While attending the Guardians of the Galaxy Vol.2 red carpet premiere, The Avengers director Joss Whedon briefly discussed his upcoming DC Comics project with Variety. Whedon officially confirmed that he will direct the standalone Batgirl movie, and talked about the casting process.
Unsurprisingly the director revealed that he isn’t expecting his Batgirl to be portrayed by a major star, not because he doesn’t want a movie star in the role but because he’s committed to finding the perfect actor to play the character, no matter how famous they already are.
It certainly sounds like Joss Whedon has already started on the project and is preparing to find the perfect Batgirl. While I’m sure a lot of people are upset that their fan-casting probably won’t happen, it’s exciting to hear that Whedon is looking for the perfect actor, instead of just settling with the most famous option.
The Batgirl movie is still in the construction stages and we likely won’t hear about any casting developments for quite a while. For now, it’s extremely exciting just to know that Whedon is 100% directing the project and ensuring that he brings the perfect performance to the big screen.
Are you excited to see Joss Whedon’s Batgirl movie? Be sure to let us know in the comments section below!
Ben Wheatley’s ‘Free Fire’ is a magnificent blood-soaked romp that’s both captivating and witty.
Summary
Free Fire is set in the 1970’s as a group of criminals meet up with an arms dealer. The first group is connected to the IRA and is led by Chris (Cillian Murphy) along with his partner Frank (Micheal Smiley). They, of course, brought back up to the meeting in the form of hired guns Stevo (Sam Riley) and Bernie (Enzo Cilenti) on top of a suitcase of cash. The arms dealers are a South African man named Vernon (Sharlto Copley) and Martin (Babou Ceesay), an ex-Black Panther. Helping to broker this deal for each side are Ord (Armie Hammer) and Justine (Brie Larsen). During the negotiations, a fight breaks between some of the hired guns which manifest into an intense 85-minute shoot-out between the two groups.
Acting
While each member of the cast played their respective roles with a great deal of precision, the one performance that stood out above all others was Sharlto Copley’s portrayal of Vernon. His character is a mix of used car salesman meets psychopath. Vernon tries to pull a fast one during the gun sale by selling the wrong brand of rifles to the IRA. When questioned about this, he immediately flies off the handle, and the audience quickly realizes that this deal is doomed even before it starts. His business partner Martin tries to reason with him, but even he sees that there’s no talking to a crazy person.
Writing/Direction
Amy Jump and Ben Wheatley constructed a narrative that was absent of any sympathetic figures. Not a single one of the characters would be confused as being some sort of hero. Now that certainly is different, but what was odd was how this film is missing an arc. There isn’t any story where the gunmen are shooting these guys because they killed his one true love. No one is firing off an M16 into another person’s stomach as an act of revenge. This film is incredibly simplistic. It’s as if the director, Ben Wheatley, ripped out the most intense moment of 70’s era crime drama and then expanded it to 80 minutes long.
Now on the surface, the idea of a film based on entirely an 80-minute gunfight seems problematic, but in this case, it wasn’t. Each one of these characters is so uniquely written the film became less about its simplicity and more about the complexity of its characters.
The director understood that while these characters and each were evil in their unique way, not one of them should be proficient with a gun. Most of the film is watching these characters dive, roll around, and miss terribly as they attempt to kill one another. Their ineptitude added a slight dark comedic element to the picture. Wheatley also utilized every square inch of the warehouse to help heighten the action sequences. This film isn’t just only gunshot after gunshot. Don’t be shocked if Vernon manages to find a random metal object that he slams into the side of an unlucky victim.
Overall
Free Fire isn’t the deepest film ever released nor does it claim to be. If you are searching for a movie that seeks to make some social commentary or has a plausible storyline with a happy ending, then this film isn’t for you. However, if a film that’s non-stop action with stellar writing appeals to you, then Free Fire should be your choice this weekend.
Scott Snyder recently teased fans of his horror series “Wytches” published by Image Comics that there was more on the way. A Lot more.
The initial run may have only ran for six issue’s but in that short time Snyder crafted a tight and terrifying story.
“Pledged is Pledged”
The story starts in 1919, with a bloodied woman screaming for help whilst trapped inside a tree. Over the next four pages, Synder sets the tone for the comic. With Jock on art and Matt Hollingsworth on colors adding a dark and dreamlike quality to the opening. These four pages let the reader know that this is going to be a dark tale.
