TROPIC THUNDER: HILARIOUS!

I saw an advance screening last night of Tropic Thunder and I can say it's unique, smart, ballsy, consistently funny and entertaining. This is the true comedy event of the summer! (Did I just say that?)

If you haven't seen it already, I suggest you stay away from the red-band trailer on youtube, it gives away too many of the best jokes. The first trailer's a good teaser...



The surprise star cameos in this movie are a ton of fun. They definitely didn't skimp on the budget on this one, in any way, which makes you really appreciate that you're getting your money's worth. There's about a million movie stars in it -- three huge ones that aren't even shown in any of the ads.

If you're a fan of movies like Platoon and Apocalypse Now, it will be especially funny (there are lines directly cribbed from Platoon), but that's not necessary. Kids who have never seen the Vietnam dramas of the 70s and 80s will still be laughing their asses off.

The entire cast is in top form, starting with the three leads, Ben Stiller, Jack Black and Robert Downey, Jr., joined by up-and-coming comedy stars like Bill Hader, Steve Coogan and Danny McBride (the Foot Fist Way guy). And of course Nick Nolte, perfectly cast as the growly voiced vet who wrote the book that inspired the film that they're shooting.

The big star is Robert Downey, Jr. He's brilliant in this role; him and Stiller really go at it in some hilarious dialogue scenes that had to have been expanded via improvisation. You don't even have to understand what Downey is saying in his over-affected Cajun drawl to laugh; his facial expressions are enough to send you over the edge.

It's great to see Ben Stiller back in the director's chair and with material right up his alley; this is definitely not a conventional Hollywood comedy; it takes chances and they pay off. Stiller has always been great when skewering Hollywood, starting with his brilliant spoof of The Color of Money which was shown on SNL way back in 1988 (The Hustler of Money, seems to be unavailable online), and then reprising his role as Tom Cruise in the Tom Crooze video for MTV, which I'd warrant has been hugely influential on today's online comedy filmmakers...




Although Stiller sometimes goes a bit far (Zoolander has its moments but gets to be a bit much by the third Act), with Tropic Thunder he finds the right balance of absurdity, reality and satire. Lines like Downey's: "I stay in character until I do the dvd commentary" are classic Stiller.

Kudos to Justin Theroux, the talented actor turned screenwriter, for co-writing this film with Stiller and Etan Cohen and just nabbing the job of writing Iron Man 2. I enjoyed Theroux on Six Feet Under as the guy who runs naked across the lawn to get to Brenda (okay, his character's name was Joe).

Let's not forget the brilliant viral marketing campaign, beginning with separate websites for the "movies within the movie within the movie:"

Scorcher VI

Simple Jack

They even built a site for Tugg Speedman's favorite charity (which figures into some hilarious bits in the movie):


Panda Relocation Foundation

The three main actors produced this spoof from the MTV Movie Awards, which is kind of a meta-viral video and is definitely worth watching if you've got four minutes...



They're dropping this film at a perfect time, the dog days of Summer, mid-August. You know, you've seen The Dark Knight 12 times, you can't find a friend to join you for The Mummy 3, despite you're pointing out that it has Yetis (Yetis, ferchrissakes!) and you just want a good laugh.

That's when you unleash a little thunder.

Enough love, go see it.

Hancock Vs. Hellboy II

I'm trying my best to get back to this sleepy blog...

Like you, I've been hitting many of the big Summer '08 movies and have various thoughts to post. Horribly late, in blogosphere terms, but thoughts nonetheless.

Just saw Hellboy II and Hancock back-to-back.

I preferred Hancock. It's got one of those sweet Hard Right Turns that I love, fantastic camerawork and a creative and fun "old school" soundtrack (Ice T's "Colors" and the "Sanford & Son" theme song? Uh, uh-yes!)

Critics be damned, Hancock was damn good.

