Pirates of the Caribbean 5 remains in limbo. Arnold Schwarzenegger says great things about the Terminator: Genesis script.There's incredibly revealing descriptions of new Spider-Man footage. And Person of Interest will be bringing in a lot of villains before the season finale. Plus, new photos from How to Train Your Dragon 2. Spoilers now!
When asked whether the film would keep the name Terminator: Genesis, Arnold Schwarzenegger went on to describe how the film feels to him:
Today, studios switch titles because everything has been tested. They'll give an audience five titles, and then they'll pick one. But Terminator is going to have the exact same feel. The way it reads, it has the same feel of Terminator 2. It's big. There's hardcore action and it has some really great visual effects in there, but not over the top. It's not a Thor type of movie, even though it's the same director. It has good special effects, but just enough to say, "Wow, where did that come from? How did they do that?"
Director Gareth Edwards spoke to Shock Till You Drop about the major themes of the film: Man vs. Nature and the origin story:
There's definitely a strong theme in the film, it's kind of "man versus nature." And when we started off in the process of defining Godzilla, what is he about, what makes a Godzilla movie, what makes a monster movie, and we were brainstorming and watching all the old movies again, the thing that comes through is that in some movies, he's slightly evolved and represents different things, but he's always a force of nature like the wrath of God that comes to put us back in our place when we kind of think we own the world. You can't control nature. When we start thinking we can control nature, that's when it all starts to go wrong. And that happens a lot in our movie. You see it quite a bit, that is our arrogance always comes back to bite us.
. . . It is an origin story. It's not about having seen another film to understand this movie. It's supposed to be the beginning. But it doesn't just take place in modern times. There are other aspects to it. And in a way, the mistakes we made in the past come back to haunt us in the present, and that is something that the whole movie is driven by - whether you want to call them "mistakes" or "choices" - that now we pay the price for. Because for me, a monster movie just for the sake of being a monster movie can kind of become a pointless exercise, so it's about finding the right symbolism in what he represents and trying to find a storyline that expresses that. And I'm really pleased with the playground we're playing in because I think it's very much on theme. And I hope that when people see it who are big Godzilla fans, they'll be happy with the choices we made. We definitely tried to stay as true as possible to the original in terms of thematics.
He also hinted at, without giving too much away, the threat that isn't Godzilla:
I'm not sure what I can and cannot say, but I'll say that it was really important that we didn't do a Godzilla movie where it wasn't just one creature because you can quickly run out of people pointlessly trying to fire which is why Toho movies were always him "versus" something else, and the whole "franchise" or whatever you want to call it was involved in the creatures. So, when you get into it, you have to make that choice that you mentioned and we made…a choice…but without giving too much away, it's not as simple as that. It's not as simplistic as "Is there a good or a bad?" Through the course of the movie it starts to form.
More at the link. [Shock Till You Drop]
Bryan Cranston also said that the film, which does have a lot to do with the past, is more linear than that would suggest:
It's more linear. It goes up to, when [Aaron Taylor-Johnson's] character of 'Ford' as a boy, when this eruption starts to happen, and the scientific discovery, and then there's a big situation that happens that catapults us to the next jump in time, and that's when we pick up the story in 2014, and that's when he's a grown man with his own family.
He also talked about the dynamic between his character, his son, and his daughter-in-law:
He has a great bit of resistance towards me, because of our past, and she plays the peace-maker. You know, 'He's your father, you have to do the right thing.' So we have that kind of a relationship, and it's good. And Juliette Binoche plays my wife, and I rewrote a lovemaking scene, and submitted that. You know, just back-story. Let's be as honest as we can. It didn't make it into the script, so then I suggested, 'You wanna' work on the scene outside of set?'
Kevin Feige hinted that, as they introduce more characters and lines, we may start seeing more than the current "2 movies a year" schedule from Marvel:
I think television is filling some of that now, in terms of bringing out more product. That's certainly the idea with the Netflix shows. But I don't know that we will necessarily say "Okay, we're now moving strategically to three a year, now we're moving to four a year." What I think is more likely - if [knocks on wood-like table] the next group of movies work and people want to see additional stories - we'll have too many franchises and you can't do one of each franchise every two or three years. We'd have to move to three a year, but that would have to be a natural move if it were to occur. We'd have a [script] draft, we'd have a filmmaker, we'd have a character the audience wants to see - let's slot in a place for a third one. Or a fourth one.