“Chit Chit Chit”
Through clever use of diary entries, flashbacks, and art from a children’s book the reader is drawn into a story of redemption and hope. The cast of the story is small, but the characters are fleshed out and complete. Focusing on the Rooks family in 2014 the story jumps from the past to present to let you know who they are and what motivates them. From teenage heroine Sail who is struggling with her future. To her father Charlie who is trying to make amends for his past the Rook family is just like anyone other. They’re not perfect, merely human.
“More than anything, you make me brave.”
The story works because at it’s heart, it’s about the parental fear that something is going to happen to your child. That as a parent you cannot watch over them 24/7. Charlie is one of the most believable parent’s that’s been written in a comic for a very long time. He’s not the perfect father and he doesn’t have all the answers. He’s just trying to be a better man. The comic touches on themes of bravery and furthermore hope. With hints towards the darker side of human nature. What does it take to sway you to the dark side? Whilst this is touched upon, at its heart this is a story of parental love. What it means to be a family and how the love for a child forces you to find care for someone more than yourself.
“And they’re the Gods of selfishness”
The decision to have the wytches themselves barely appear until the later half of the book is a wise one. Many people have preconceived idea’s of what a wytch should look like and this book completely turns that on it’s head. There are no long noses and pointy hats here. Instead you get primordial creatures of the earth. Beings who have been here longer than us and who know how to play to humanity’s darker side.
The TPB comes with an added production diary at the back. In this Snyder talks about his inspiration for the comics and gives the reader further insight into the process of creation and evolution of “Wytches”. After only 6 six issue’s this is a great addition as you are left genuinely wanting more. It’s interesting to read the inspiration for the story behind the book.
Despite coming out in 2014, this is a comic that will stand the test of time. The artwork is out of this world. While the coloring only goes to further add to the other worldly and horror like feel of the story. Through clever uses of dark shading and vivid reds, Hollingsworth adds another layer to the story. With Synder confirming the return of Jock to art and two further runs of the story coming out in the summer and fall now is the perfect time to introduce yourself to the Rooks family.
After the catastrophic box office failure of The Black Cauldron (1985), Disney announced in early 2016 that they had reacquired the full rights to Lloyd Alexander’s The Chronicles of Prydainfor a second go. There’s been no news on the front since, and Disney is infamous for putting properties into development hell, which leaves Prydain fans bursting with questions. Are all five books slated for adaptation? Will it be live-action or animated? Who’s going to write it? Who’s going to direct it?
While Disney will remain as tight-lipped as possible, below are my top three choices for directors for the first Prydain novel – The Book of Three.
At first glance, a director most known for his horror films and terrifying monsters might seem an odd choice for a series often described as a lighter, softer Tolkien. However, The Chronicles of Prydain requires an ability to balance quirkiness with the dark themes of the material. The books are also a grand epic in the true sense of the word, and del Toro’s movies repeatedly draw on fairytale, myth, and legend to build their worlds. (Hellboy 2: The Golden Army, Pan’s Labyrinth, and Trollhuntersall use Celtic mythology to some degree or other, and The Chronicles of Prydain is unabashedly Welsh.)
The Faun in ‘Pan’s Labyrinth’ (2006).
It’s easy to imagine, after all, characters like the Horned King or Gwydion Son of Don in del Toro’s signature style. In addition, del Toro’s recent project Trollhunters demonstrates that he’s ready, willing and able to take on children’s projects while still leaving a touch of darkness.
2. Brenda Chapman
Directed Prince of Egypt (1998); Brave (2012)
Brenda Chapman made history in 1998 as the first woman to direct an animated feature from a major studio (Prince of Egyptfrom Dreamworks). She hit the stage again in 2012 when she co-directed Brave as the first female Pixar director. Both of her movies have been gorgeous successes, rich with mythos and thematic imagery.
It’s not difficult to imagine, then, the rich Welsh world of Prydain in the hands of the woman who brought both Ancient Egypt and medieval Scotland to life. While it’s still unknown whether the Chronicles of Prydain movies will be animated or live-action, Chapman is more than capable.
In addition, the women in Chapman’s movies have always been strongly characterized. Merida and Elinor are the heroes of Brave in every way possible. Even though The Prince of Egypt is about Moses, Tzipporah, Miriam, and even the untitled Pharaoh’s wife are standout characters. This means that with Chapman at the helm, the wonderful women of Prydain would get the same treatment. Most of all, this includes the fantastic, enigmatic and slightly silly Princess Eilonwy.