More to come. I'm awful with regular postings because I'm posting daily with my peeps over at thewritersbuilding.org. I usually write a burst of essays once a season to coincide with my Act Four Screenplays newsletter. I'm trying to improve on that.

keep it real, keep it Del Toro,

Dan.

Why do I have to be Mr. Pink? (more Reaction Shots)

I've managed to procrastinate from writing again and doctor some more movie stills in my own ridiculous manner.

Any excuse to fire up Ye Olde PhotoshopTM and I'm on it, peoples. Or any excuse to just say "Ye Olde PhotoshopTM," one of those terms that I've created and think is hilarious but so far I have no evidence that anyone else on Earth enjoys it in the least. Anyhooskees...

I'm calling these "Reaction Shots." For the millions of kids in Japan that will no doubt adopt this new artistic movement, it may be referred to as Reac-shun-uh Shot-too. But that's pure speculation, and not meant to mock anyone's command of the English language.

Speaking of which, that's why I'm doing this. As a tribute to some of my favorite movies and to the screenwriter who not only takes care to craft the dialogue of the main characters in the pivotal scenes, but each and every little line from each and every supporting character.

And it's also a tribute to those little moments that others often miss, but to you, they make the movie.

Today we pay tribute to three fine screenwriters...
John Hughes
M. Night Shyamalan
Quentin Tarantino

CLICK ON THE IMAGES FOR LARGER VERSIONS...

Now, technically, this last one's a cheat, as this line from Steve Buscemi (Mr. Pink) was not in this scene, but it kind of creates a new joke using the context of the elements...


Hopefully, some of these make you also think of the follow-up line (also known as a "topper," in the parlance of the comedy writer), which may be even funnier .

So, there you go. I had fun, how 'bout you?


keep it real, keep it crunk,

-Dan.

"The Dark Fields" Thriller -- Leslie Dixon sticks to her guns, snags La Boof! (UPDATED)

Here's another movie based on material that I LOVED on the job as a Reader. This book was definitely in my Top 10 of stories I came across and hoped would make it to screen someday...

Shia LaBouef has signed to star in thriller "Dark Fields" for Universal, with director Neil Burger (The Illusionist) and writer-producer Leslie Dixon (Hairspray, The Thomas Crown Affair, Mrs. Doubtfire). [Variety: 4/13/08]













"The Dark Fields" by Alan Glynn was one of my favorite books I read on the job while at Miramax Films. It's a gritty, dark, fast-paced Thriller with Science Fiction undertones and a taut first-person voice set in a near future Manhattan. The story concerns a young, struggling writer who takes a mysterious drug that gives him incredible mental powers and catapults him into a dangerous mentor relationship with a Wall Street trader who's using him to predict the stock market. His meteoric rise is followed by a brutal fall, in which the ramifications of this wonder drug become all too frighteningly real for him and, possibly, for the world.

I covered the pre-pub. novel when it initially came in, they optioned it, and then I did another round of notes on it once it was in development, at the request of the executive in charge of the project. I don't know if they had screenwriter Leslie Dixon on board at that point, but I remember asking more than once to see their treatment of it but never getting to see the actual document. (typical for a Reader: you rarely get brought in to the development process, even when it's obvious you could help out. In fact, even after they've praised your notes, you've requested to see future drafts, they've agreed and you even offered to give FREE notes out of your passion for the story -- they still don't keep you in the loop! Go figure.)

But here's the big lesson of this project, what's not written in the article -- when it became clear the studio wasn't going to make her script, Leslie Dixon took this material on her own and never gave up on it. In fact, she initially signed on to the project at a greatly reduced rate in exchange for control over the project should it be steered toward development hell.

Years later (yes, years, even though she's got a fantastic track record as a screenwriter with multiple blockbusters) she's got the hottest young star in Hollywood and an esteemed director attached, a producer credit and a great chance at a green light!

So don't ever give up, peoples.

And if you can see potential in a project that the "studio types" can't, try like hell to get it back and take it out on your own.

