It recently occurred to me that nobody ever seems to talk about Ron Howard.
Granted, I am not a huge fan, but you cannot deny that he's responsible for some of the highest grossing popcorn flicks ever.
I don't DISlike Ron Howard, he's just never made anything that is jaw-dropping to me. I can usually take his movies or leave them.
I was very entertained by Apollo 13 - to the point of buying the DVD (and his commentary was very interesting too, from a wannabe filmmaker standpoint - he talks a lot about setting up shots and what lenses he used and that sort of thing).
Anyway, I just wanted to open a thread on Ron. The proverbial good guy. I have heard it said that you would be hard pressed to find anyone in Hollywood who has actually worked with him that would have anything bad to say about him because in real life, he's so darned "swell".
Sounds like my kind of guy.
Ron Howard, like very many good directors, will always remain a grade B director because with his movies, he shows no personal style or personal artistry and has no ambition to really push visual limits at all. David Mamet will forever be limited to this too with just his dogmatic beliefs in how to make a film and so will Sydney Lumet, even if they can make good films. They are men that are making good films but never showing any signs of what distinguishes films from other arts, including television.
~rougerum
Quote from: The Gold TrumpetRon Howard, like very many good directors, will always remain a grade B director because with his movies, he shows no personal style or personal artistry and has no ambition to really push visual limits at all. David Mamet will forever be limited to this too with just his dogmatic beliefs in how to make a film and so will Sydney Lumet, even if they can make good films. They are men that are making good films but never showing any signs of what distinguishes films from other arts, including television.
~rougerum
Hmm, I think first off that all three men are far from B-directors. Mamet?!
I am so grateful for direcors like Ron Howard and Ridley Scott who can make big-budget movies that are smart/funny/entertaining w/o insulting your intelligence (XXX).
For reasons I've said, Yes, Mamet is a grade B director. Even he said in his directing book that he had no visual identity. Doesn't matter how good you become, you will always be limited to a grade B director because of what you are working in - film, which is a visual medium foremost.
~rougerum
Quote from: The Gold TrumpetDoesn't matter how good you become, you will always be limited to a grade B director because of what you are working in - film, which is a visual medium foremost.
If you just talking about Mamet, I might see your point.. although you're assuming that "grade B" directing will automatically make it a "grade B film." His writing might.. have... some... redeeming... umm... quality. Sigh.
Assuming that he has no visual identity, how then is it impossible for him to be an effective director? There's nothing great about his directing, but there's nothing really wrong with it... he doesn't screw up his movie by directing it. The best part of a Mamet movie is always the writing, anyway.
Mamet can make great movies, and in my opinion, has for two movies. But when spoken of as a director for film, he will always be limited in that area. Actually, saying he has no personal artistry is wrong of me because his dialogue is recognizable a mile away. This isn't a bad thing, its just that as a director being the great artistic force for the medium, he will not gain that. With stage and writing, things would be different.
~rougerum
Perhaps he is more bound to stage and more theatrical conventions in regards to his films, but so is Woody Allen. Is he a b-director just because he doesn't establish a clear cut visual signature? Both men are two of the most influential writers in cinema and are far from B-directors.
Quote from: The Gold Trumpetfilm, which is a visual medium foremost.
~rougerum
this is a widely held belief that i totally diagreee with. the visual aspect is certainly one of the most important aspects of film, but filmmaking is for storytelling. and the visuals, the script, the music, is all about how to tell the story best. if mamet doesnt have a visual sense, then thats just how his story will be told. just because someones not an
auteur, who has their own style and puts it on everyhting they do, doesnt mean their a 'b director'. i think the visuals in a beautiful mind were good, so what if it doesnt look like 'a ron howard movie'?
Filmmaking is for storytelling, but how do you think you tell a story the best when on film? Its through visuals. This is what makes film identifiable from literature because for literature to push itself farther, it must push the language. Like Shakespeare wrote in such complexity, he was also pushing the language and giving more meanings. To do that in film, you must be able to think with a visual sense in what perspective and what look would best be able to capture what you are going for. Mamet films by just putting a camera in front of the actor speaking, thats it. He just films to capture what is only in his writing and does it in the most simple way. That's not going to get the best reaction for a movie crowd. Sorry, but the deepest subconcious reaction one can get, when dealing with films, is through visuals and music and music is complementing the visuals in films.