Directed The Fall (2006); Mirror Mirror (2012); Emerald City (2017-)
Tarsem Singh’s movies are known for bright colors, dark topics and a sense of surrealism pervading every frame. In 2006’s The Fall, a stuntman tells a heroic story of a little girl with suicide as his goal in mind. In 2012’s Mirror Mirror, his Snow White saves the day as a spunky, grown-up heroine and then kills her wicked stepmother with her own poison.
This interplay of bright and dark, heroic and cowardly and mythic and realistic suits itself well to Prydain. Even adapted for a younger audience, it’s breathtaking to imagine the themes of death and undeath that pervade the books done in Singh’s style. The first book especially features the villain the Horned King, the vassal of Arawn Death-Lord – a worthy recipient of Singh’s talent.
Who would you like to see direct the Chronicles of Prydain?
The popular Stoner holiday, just like any other holiday, calls for a celebration. Beers and brewers are turning this day into a beer celebration day, something to pair along right with the other substance. Many brewers have taken a liking to doing a specialty brew to share on this special day. Whether they are brewed with special ingredients or just a high alcohol content, these brews are dank and ready to be drank.
in 2012, Stone started doing something no other brewery has done. They started making beer that is only good for 37 days, and calling the series ‘Enjoy By.’ They make this version several times a year, but once it’s past the date, it goes bad. This 4-20 version is a double IPA reigning in at 9.4%.
Hazy unfiltered beer, that is a take on their beer, Resin with an extra dose of dry hops. This beer is supposed to last 100 days, which is longer than the enjoy by, but that doesn’t mean you have to wait to drink it. 9.8% ABV, and worth every penny.
In 1971, the Waldos met one afternoon at 4:20 in the front courtyard of their school near the statue of Louis Pasteur. They set out in a ’66 Impala armed with a “treasure map” on a journey to find a secret garden near Point Reyes. They met there at the same time every day and continued their quest. They never found the secret garden….But they keep lookin’. The dankest and hoppiest beer ever brewed at Lagunitas was made with help of the Waldos for all treasure hunters.
11.9% ABV, Dank.
These are just a few of the many brews for the 4/20 crowd. Hemp beer is another one you can find, learn about it from Monkeys Fighting Robots Michael Bedford, here.
You can find many of these out and about, especially this week.
There was nothing about the Coen Brothers movie from which the show takes its title that screamed of further story needing to be told. No loose ends to tie up, no underdeveloped characters that desperately needed more camera time. But showrunner Noah Hawley arose from relative obscurity (although I was a big fan of his earlier project The Unusuals) with this strange notion for an anthology series, and two absolutely incredible volumes and five Emmys later, here we are. The previous seasons were all startling not just because of their quality, but their audacity and ambition and scope, despite the small-town setting. So, does the third season continue this trend?
Well, it’s a little early to say. For Hawley, reinventing the show every season must be a Sisyphean task like the one depicted on Emmit Stussy’s treasured stamp. And it’s unfortunate that now, in the third season, the show has lost the element of surprise it reveled in early on; nobody was expecting the overwhelming success of the first season, and the reinvention and turning the clock back twenty years in the second season was equally as shocking. At this point, there is little of that element of surprise remaining, which means that more than ever the show needs to stand on its own merits in the context they’ve now established.
But based on “The Law of Vacant Places,” the season three premiere, alone? Fargo is just as great as it’s been since it began. The show is still gorgeous, the cinematography and camerawork is still daring and inventive, the story is still riveting and inhabited with absurdly-named characters, and there is no better cast anywhere on TV. Seriously, Carrie Coon and Mary Elizabeth Winstead on the same show as Ewan McGregor? The latter of whom is playing twins? It’s a prestige drama dream come true, without even mentioning Michael Stuhlbarg, David Thewlis, or Scoot McNair.
McNairy, like Kieran Culkin, is enough of a name that the lack of attention he received in promotional material and casting announcements meant his death was admittedly a bit forecasted. And even though it wasn’t hard to figure out what Nikki Swango’s (Winstead) plan was, the air conditioner dropping on Maurice (McNair) was the just about the Fargo-est way a character has died in the history of the show. Presumably this and Maurice’s bungled robbery will serve as the impetus for the remainder of the story, which will almost certainly detail the downfall of the Stussy brothers and Nikki. Knowing what we do about Fargo, the same can likely be said for anyone else daring enough to underestimate Gloria Burgle (Coon) in her search for her father’s murderer, whose only crime was being born with the name Ennis Stussy.
