi bili filmovi pravljeni petnaest-dvadeset godina prekasno, sa, u slučaju Turneje pogotovo, naprosto sramnim pamfletskim političarenjem.  I to kažem ja koji Srbiju mrzim i priželjkujem da je vidim u ruševinama.

[Meho Krljic]

6 Movie monsters that just wouldn't work

A evo i ovo:

http://www.cracked.com/article_18484_the-5-most-pointless-ways-big-budget-movies-blew-millions.html