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Thread: Pacific Rim

  1. #31
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    Pr2

    That's a classic MK comment above.

    7:31 am ET
    Jul 3, 2014
    Film
    Guillermo Del Toro on ‘Pacific Rim 2,’ ‘At the Mountains of Madness’ and More
    By Michael Calia


    Guillermo Del Toro at the ‘Pacific Rim’ premiere last July in Los Angeles.
    Dee Cercone/Everett Collection

    Guillermo Del Toro is a busy man.

    His new vampire horror series, “The Strain,” will soon premiere on FX, he’s currently in postproduction on the upcoming Gothic horror film “Crimson Peak,” and he starts designing the recently announced “Pacific Rim” sequel in mere weeks.

    But that’s not all. The prolific director, producer and writer talked to Speakeasy in a wide-ranging, exclusive telephone interview, touching on what to expect from his plans for the “Pacific Rim” universe, how he thinks “Pacific Rim” compares to that other giant monster movie produced by Legendary Pictures, and whether he hopes that his dream project, a long-gestating adaptation of H.P. Lovecraft’s “At the Mountains of Madness,” will make it to the big screen.

    Here’s part one of our interview. Check in soon for part two, which covers “The Strain.”

    You’re in a bit of a horror mode right now, between “The Strain” being set to debut and “Crimson Peak” in postproduction. What can audiences expect from the latter?

    It’s the first time I’ve tackled an adult story in English. When I had that terrible experience with “Mimic” in 1997, I decided to go for more action-oriented, comic book-oriented things to be done in English, and to do my more personal, my more adult-themed things in Spanish. Up until “Crimson Peak,” it’s been that way. With “Crimson Peak,” it’s the first time I’m able to articulate some adult concerns with a very elegant and sedate and visually rich world because I found great support with Legendary Pictures. Legendary basically has become a home for me, and I made it abundantly clear that “Crimson Peak” wouldn’t be something with cats jumping out at you. It was creepy, and it was eerie, but it was going to play by more idiosyncratic rules than the normal horror movie. And they were completely supportive of it.

    With this support from Legendary, do you have any hope that your adaptation of H.P. Lovecraft’s “At the Mountains of Madness” will be made?

    That’s exactly what I discussed with them. I said to them, that’s the movie that I would really love to do one day, and it’s still expensive, it’s still … I think that now, with the way I’ve seen PG-13 become more and more flexible, I think I could do it PG-13 now, so I’m going to explore it with [Legendary], to be as horrifying as I can, but to not be quite as graphic. There’s basically one or two scenes in the book that people don’t remember that are pretty graphic. Namely, for example, the human autopsy that the aliens do, which is a very shocking moment. But I think I can find ways of doing it. We’ll see. It’s certainly a possibility in the future. Legendary was very close to doing it at one point, so I know they love the screenplay. So, we’ll see. Hopefully it’ll happen. It’s certainly one of the movies I would love to do.


    Guillermo Del Toro directing on the set of 1997′s ‘Mimic.’
    Miramax/Courtesy Everett Collection

    If it doesn’t work out, what are the chances we see (Lovecraft’s) Cthulhu appear as a kaiju in a “Pacific Rim” movie?

    (laughs) Not really. I think there’s a really strong possibility we can do it (“At the Mountains of Madness”) at Legendary because now they are at Universal, and Universal, you may remember, almost greenlit the movie. The fact that we now have two studios together that love the material, and if they support each other, they are risking a lot less. It would be great to do it, but I’ve understood that you don’t plan your career, it just happens.

    Without spoiling anything, what can fans expect from “Pacific Rim 2″?

    We are three years away, so to spoil anything would be fantastically silly of me. What I can tell you: [screenwriter Zak Penn] and I really went in, we started with [screenwriter Travis Beacham] about a year and a half ago, kicking ideas back and forth. And, admittedly, I said to Zak, let’s keep kicking ideas till we find one that really, really turns the first movie on its ear, so to speak. (…) It was hard to create a world that did not come from a comic book, that had its own mythology, so we had to sacrifice many aspects to be able to cram everything in the first movie. Namely, for example “the Drift” (editor’s note: the neural link between pilots of the giant robots, or jaegers), which was an interesting concept. [Then there was] this portal that ripped a hole into the fabric of our universe, what were the tools they were using? And we came up with a really, really interesting idea. I don’t want to spoil it, but I think at the end of the second movie, people will find out that the two movies stand on their own. They’re very different from each other, although hopefully bringing the same joyful giant spectacle. But the tenor of the two movies will be quite different.