Ms. Dixon visited The Writers' Building a few years back and she participated in a detailed Q&A and posted a schathingly hilarious essay about the night-and-day experience of working on The Thomas Crown Affair and Pay It Forward. (Unfortunately, these articles are only available to TWB members, sorry. :() She was direct and honest and helpful and we were all the better for it.

Last year, I emailed Leslie to inquire about "The Dark Fields," and to ideally get a peek at a draft, but nay, it was not to happen (rebuffed again!). But she confirmed her passion for the project and how she worked at a lower fee for greater control, and at the time she had another young star attached and was going out to directors. It's great to see it all worked out.

UPDATE -- RESPONSE FROM LESLIE DIXON!

I emailed Leslie to get her okay to run this article and she signed off on it and also provided some background details...

"They had cut the previous writer off at treatment and had no interest in continuing with the project. I'd read the book for pleasure, found out who owned it, and realized, even if they put it up for turnaround, I might not succeed in acquiring it -- someone like Scott Rudin might -- and he certainly wouldn't think of a chick to write a dark thriller. So I made Harvey a proposition. (I believe I actually wrote, knowing he'd love it, "This'll get you in your Hassidic scrotum...!" It was this: I'd do the script for scale if I had NO MEETINGS AND NO EXECUTIVE INPUT. A pure spec job. But the cheapest imaginable script from a name writer. Harvey is great with ballsy, mouthy bitches like me, and far from being offended, he was amused. The deal was struck.

And ironically, I did produce a script he wanted to make, but his company was going under, and the rights reverted to me. "

Here's to ballsy, mouthy bitches! Thanks Leslie.

Big congratulations to Leslie Dixon and good luck in getting this taut, dark thriller to the big screen!


-Dan Calvisi
consultation: www.actfourscreenplays.com
networking: www.thewritersbuilding.org

No need for braces, Donny (a new art form)

I fired up ye olde PhotoshopTM today to pay tribute to one of my favorite throwaway lines in a movie. This one is from Paul Thomas Anderson's Magnolia, and although it's not quite as brilliant as "Jack, should I use the Mexican accent on this one?" from Boogie Nights (which is also more obvious), it's still hilarious...



Remember that one? No? Um, hello, Solomon Solomon Electronics? Quiz Kid Donny Smith?

Were you ALIVE in 1999?!

Okay, it doesn't matter if you're one of the pop culture illiterati, the point is:


I've unwittingly stumbled onto the creation of a new art form.


And like L.V. Trier's Dogme 95, there are rules:

1) Find an awesome movie still from a scene in which an awesome line is spoken offscreen from this shot.

2) Add the line in a word balloon.

3) That's pretty much it.

BAM - NEW ART FORM!


So with that jpeg heard 'round the world, I am throwing down the gauntlet...

Get ready Internets, you will soon be SWEPT!

This means there's more to come, possibly a title for this movement, and eventually, yes, you guessed it: endorsement deals.

keep it real, keep it crunk,

D.

Oliver Stone takes on Bush

pic: My photo of Oliver Stone accepting the Final Draft
Hall of Fame Award in Los Angeles, October 18, 2007.

So Oliver Stone is making Bush (a.k.a. "W."), his bio-pic on good ol' Dubya.

As a huge fan of much of Stone's past work I have to ask...

Is this going to be the old Ollie Stone? The feisty, angry, controversial, intelligent, meticulous craftsman Stone?

Or the more recent workmanlike "Hollywood Director" Stone?

Signs seem to point to the old, controversial Stone, most notably his intention to release the film before the November '08 election. Which reeks of monster hubris, let's be honest, thinking his film could have any impact on the General Election. Michael Moore tried that with his hugely anticipated Farhenheit 9/11 (when Bush was still in the race!) and...it didn't work, which many of us are still trying to forget. So Stone is probably kidding himself that his drama will have any impact on politics.