The similarities between Ennis Stussy’s name and Emmit’s are likely also the reason for the strange cold open in East Berlin, with a man being accused of murder due to simultaneous coincidence, poor bureaucracy, and lazy police work. While there may be yet more to the opening as well, the transience with which characters pass in and out of the narrative of this show allows for such a vague connection to work. After all, this is the same series that prominently featured aliens last season even though they did little more than expand on the theme of inexplicable, intrusive violence, with just a dash of distrust of government to boot.
One of the largest reservations I will concede to about the show going forward from here is that there does appear to be a bit of a formula. Carrie Coon, as Gloria, is following in the footsteps of Patrick Wilson as Lou Solverson, Allison Tolman as Molly Solverson, and of course Frances McDormand as Marge Gunderson. Each of these kindhearted, deceptively folksy detectives have proven themselves excellent investigators, but even with a talent as absolutely massive as Coon (who is literally my favorite actress), I worry that this trope will begin wearing thin soon. Sure, it compliments the theme of good versus evil in a small, mundane town, but surely a show this inventive should be able to find other ways to explore this. There’s also still a crime-gone-wrong, which features a coverup, which will inevitably spiral out of control and lead to a lot of people getting killed. And these are not the only recurring elements. It gets to a point where one has to wonder what is quintessentially Fargo, and what pieces could it exist without in the future?
But then again, if the show stays this good, does any of that really matter?
Katherine Heigl Delivers A Truly “Unforgettable” Performance
You’ve seen a film like ‘Unforgettable‘ before. From ‘The Hand That Rocks The Cradle‘ to last year’s ‘When the Bough Breaks‘, it’s a familiar tale of melodrama. Two women are fighting over a man, a baby, or each other and it will most likely lead to some deaths. It’s a concept that’s been used by Hollywood for decades. But the genre hasn’t seen the likes of Katherine Heigl’s wide-eyed insanity.
For quite some time, Katherine Heigl has a bit of repetition among audiences. Most don’t enjoy her work and resort to using words like “ice queen” or “bitchy” when describing her. Heigl tried to shake off that title with her roles in romantic comedies but it just further cemented those thoughts. Now with ‘Unforgettable‘, Heigl is taking everything the media has said and using it for this chilling character. There was times when her performance reminded me of Faye Dunaway as Joan Crawford in ‘Mommie Dearest‘. That unquenchable thirst for perfection is a trait found in both characters and something that Heigl uses to chew up the scenery.
Though, any great antagonist needs a great protagonist and that’s Rosario Dawson. It was easy to want to cheer for Dawson’s Julia. She’s the new women trying to find her place in an already established family, and the overbearing ex-wife Tessa (Heigl) isn’t making it easy for anyone. Dawson is so believable in this role but the mind games of Heigl’s Tessa even start to work on the audiences. There’s quite a few times that you start to question who is telling the truth and who to trust. After 2016’s ‘The Girl On The Train‘, you know to question everything because it may not be what it seems.
“When Love Ends…Madness Begins”
The major difference from ‘Unforgettable‘ and it peers is the fleshed out villain. No matter who played the role of Tessa, it’s layered with so much to bite into. Usually films within the thriller genre, any type of antagonist development is sacrificed to build up the hero. It’s fair to say that both Tessa and Julia share equal amount of screen time with both given plenty of room to grow. Instead of a one-note psychopath, we found there’s a reason Tessa strives for perfection; her own issues as a mother stems from a pretty frigid relationship with her mother, played by Cheryl Ladd.
While Dawson and Heigl benefited from the film, the husband (Geoff Stults) is a rather thankless role. I’m sure it’s the intention but he feels like a prop, rather than actual human. He was used for the women to bicker over or toy with. It makes it hard to get invested in the broken & blossoming relationships if he doesn’t mean anything. The point was for a more female focused film but should a character still suffer to build others?
Final Thoughts:
Katherine Heigl found her niche with this. Playing on the audience’s actual feelings about her perceived personality and working with some juicy material, Heigl needs to be a villain way more often. She has the “love to hate” quality in ‘Unforgettable‘. Thrillers and horror could offer the comeback Heigl has been waiting for.
The rest of the film around her didn’t push any new boundaries. The final act picked up the pace in a cheesy hair-pulling fight and a shock ending but the second act dragged. In the end, it feels like a high budget Lifetime Channel movie.