But it's hard enough to deliver two quality, hopefully bar-raising movies a year.
In one way, it makes sense. If Guardians of the Galaxy and Ant-Man do well enough to get sequels, and Marvel continues to adapt other new properties, they're going to start having more movies than years. On the other hand, Feige is right about the difficulty of delivering just two good movies every year. And he's not even mentioning the possibility of comic-book-movie fatigue. [Badass Digest via Slashfilm]
Amazing Spider-Man 2
MTV went to a screening of some footage from this film — and from their reactions, the sequel is definitely picking up on the thread about Peter Parker's parents hinted at (and then mostly cut) from the first, according to this description of the opening scene:
The first scene in the movie extends and wraps around the scene from the first movie, where Mary and Richard Parker (Peter's parents) leave Peter in the care of his Uncle Ben and Aunt May. Here, we get to see Richard trying to delete his research from Oscorp, recording a message for Peter and then escaping with Mary on a private jet.
There's also word that the Spider-Man vs. Aleksei Sytsevich/Rhino scene is mostly comedic, with Sytsevich stealing from Oscorp. Finally, there's this description of Harry Osborne freeing Electro from Ravencroft:
Last scene we saw was one later in the movie, when Harry Osborn (Dane DeHaan) goes to the Ravencroft Institute to free Electro, who has been captured post-Times Square. There were a ton of details thrown out here: Electro designed the glider that will be later adopted by the Green Goblin; Harry has been locked out of Oscorp; Harry hates Spider-Man; and Harry is suffering from some sort of disease... To the point that if Electro doesn't help him get back into Oscorp, Harry claims he will die.
They decide to team up, Electro blasts holes in some guards, and Electro has a Dr. Manhattan moment as he blasts apart, only to reappear bit by bit across the room. Luckily, he's also able to electrically reassemble his underwear so we didn't get the full Manhattan.
Here's a new Gwen and Spider-Man international poster. [Coming Soon]
Tony Goldwyn explained why he took the role of the father of Tris (Shailene Woodley):
I had to read the book a couple of times to understand a) what all the differences were between all the factions and what was going on because there's this quiet coup happening in this society and it gets real, real complicated," he admits.
But that's what makes it great and what makes the book really smart and sort of elevates the book and the movie above the young adult genre, so that's really why I wanted to do it.
Pirates of the Caribbean: Dead Men Tell No Tales
The fifth Pirates of the Caribbean movie is in limbo. At a shareholder/D23 meeting, Disney Chairman and CEO Bob Iger said that the tentatively tiled Pirates of the Caribbean: Dead Men Tell No Tales has not actually been greenlit by Disney. [Marc Graser on Twitter via Coming Soon]
Paramount has picked up a project written by Tom Wheeler and Robbie Thompson, which is described as "a real science adventure thriller with an undersea component." It's going to be co-produced by Michael Bay, Brad Fuller, and Andrew Form, with the potential for Michael Bay to direct. [The Hollywood Reporter via Slashfilm]
Captain America: The Winter Soldier
Here's the IMAX poster. [First Showing]
How to Train Your Dragon 2
Person of Interest
As this season wraps up, executive producers Jonathan Nolan and Greg Plageman say we'll see a Finch and Fusco road trip, "some supercop activities" for Fusco, Nestor Carbonell as a "different kind of physical threat", and the return of Casey. Nolan described the finale as a "f–king giant hot mess," and he and Plageman said:
Nolan: We have lined up so many villains and adversaries for our guys [leading up to the finale].
Plageman: Hopefully, our heroes have some tricks up their sleeves to ensure that we don't find ourselves in an 'AI arms race' as the clock ticks down.
Here's the promo for episode 3.18, "Allegiance." [via SpoilerTV]
The Walking Dead
Scott Gimple said that the point of the smoke from Sunday's episode was to be a mystery, so he's refusing to answer if it was from Daryl's fire:
I keep getting asked that and I refuse to give a definitive answer. Because I don't want to tell you what it is. If I wanted folks to believe that definitively, I would have somehow tied that in definitively, but I want people to decide that. In the end, I have very hard feelings about what everything means, but I would never tell the audience they're wrong. Unless it was a story point that we were very specific about.