Ah but Woody Allen does have his own style, even if he sometimes borrows from other filmmakers in doing it. The best idea to get from him is that his filmmaking for his entire career has mirrored mostly the filmmaking of the silent era. Where filmmakers today would film mainly in focus of who is talking, with an opening shot of location to set up where they are. For much of Woody Allen's career, he would film far away dealing with the idea that a comedy is shot far away while a drama is shot close up, a silent era rule. With this filmmaking Allen best sets himself up to his physical movement as a comedian and to get laughs through that. But from Annie Hall on, he has been able to show some different ideas as wwell. Annie Hall allowed him to play with the use of subtitles, like a Godard film. Manhattan was drowned in black and white romanticism. Stardust Memories was an ode to the style, Fellini-esque. Zelig was filled with ideas, mainly of old time footage mixed with things new. Crimes and MMisdemeanors experimented with rough editing in to tell its story and Sweet and Lowdown experimented with use of documentary-like footage mized with a fictional story. But the most prevailing visual sense is his filmming like it was a silent era comedy.
My main argument comes from people who just set up the camera in the most obvious place and films with no imagination, and a lot of good directors do that.
~rougerum
Mamet's theory is to show the most amount of required information in the most precise way.
He even says that in his book.
Maybe he doesn't have swooping camera moves or sparkling cinematography, but shoots his movie with the shots in mind.
He isn't a B director
That's true, but thats also a characteristic of a B director only because Mamet speaks nothing of visual composition in order to best attain what he wants in the movie. Mamet is an Eisenstein dictactor of editing tricks that was very imaginative back in the 1920s to 30s, but have since then became outdated because it limits the imagination that a director can have. Mamet's films are like exercises in what to show, instead of being really creative and trying how to show them.
Note: I am not saying this doesn't allow him to make bad films, it just says that he will never be a great director, but a director only of great films.
~rougerum
Mamet isn't extremely visually creative, but I wouldn't really complain about it, cause it doesn't detract from his movies, and that's just his personality. He seems like a tyrant of his own creativity. I can just imagine him sitting hunched over at his desk, picking his screenplays apart.
I think the best thing about Ron Howard were the "Akward" years for him. You know what I am talking about. Those years he began going bald and the weird hats he wore in a sad attempt to cover it up. He wore everything from fedoras to beanies, then he settled on his baseball hat. But its just funny to see how insecure he was. That must suck to have red hair AND be bald. Some peoples luck!
Yeah, Howard was bald, but he looked so young still. Anyway, to jump in, name some other B directors and see if Mamet fits in that catergory.
Source: Variety
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Evan Rachel Wood will saddle up alongside Tommy Lee Jones and Cate Blanchett to star in Ron Howard's Western "The Missing" for Revolution Studios and Imagine Entertainment.
The film represents Howard's first directorial effort since winning the Oscar for Universal's "A Beautiful Mind".
Formerly called "The Ride", "The Missing" has been put on the fast track to start shooting in New Mexico in March. Columbia Pictures plans to release the suspense thriller sometime in spring 2004, with a March date now in mind.
Set in 1886, the story centers on a woman who reunites with her estranged, dying father in order to rescue her daughter who has been kidnapped by a band of outcasts. Wood plays Lily, the daughter, who is forced to fight for her survival until found.
Ken Kaufman ("Space Cowboys") penned the script for "The Missing", an adaptation of the Thomas Eidson novel "The Last Ride".
Best known for her recurring role in ABC's drama "Once and Again," Wood, segued into movies shortly after the show's cancellation last year, landing a part opposite Al Pacino in New Line's comedy "Simone".
Quote from: MacGuffin
Formerly called "The Ride", "The Missing" has been put on the fast track to start shooting in New Mexico in March. "
They should hire somebody to come up with names for movies, these are absolutley terrible, terrible names, they might as well call it "The 3"
The long-rumored Russell Crowe project CINDERELLA MAN has finally gotten the go-ahead with Universal and Miramax co-producing and Ron Howard directing. The project will mark a reteaming of the men behind Oscar winner A BEAUTIFUL MIND, not only reuniting Crowe and Howard but screenwriter Akiva Goldsman and producer Brian Grazer. The project, about real-life Depression-era boxer Jim Braddock who became a folk hero, has been in development for some time with Ben Affleck once rumored to star for director Billy Bob Thornton. That teaming fell apart and Crowe became attached when Lasse Hallstrom (THE CIDER HOUSE RULES) expressed interest in directing. When scheduling saw increased delays due to Crowe's filming on MASTER AND COMMANDER, Hallstrom walked and Crowe looked to reunite with Howard (who he had hoped to work together on THE ALAMO). Howard is currently prepping his Western THE MISSING and filming on CINDERELLA should begin in November.