Or maybe he just wants more press for the release of the movie? Who knows. And who knows if they'll even make that release date. Point is, let's let him have his hubris, because when he really believes in what he's doing, the results can be brilliant...

• The casting of Anthony Hopkins and Joan Allen in Nixon.



• The visual design of Natural Born Killers.



• The editing in JFK.



• Colin Farrell's hair in Alexander.

Just kidding on that last one. But speaking of which...

I saw Stone give a Q&A at U.C. Berkeley in 2006 to promote the release of his Director's Cut of Alexander on DVD. I hadn't seen the film yet, but knew that it was a critical and commercial failure. Stone immediately came to its defense, saying that it made more money in the international markets than most of the Best Picture nominees combined -- he even called it "his life's work." His new, definitive cut corrected a lot of issues he was unable to fix in the rushed post-production schedule of the film, and this was the version to see.

I was psyched to see it.

He was either very proud of it or putting on a helluva acting job, because when I watched it on dvd -- this incredible Director's Cut that would prove all the naysayers wrong -- well, I'll be kind and say that it just...didn't work. And the hairstylist on set was not the one to blame, if you know what I mean. Sorry, Ollie.




Stone rallied and went on to do World Trade Center, which I have no interest in seeing, for a number of reasons, one of which is that I'm just not sure if I want to see the "nice" Oliver Stone. The last time he made a "conventional" movie we got U-Turn, which if you don't even remember it...consider yourself better off. Actually, I'm forgetting Any Given Sunday, which was fun, but although I love Pacino, one can't compare his NFL coach to, say, Michael Douglas in Wall Street.

Has Ollie lost his edge? Will he get it back with this film?

Now, I don't mean to throw too many stones, as every visionary director has their misfires. Scorsese has had a few, Bringing out the Dead being one of the most forgettable, and then there's Spielberg's A.I. And don't even get me started on Spike Lee (She Hate Me, anyone?).

But although I groaned when I first head about this Bush biopic, I'm starting to come around and kinda relish the thought of an invigorated Stone tackling the biggest meanie of our time (I'm being nice there. About the "meanie.").

First off, no one's better at casting than Stone, and he's putting together a really interesting group...

Josh Brolin as Dubya, which will be interesting, considering that Brolin is short and muscular and Bush is tall and skinny. And with the film being rushed into production, it doesn't seem like there's much time for Brolin to pull a Machinist and lose the weight. Huh, we'll see.

Thandie Newton as Condi Rice! Interesting. James Cromwell and Ellen Burstyn as the senior Bush couple. Nice. Elizabeth Banks and Ioan Gruffudd round out the cast. All good actors. And the latest news...

Rob Corddry from The Daily Show as Ari Fleischer! Can Corddry play it straight? Does Stone want him to?

We're also getting glimpses into the story. Here's an interesting article in the Hollywood Reporter about the accuracy of the script, including a link to the first 4 pages: HERE.

Not bad, right?

C'mon, admit it...you're at least intrigued, just a little bit.

What's that, you say, it will be a disaster? I'm putting my fingers in my ears! I can't hear you! Lalaalaalaalalaa...

So why do I have this need to defend Stone? Let's go back to high school...cue the wavy lines and the mullet hair...

Oliver Stone used to be my god.

The first movie I watched after making my first short in my backyard in high school was Platoon, and I was devastated. I had made a war movie that glorified violence and here was this film from an actual vet that showed the true horrors of war. I felt like a heel.

I got over that bit of teenage melodrama, btw, as I realized that action movies and stylized violence have a place in our culture (and my heart), but here's what I didn't get over: watching a film from the perspective of a filmmaker.


For the first time, I was wondering what was happening behind the camera. Asking "How did they do that?"

Just from shooting a dumb little Rambo knockoff with a camcorder in my backyard with a couple friends, I understood how much work went into getting just one good shot.