‘Unforgettable‘ stars Katherine Heigl, Rosario Dawson, Geoff Stults, and Cheryl Ladd. The film is directed by Denise Di Novi and written by Christina Hodson & David Leslie Johnson.
“Heigl stars as Tessa Connover, who is barely coping with the end of her marriage when her ex-husband, David (Stults), becomes happily engaged to Julia Banks (Dawson)-not only bringing Julia into the home they once shared but also into the life of their daughter, Lilly (Isabella Rice). Trying to settle into her new role as a wife and a stepmother, Julia believes she has finally met the man of her dreams, the man who can help her put her own troubled past behind her. But Tessa’s jealousy soon takes a pathological turn until she will stop at nothing to turn Julia’s dream into her ultimate nightmare.”
–www.unforgettablemovie.com/
The first trailer for Marvel’s Cloak & Dagger has been released on the Freeform Youtube channel!
https://www.youtube.com/watch?v=YZFc3FzK344
“Marvel’s Cloak & Dagger” is the story of Tandy Bowen (Olivia Holt) and Tyrone Johnson (Aubrey Joseph) – two teenagers from very different backgrounds, who find themselves burdened and awakened to newly acquired superpowers which are mysteriously linked to one another. Tandy can emit light daggers and Tyrone has the ability to engulf others in darkness. They quickly learn they are better together than apart, but their feelings for each other make their already complicated world even more challenging. The network has ordered 10 one-hour episodes slated to debut early 2018. “Marvel’s Cloak & Dagger” stars Olivia Holt, Aubrey Joseph, Andrea Roth, Gloria Reuben, Miles Mussenden, Carl Lundstedt, James Saito and J.D. Evermore. The series is co-produced by Marvel Television and ABC Signature Studios. Joe Pokaski (“Underground,” “Heroes”) serves as showrunner and executive producer; Jeph Loeb (“Marvel’s The Punisher,” “Marvel’s The Defenders”), Marvel’s head of Television, and Jim Chory (“Marvel’s The Punisher,” “Marvel’s The Defenders”) also serve as executive producers. Gina Prince-Bythewood (“Love & Basketball”) directed the first episode.
Did you enjoy the trailer? Sound off in the comments below!
Lost Craft Beer is the product of, among other things, a European beer tour and a lifelong desire to brew. Shehan De Silva founded Lost Craft Beer with brewmaster Jamie Mistry after touring Europe and researching centuries-old brewing techniques. This Toronto-based brewery describes their brewing philosophy as thinking globally but drinking locally. Lost Craft currently has three brews on offer, Revivale, Crimzen, and Sirius. I was lucky enough to find a tall can of Lost Craft’s Revivale Lagered Ale recently, and, never one to miss trying a new beer, I bought it and left it in my fridge for a week. Luckily beer takes more than a week to go bad. But either way, what once was lost now is found so let’s start sipping.
Lost Craft Beer: Revivale Lagered Ale – First Sip
Revivale Lagered Ale pours a pale yellow colour with lots of foam that, like other German-style brews, creates a convex layer at the top of my pint glass. I notice a sweet, grainy aroma as I take my first sip. Revivale is quite evenly flavoured, but it does have a watery honey quality to it. A very smooth-drinking brew, essentially a kolsch, Revivale finishes with a very subtle nod to bitterness. This beer is relatively fizzy, but, maybe because of its honey-like flavour, Revivale’s mouthfeel tends toward crisp and watery rather than fizzy.
Lost Craft Beer: Revivale Lagered Ale – Last Sip
Since this brew is essentially a kolsch, I should probably be drinking from a stange, but it’s quite drinkable whatever glassware one uses. And, with a 4.8% ABV rating, this easy-drinking brew is right about where you’d expect.
Although I’m a regular IPA drinker, I appreciate that Lost Craft Beer takes a subtle approach to brewing rather than brewing the hoppiest and most alcoholic beer on the market. This beer is gimmick free, aside from the name, so grab some and appreciate its subtle flavour and global appeal.
Such as Bane was born into and molded by darkness, YouTuber and filmmaker, The Film Guy (TFG) was forged in filmmaking. At the ripe young age of 13, The Film Guy began working on film sets in his native Australia. Flash-forward 12 years later and he’s breaking down films, directors, and more on his YouTube channel as The Film Guy. At nearly 25,000 subscribers, TFG’s analysis is reaching an ever-growing audience. The channel’s most popular series known as “How To Direct Like” …” garners an average of 100,000 views per video. It seems The Film Guy knows his stuff, and people love it, but who is he and why is he the film guy? I sat down via the Internet with TFG and picked his brain about his life, movies, and true love.