Quicktime trailer for "The Missing" here. (http://anon.ifilm.speedera.net/anon.ifilm/qt/portal/2475143_200.mov)
i love it when tommy lee jones is evil!!!!
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Yea, I never liked Ronnie...not in any way, shape, or form...his acting, his directing...not ANY of it. He's pretty much the only now-famous Roger Corman protege that I don't like...I hate that. It's like: Martin Scorsese (yes!), Coppola (cool!), Demme (definitely!)....so on and so on and THEN...Ron Howard!? NOOOOOOO!!! That pisses me off. He totally ruins Corman's good name as far as finding great young filmmaker's goes...it will forever be tainted because of him.
Quote from: ebeamanYea, I never liked Ronnie...not in any way, shape, or form...his acting, his directing...not ANY of it.
Why?
Quote from: MacGuffinQuote from: ebeamanYea, I never liked Ronnie...not in any way, shape, or form...his acting, his directing...not ANY of it.
Why?
I...just...don't. What do ya think about that? :wink:
Seriously, I don't feel like going to much into it though. If I've said it once, I've said it a million times...I hate critiquing movies or filmmakers...whether it be one that I love or one that I hate. I'm just awful at putting my thoughts into words. I'll give you my opinion in short form but I'm just very bad at backing it up...admittedly at least. I guess maybe if the person in question was sitting next to me watching A Beautiful Mind or Apollo 13, I could probably tell them a few things and a few reasons...but just typing, it's hard for me to think...especially cause I'm trying to reminisce (sp?) about movies that I didn't like...movies that were very forgettable to me. Maybe I am a little better at illustrating my love for a movie or filmmaker rather than my hate...maybe, I don't know. This all makes sense to me. I never said I was a critic.
I guess I just think his movies aren't good. It's not that they aren't my cup of tea or anything...and maybe it's not even exclusively about his directing...but I hated Apollo 13 and A Beautiful Mind. I thought they were often boring, unfunny when they tried to be funny, they just sucked...I'm going to stop getting into why while I can. Cause I realize whatever I say, it's not going to matter...I'll still be encouraged to like Ron Howard or I'll still be argued with about his talent. But I'm always going to hate the movies of his that I have seen at this point...I'm very sorry. I guess I don't HATE his movies and he seems like a decent guy in real life...but keep me away from his movies...directed by or starring.
Quote from: ebeamanI'm just awful at putting my thoughts into words.
Good luck being a screenwriter.
I really couldn't care less if you like him or not, and I wasn't about to get a debate about it and turn you to the Dark Side. It's just you expressed your hatred without reason. I just want to understand why Ron Howard gets a bad rap.
Quote from: MacGuffinQuote from: ebeamanI'm just awful at putting my thoughts into words.
Good luck being a screenwriter.
You completely misunderstood man. Let me rephrase: I am just awful at putting my opinions of other movies (other than my movies) into words...I wasn't specific enough, sorry. I can put MY visions and thoughts into other words...it's a completely different process. Cause it's ME, it's more personal. It's in MY head. That is much easier for me to do.
Let me try this again...you wanna know why people rag on him? Ok, let me give this a shot...name one thing that Ron Howard has brought to the table...one hint of originality in any of his movies...he hasn't done anything. His movies have a very basic, cliche dramatic structure in my eyes. It seems he has never fled from that, he refuses to use anything else. This is not the end of the world as movies with an unoriginal structure can be fucking GREAT (Boogie Nights for example)...but he can never get past it. He doesn't do anything special with it...he doesn't mix it up at all. There is nothing. It is so plain to me...I don't know. I probably can't do better...but there are many that can and have...even filmmakers MUCH younger than him.
Quote from: ebeamanname one thing that Ron Howard has brought to the table...one hint of originality in any of his movies
Wasn't he the first person to make a serious movie about little people?