    What can you tell me about the animated “Pacific Rim” series? Do you know which network will carry it?

    We are talking about all the possibilities in terms of networks. We’re formulating ideas that are, again, interesting and not the usual route, but the series tackles the stories that happened to pilots working in the Shatterdome (editor’s note: a building where jaegers are built and maintained and pilots train), but also cadets learning how to become pilots. All of this happens prior to the first movie, and it gives you a little more depth into the background of certain characters that will appear in the second movie. So it’s really expanding the material. I was incredibly happy with the comic book series that came about from a graphic novel called “Tales From Year Zero,” and we are continuing the tales for the next three years. So by the time the second movie comes out, you will have probably one year of the animation airing, and you will have three years of the comic book series ongoing, so we are trying for all these things to be canon, to be in the same universe, to not wing anything, so that if anyone … a lot of kids, for example, have discovered “Pacific Rim” through the toys. They come in through the toys, and then they watch the movie, and then they learn this, they learn that through the movie or the comic book series, so we’re trying to make it canon so we can expand the universe. And by the time we come into the second movie, you have a good feel for the world, and we can dedicate ourselves to character and ideas and spectacle.

    What did you feel about Gareth Edwards’ “Godzilla”? Do you feel like you have to top it?

    Well, it’s a very different tone. What is great about Gareth is that he went for a really, an almost-Spielberg shock-and-awe tone that is very different from “Pacific Rim.” The thing is, when you deal with a world that has a single anomaly, meaning you have basically one monster or two battling each other, then you can take a darker tone and be metaphorical. Or when you have a single robot — namely, for example, Brad Bird’s “The Iron Giant” — you can, once again, be more reflective and build deeper into a theme than when you have to … this is a world where giant robots are possible, giant monsters are possible. So the tone has to be … I decided that it had to be more like an adventure movie. I used two analogies that were pretty invisible in the first movie: one was a sports movie, and the other was a western. I tried to bring characterization on the move. My main two characters, both [Charlie Hunnam] and [Rinko Kikuchi], play characters that have less lines than any other characters in the movie almost. They talk very little. You know them by the way they behave, the way they do and do not. In “Godzilla,” what was great is that you had this Spielbergian sense of scope and adventure, and a much darker tone. So, they don’t intersect tonally at all.


    Charlie Hunnam, left, and Rinko Kikuchi in ‘Pacific Rim.’
    Warner Bros./Courtesy Everett Collection

    Do you plan on expanding the cast and adding new characters in “Pacific Rim 2″?

    I’m hoping to bring the same idea I had in the first movie, that was to make it multicultural and humanistic as much as possible, to make characters from many nationalities or gender, to make them equal in the scope of the adventure, in the day-to-day of the adventure. So, we’re bringing a few characters that are new and hopefully doing good work managing those that survived the first movie. (laughs)

    When do you expect production to start on “Pacific Rim 2″?

    I start designing in six weeks. It takes me nine months to design a movie like that. People see the movie, and they have to see that we designed everything in the movie, from ID cards or patches, pamphlets, posters, signs, sets. I start with a core team for about six months designing the jaegers and the kaiju, you know, so we know how many kaiju, how many jaegers. We are creating some new jaegers and a lot of new kaiju. We start [designing the production] in August.

    Follow @Michael_Calia on Twitter, or write to him at michael.calia@wsj.com
    Gene Ching
    Publisher www.KungFuMagazine.com
    Author of Shaolin Trips
    Support our forum by getting your gear at MartialArtSmart

  2. #32
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    Boyega

    I like Boyega. He is hilarious in interviews.

    ‘Star Wars’ John Boyega Takes Lead In ‘Pacific Rim’ Sequel
    by Mike Fleming Jr
    June 6, 2016 9:30am


    REX/Shutterstock

    EXCLUSIVE: Legendary Pictures has set Star Wars: The Force Awakens star John Boyega for the lead role for the second installment of its Pacific Rim franchise. Steven S. DeKnight is directing the film, which will begin production in the fourth quarter of this year, based on the world created by Guillermo del Toro and Travis Beacham. Boyega will play the son of the character played by Idris Elba in the del Toro-directed original film. Universal will release the film worldwide, everywhere but China. The 2013 original grossed $411 million.

