More on Highlander: The Source
Sep. 19th, 2007 11:54 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
yendiI made the mistake of going to the official web page.
Here's the bio of hack director and Uwe Boll wannabe Brett Leonard, with my comments in bold and brackets:
Brett Leonard pioneered the creation of digital visual effects in filmmaking with 1992's Lawnmower Man [Wow! "Pioneered?" So Lawnmower Man was made before Westworld, Tron, and The Abyss? That's awesome! And horseshit!], he also directed 1995's Virtuosity [which, once American Gangster comes out, will go down as the second-best teaming of Russell Crowe and Denzel Washington], and most recently completed Marvel's Man-Thing [It's true. At the end of the film, Man-Thing turns to the director and shouts, "you complete me," and we all have a Jerry McGuire moment. Actually, that would have made the film better than what Leonard actually produced]. He is heralded as a maverick in science fiction, fantasy and adventure by creating films with a strong visual presence [By whom? His mother? "Sucking" is not synonymous with being a maverick. Seriously. If he were a maverick with some underground vision, he'd be making films for edgy indie studios, or financing things off his credit cards when the mainstream studios (and don't dare suggest that anything made for Sci-Fi is less than mainstream) reject him.].
Director Brett Leonard commented "This is a tremendous opportunity for a storyteller of this genre to take part in the mythology of 20 years." [Yes, it's a great opportunity. Just like the Titanic was a great opportunity for a big ship to cross the ocean. It's what happened afterwards that's the issue here.] He continues that "HIGHLANDER is an amazing ongoing story that I can bring my visual style to... Everything I have done has led me to this kind of mythical fantasy." [In other words, "no one will pay me for another monster movie, crappy cyber-movie, or Sigfried and Roy documentary, so a stumbling franchise is my last, best hope.]
Only one of the two new writers gets a page (we assume that the other one retired from writing before turning in the bio), but it turns out that Kelvin Watkins edited the Georgetown literary magazine, which vastly lowers my opinion of the fine university that gave Patrick Ewing his degree in Fine Arts. He also decided to become a screenwriter instead of a novelist, because he " learned that novelists usually become famous and rich only after they die." I'd snark that screenwriters don't fare much better, but in a world in which Akiva Goldsman wins Oscars and makes millions, Watkins will probably strike it rich.
Here's the bio of hack director and Uwe Boll wannabe Brett Leonard, with my comments in bold and brackets:
Brett Leonard pioneered the creation of digital visual effects in filmmaking with 1992's Lawnmower Man [Wow! "Pioneered?" So Lawnmower Man was made before Westworld, Tron, and The Abyss? That's awesome! And horseshit!], he also directed 1995's Virtuosity [which, once American Gangster comes out, will go down as the second-best teaming of Russell Crowe and Denzel Washington], and most recently completed Marvel's Man-Thing [It's true. At the end of the film, Man-Thing turns to the director and shouts, "you complete me," and we all have a Jerry McGuire moment. Actually, that would have made the film better than what Leonard actually produced]. He is heralded as a maverick in science fiction, fantasy and adventure by creating films with a strong visual presence [By whom? His mother? "Sucking" is not synonymous with being a maverick. Seriously. If he were a maverick with some underground vision, he'd be making films for edgy indie studios, or financing things off his credit cards when the mainstream studios (and don't dare suggest that anything made for Sci-Fi is less than mainstream) reject him.].
Director Brett Leonard commented "This is a tremendous opportunity for a storyteller of this genre to take part in the mythology of 20 years." [Yes, it's a great opportunity. Just like the Titanic was a great opportunity for a big ship to cross the ocean. It's what happened afterwards that's the issue here.] He continues that "HIGHLANDER is an amazing ongoing story that I can bring my visual style to... Everything I have done has led me to this kind of mythical fantasy." [In other words, "no one will pay me for another monster movie, crappy cyber-movie, or Sigfried and Roy documentary, so a stumbling franchise is my last, best hope.]
Only one of the two new writers gets a page (we assume that the other one retired from writing before turning in the bio), but it turns out that Kelvin Watkins edited the Georgetown literary magazine, which vastly lowers my opinion of the fine university that gave Patrick Ewing his degree in Fine Arts. He also decided to become a screenwriter instead of a novelist, because he " learned that novelists usually become famous and rich only after they die." I'd snark that screenwriters don't fare much better, but in a world in which Akiva Goldsman wins Oscars and makes millions, Watkins will probably strike it rich.