Like any good film, connecting with The Film Guy began with action — an email. Act Two consisted of back and forth chats via direct message on Twitter. Finally, Act Three returned to the start with two epic emails. Two film buffs, on opposite sides of the world, connecting like a virtual buddy cop movie. Time zones were our antagonist, serving a much more threatening role than any Marvel villain.
Like a heroic, dynamic duo, we defeated the nefarious day/night schedule!
Our discussion began at the beginning when The Film Guy was 13. At that young age, TFG applied for a film internship. TFG started working in the industry and hasn’t stopped since. Along the way, watching (i.e. studying) movies, behind-the-scenes content, interviews, and podcasts served as his teachers. Wherever TFG could absorb all this information would be the classroom.
On Inspiration, The Film Guy is quick to first say, “I think there is something to learn from all filmmakers … all [filmmakers] have aspects of filmmaking we do particularly well or at least interestingly different, and that is what we should focus on for the most part when looking at others work.”
As for who inspires him as a filmmaker, TFG says, “David Fincher is probably my favorite director working today, although I think Spielberg is the best overall director of all-time as he has made ‘great’ films in the genre of drama, horror, comedy, action, and science fiction and I don’t know too many other directors who have attempted this and been as successful. Paul Thomas Anderson is fantastic.” TFG concludes a talk about great filmmakers with, “There are so many … Scorsese, Bong Joon Ho, Terrence Malick, Akira Kurosawa, and about 50 other names that are escaping me right now.”
Often, critics are labeled “haters” by fans of things receiving the criticism. Yet, watching TFG’s videos, there’s very little snark or “hate,” only fair and honest critique. TFG shared his thoughts on whether his analysis is sometimes seen as judgement: “Absolutely …! And I think most of it comes from the problem with fandom right now combined with poor reviews for films like Batman V. Superman; we live in an Internet world where to love one thing must mean you hate the other … therefore you can’t have an opinion.”
When asked about the “perfect director,” TFG had a definitive answer: “Tommy Wiseau.” TFG was kidding of course and firmly answered, “No.” But he does believe in films that are perfect but, more importantly, “perfect to certain people for a certain time.” As for perfection, TFG says, “A perfect film also leans on the script being perfect and the actors also for that matter. To do that over and over and over again is a very hard thing.”
Talk of perfection lead us to TFG’s most profound statement: “Just like love, I don’t believe in the perfect one, but I believe in the right one or the best one for me.”
TFG’s most popular series, How To Direct Like, serves an interesting middle ground. As an experience-taught filmmaker, TFG loves to learn from other filmmakers. How To Direct Like shares TFG’s knowledge through popular filmmakers and while it’s in-depth analysis, it’s not movie snobbery. TGF explains a bit of his motivation behind the series: “The goal of my series … it’s to learn from them [directors] and hopefully [help other filmmakers] develop.” How To Direct Like is a wonderful teaching tool for young filmmakers and fa antastic way for film fans, young and old, to learn more about what they love.
Naturally, analyzing film the way that TFG does might change perceptions. We asked TFG who he likes more now after analysis: “Breaking down [Quentin] Tarantino’s work made me enjoy his films more. I can honestly say I wasn’t much of a fan before … I don’t love all his films, but the ones I do are so different and fun and edgy.”
As for the opposite effect, TFG explains who he loves less it’s J.J. Abrams. “I don’t know why he gets so much work, similar to Joss Whedon, he [Abrams] feels like a glorified TV director. Learning about how he makes his films and his lack of planning and thought that goes into shooting them just irritates me.”
The Future Of The Film Guy On YouTube
Wrapping things up, we asked TFG about the future of his YouTube Channel. What directors are in store? “I work on about five different directors at once. I have half-written scripts for Christopher Nolan, Spielberg, Edgar Wright, Paul Thomas Anderson and a few others .. I’m still researching.” TFG plans all these videos over the course of this year.
TFG plans to expand too, covering the work of editors and focusing on breaking down specific movies. “I’m actually writing a video essay on what I love about Gone Girl … it should be out very soon.”
The Film Guy was forged by films (and on YouTube), but instead of a super-villain, his power is to communicate nuance of movies in a fun and fresh way. Check out The Film Guy’s breakdown of polarizing director Zack Snyder and subscribe to his YouTube Channel if you like what you see!