    Thomas Tull, Mary Parent, Jon Jashni, and del Toro will produce the action adventure film along with Boyega and Femi Oguns under their Upper Room Productions shingle. Cale Boyter is executive producer. The picture is a beach head project for Legendary, under the leadership of Parent, who became Tull’s vice chairman of Worldwide Production after Jashni exited to start his own venture. The principals have confirmed to Deadline they found their man in Boyega.



    “It is undeniable that with all his talent and natural charm, John stands out amongst today’s generation of young leading men,” said Parent.

    Said del Toro: “I am very proud and happy to welcome John into a fantastic sandbox. The Pacific Rim universe will be reinforced with him as a leading man as it continues to be a multicultural, multi-layered world. ‘The World saving the world’ was our goal and I couldn’t think of a better man for the job.”

    Boyega, whose breakout came with Attack The Block, next stars with Tom Hanks and Emma Watson in The Circle, and follows The Force Awakens with Star Wars: Episode VIII, as well as the animated BBC miniseries Watership Down opposite James McAvoy and Ben Kingsley. Boyega will make his stage-starring debut on the West End in Woyzeck at The Old Vic, next year.

    He is repped by WME and Identity Agency Group in the UK and Hansen Jacobson.
    Gene Ching
    Publisher www.KungFuMagazine.com
    Author of Shaolin Trips
    Support our forum by getting your gear at MartialArtSmart

  3. #33
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    split

    Gene Ching
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    Author of Shaolin Trips
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  4. #34
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    There is a porn version of this...
    Psalms 144:1
    Praise be my Lord my Rock,
    He trains my hands for war, my fingers for battle !

  5. #35
    Quote Originally Posted by sanjuro_ronin View Post
    There is a porn version of this...
    There is a porn spoof on all the hits.

  6. #36
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    Lakeith Stanfield

    Lakeith Stanfield to play first African samurai in Netflix's Yasuke anime
    Netflix revealed a slate of upcoming anime releases, including a Pacific Rim anime.

    By Nick Romano October 27, 2020 at 10:36 AM EDT


    CREDIT: NETFLIX; NEILSON BARNARD/GETTY IMAGES
    Lakeith Stanfield is getting animated again for Netflix, though this next role isn't quite like Guy on BoJack Horseman.

    The Uncut Gems and Sorry to Bother You actor will lead the voice cast of Yasuke, a new anime in which Stanfield portrays the first African samurai of the same name.

    Set in war-torn feudal Japan with mechs and magic, Yasuke follows the warrior as he struggles to maintain a peaceful living after a lifetime of violence. He's thrown back into battle when a local village becomes the epicenter of warring daimyo and he's tasked with transporting a mysterious child who's targeted by dark forces.

    The series hails from director-creator-executive producer LeSean Thomas with character designs by Takeshi Koike. Animation production will come from MAPPA, which worked on Attack on Titan: The Final Season.

    News of the project was announced Monday night during Netflix's Anime Festival in Japan that was then livestreamed online. Five brand-new anime projects were announced: the stop-motion Rilakkuma’s Theme Park Adventure, a modern adaptation of the popular manga Thermae Romae Novae, survival story High-Rise Invasion, the four-part Thus Spoke Kishibe Rohan, and a yakuza-turned-househusband story The Way of the Househusband. The streamer also revealed new looks and updates on 11 others.


    CREDIT: NETFLIX
    Pacific Rim: Black tells of an Australia overrun by Kaiju, the gargantuan creates that rose out of the Pacific Rim in Guillermo del Toro's original film. The entire continent has been evacuated. Teenage siblings Taylor and Haley remain to search for their missing parents, teaching themselves how to pilot a battered Jaeger robot. Craig Kyle and Greg Johnson serve as co-showrunners.

    New looks also arrived for the CG anime Resident Evil series, as well as EDEN, Vampire in the Garden, Godzilla Singular Point, Transformers: War for the Cybertron Trilogy, Trese, B: The Beginning Succession, Baki Hanma, and Spriggan.

    These moves mark the latest push by Netflix to become a streaming destination for anime. According to the company, more than 100 million households around the world watched at least one anime title on Netflix between October 2019 and September 2020. Netflix logs one household view when a single user account watching at least two minutes of a show or film. Multiple profiles within the same account could watch the same thing or a single profile could watch the same title multiple times, but Netflix still counts that as one household view. Anime titles also appeared on the platform's Top 10 list in almost 100 countries in 2020.
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    Yasuke
    Pacific Rim
    Gene Ching
    Publisher www.KungFuMagazine.com
    Author of Shaolin Trips
    Support our forum by getting your gear at MartialArtSmart

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