He also previewed what he could about the finale, while remaining frustratingly vague about the train tracks:
Okay, just two more episodes left, sir. What can you tell us about where we go from here after that incredibly emotional installment?
To the emotional conclusion of the season. Both episodes are really big episodes. There are some insane things that happen. There are some tragic things that happen, There are some things that happen that are hopeful. And there is just some remarkably dark stuff. And stories crashing together.
So we may see some groups reuniting by chance?
Those train tracks gotta be leading somewhere, right, Scott?
Or it's just like Where the Sidewalk Ends.
More about the filming of Sunday's episode at the link. [Entertainment Weekly]
Game of Thrones
Take this however you want, but here are David Benioff and D.B. Weiss's reactions to the question about whether the ending George R.R. Martin has revealed to them is satisfying:
Benioff: Absolutely yes.
Weiss: 100 percent.
According to Robbie Amell, the first season's going to close out with a lot of revelations, including that some people already know that Stephen's been playing both sides:
In the next few episodes, you'll find out that some people have known all along. I haven't necessarily been playing everybody as well as I thought I was. All of this could be part of a bigger plan, but ultimately, the main goal for Stephen is the same as it was at the beginning: finding his dad and trying to create a world where humans and Tomorrow People can live in peace. It doesn't have to be one or the other. These people can live together. You don't have to pick sides. But a lot of huge reveals happen in the next couple of episodes.
He also talked about the big set pieces in store for episodes 17, 18, and 19:
I actually have a few of them. I kept talking to the writers and saying, "When the hell do I get to beat the crap out of someone? I'm tired of getting my ass kicked every week." [Laughs] You know, I've been training at Ultra for 15 episodes now! So in Episode 17, they definitely deliver on that. John and I take on about six elite Ultra agents at once. I haven't seen the edited cut, but from what I've heard it turned out as one of our best fight sequences all year. In 19, I have a great fight with a character that I can't reveal, but it's really dark and gritty. It's that pent-up, angry fight that's been a long time coming.
And in Episode 18, we reveal what I think is the coolest sci-fi element we've had in the show. It's big. Our set tech Tyler who created our whole set did something incredible. You walk onto set, and it feels like you're in a $100 million sci-fi movie. I can't elaborate too much on that, but it's going to be really cool, and the fans are really going to love it. We've teased about it before in prior episodes, and the reveal is massive.
Under the Dome
Dwight Yoakam has been added to the cast for season 2. He'll play Lyle Chumley, who runs the Chester's Mill's barbershop. Chumley "has a complicated history with Big Jim — having once been romantically linked with his dead wife, Pauline. Lyle also has a mysterious connection to the Dome, and very well may know the answer to its origins." [Entertainment Weekly]
Executive producer Jeremy Carver explained what separating the Winchesters this season has allowed them to explore:
The boys, for nine years, have been pretty much inseparable in that it's always about each other. This year, we've started to explore – we've done it in the last couple years, I would say – this idea of Sam saying, "Dean, you're afraid of being alone." We're really putting them in more instances of not just being alone, but with other people in their world.
You've seen Dean more with Crowley. You've seen Sam more with Castiel. They're growing in a way that… finally they're forced to go out on their own a little bit more, and they start to develop new friendships. They're not in each other's rice bowl, as it were, all the time. They're starting to develop independent relationships. There's a change going on. There's a maturation. "Your friends don't necessarily have to be my friends, etc."
Carver also said that Castiel's storyline and Sam and Dean's mission will intersect, and explained Castiel's motivation:
This goes back to that moment when Castiel decides to become an angel again. He's jumping with both feet into the fire. What he wants most of all is to be a solider in this fight to take back Heaven. What a soldier means, he's constantly re-examining that because he doesn't want to fight the same way Bartholomew wanted to fight. He doesn't want to kill angels in the way they've been killed. And he's not certain he's a leader, either. This is a guy who has done, arguably, more harm to angels than good and a guy who's severely aware of his own limitations. This idea that angels might want to follow him, it's a very, very heavy burden for him to grapple with. And we'll see him continue to grapple with it.
Here's a video interview with Eliza Taylor talking about the show and her character, Clarke. She describes Clarke as a born leader who clashes with her mother about telling people the truth about the Ark. [BuddyTV]
Additional reporting by Charlie Jane Anders and Jason Krell