When the camera seemed to float through the jungle as it followed the grunts in Vietnam in Platoon, I wondered how the heck they got those dolly tracks in there. (I hadn't yet heard of the Steadicam.) I wondered at what point they told the extras to start running and when they rolled the camera, and how they dealt with that rollback effect of the vhs tape which always managed to tape over the end of your previous shot!

Okay, I knew they weren't using vhs, but still, that rollback sucked hard!

So I followed Stone's career with every new film and defended him more than once in film school from those who claimed he was too "obvious" of a filmmaker. I marveled at the performances in his films, especially from supporting actors (Ron Kovic's mother or Wilson's parents in Born on the Fourth of July). The seamless fusion of a play and a novel adaptation with Talk Radio. The juxtaposition of dream and reality in Natural Born Killers.

I even got a chance to see Stone in action on the set of The Doors when some friends and I got hired as extras for a concert scene. (I've still got the t-shirt signed by Val Kilmer and Kevin Dillon somewhere)

So yeah, I was a big Stoneophile. Stonesian? Stoner? Ahem.




But somewhere along the way, Ollie lost much of his popularity with audiences and I moved on to worship other filmmakers.

Here's hoping he wins me back.


-Dan Calvisi
www.thewritersbuilding.org
www.actfourscreenplays.com

I hope Sam Raimi's CURSED!

I've been following the reports of Sam Raimi's new horror film "Drag me to Hell" with great interest. It looks like it's been quite a roller-coaster ride as Raimi tries to wedge this film in before the potential SAG strike and his next Spider Man opus.

Ellen Page was named as the lead in the low-budget horror film at the height of her Juno Oscar buzz.

Then Page dropped out and Allison Lohman was given the role. Justin Long is also cast, and according to imdbpro they're shooting.

All along, I've wondered if it's the same Raimi script I read on the job named "The Curse." I've finally confirmed it is in fact the same script, if Latino Review is to be trusted, that is, as they posted a scathing review of the screenplay.

Firstly, I hate the practice of posting "screenplay reviews" online for movies that are going into production, as we all know how much can change before the final cut is locked. And who knows what draft this "spy" has been slipped?

With that said, Latino Review absolutely tears it apart, basically calling it a cliche mess that's sure to bomb. But here's the deal...

I loved it.

I gave it a Recommend back in the day when I read it for Dimension Films.

And I maybe gave five Recommends in 8 years on the job as a Reader. Maybe.

It's important to understand some context here -- I was covering this script for the company that was currently riding high on the Scream franchise, which were horror comedies with a young female protagonist. "The Curse" was a horror comedy with a female protagonist, and it was written by a filmmaker with a proven following in the genre. This was pre-Spiderman Sam Raimi, when he was mostly known for films like Evil Dead 2 and Army of Darkness.

So it seemed like a slam dunk. But not just for commercial reasons, but because it was a damn good read. It was a horror comedy that was truly scary AND funny. That's a tall order, and it was executed with craft, skill, and a love for the genre that was palpable.

Now, maybe it's gone through some rewrites since then and been mucked up, but based on the Latino Review article, it's the exact same story.

And a good script's a good script.

So give it a chance, huh?

Besides, this gives us all hope that we can resuscitate those old scripts in our desk drawer that never went anywhere, right? Yes, it's possible, they WILL see the light of a camera!

Doesn't hurt to be the director of one of the biggest films of all time, of course, but I'm just sayin'.

Anyway, the point is I'm feeling positive that one of the best pieces of material from my Reader days is finally going to get produced and released, because too often they just disappeared into the ether once I sent in my coverage, never to be heard from again.

My fingers are crossed.

And I'm hoping to find my coverage on "The Curse" and post it here, soon, but it's going to be a dig. I'll keep you posted.

In closing, if ANYONE can get me a copy of the "Drag Me To Hell" script I'd appreciate it greatly! It will be fun to revisit it, see what's changed. I can swap you something good for it.

Here's to intelligent, scary and funny genre films...

-Dan Calvisi

www.thewritersbuilding.org

www.actfourscreenplays.com