Quote from: Jeremy BlackmanQuote from: ebeamanname one thing that Ron Howard has brought to the table...one hint of originality in any of his movies
Wasn't he the first person to make a serious movie about little people?
He may very well be...I'll give you that, sure. This is a very good example of what I was looking for actually, even if you were joking. I'm not saying the man has to reinvent cinema a la Kubrick or Godard and go crazy...I'm just saying he has to have SOMETHING that others don't...I won't let him get by being THAT disposable...I'm just not that easy to please. But I will give you this. It's a little less than enough but...it's there.
Quote from: ebeamanThis is a very good example of what I was looking for actually, even if you were joking.
Well, I guess Willow was technically George Lucas' project... a pseudo ewok sequel...
Quote from: ebeamanI'm just saying he has to have SOMETHING that others don't.
He does:
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he's ok.
there's nothing wrong with entertainment, if that's what he wants to do, and he does it well, what's the problem? ebeaman's talking like he makes bad despicable movies, fluff maybe, pandering to what the public will like. but what do u expect? he grew up on tv, his business instinct is to survive and make the ppl happy, it's a big enuff achievement that he's still working and not a has-been child star.
a big sheesh to all of u.
i like him. he's never really done anything ground breaking (maybe apollo 13, but that might be pushing it), he's just a good, solid director. he can tell a good story and that's that. you certainly can't say most of his movies are bad (the grinch aside).
Howard, Grazer & Goldsman Reteaming on Da Vinci Code
Source: Variety
Ron Howard, Brian Grazer and Akiva Goldsman - the Oscar-winning trio from A Beautiful Mind - are reteaming to make The Da Vinci Code for Sony Pictures Entertainment.
Goldsman will adapt the bestselling novel by Dan Brown. Grazer, Howard's Imagine Entertainment partner, will produce alongside Calley. Howard will direct the film after the Russell Crowe starrer Cinderella Man, also produced by Grazer and written by Goldsman.
The story concerns clues embedded in paintings by Leonardo da Vinci which unlock secrets that cut to the core of Christianity.
QuoteThe story concerns clues embedded in paintings by Leonardo da Vinci which unlock secrets that cut to the core of Christianity.
it sounds interesting
I saw the new full trailer for The Missing today and something about it really got to me, and I don't think it was just the excellent use of the Last Of The Mohicans score. Something about powerful, brutal, simplistic westerns...they just speak to me. I really loved it, and I hope the movie lives up to this promise.
The Missing: Its been confirmed the Cate Blanchett mystery will NOT have a limited release next week, rather a single opening wide release on November 26th.
I think Parenthood is the only one I've really liked...
parenthood, willow, apollo 13, a beauiful mind and ransom i liked
i really did not like A Beautiful Mind.
I just caught The Missing, and it's not very good at all. Kinda like a tv movie with A-list stars (more than you might expect).
It's a real shame; the premise was so good (a take on The Searchers, to be sure, but that's such a classic storyline that one can't take issue with that). Nearly all that's worthwhile in the film can be found in the trailer, which I still think is one of the year's best.
i have free passes to this tonite, which would've probably been the only way i would ever see it, but i'm skipping it to get home for thanksgiving. now i feel less bad about it.
Quote from: themodernage02i have free passes to this tonite, which would've probably been the only way i would ever see it, but i'm skipping it to get home for thanksgiving. now i feel less bad about it.
...donn't feel bad at all...this film look phucking stupid as hell....
the casting of cuba/performance/of radio is just as bad as the casting of tommy lee jones as an indian... :roll: .......pure h$llyw$$d cheese my friend....
it reminds me of onne of those films that myster science theatre wouldl make fun of
I suppose i can talk about it here...anyone watch arrested development? it's a ron howard sitcom on fox, and surprisingly it's actually really good. this last week featured clint howard as a hippi tree saver...refusing to come down outta a tree. what a goofy looking dude..
anyways, check it out, as it's probably one of the better shows to come out recently. dunno how long it will stick around though.
Quote from: NEON MERCURY
the casting of cuba/performance/of radio is just as bad as the casting of tommy lee jones as an indian..f
He's not actually playing an Indian...the movie's not THAT stupid. He's a white man who went to live with Apaches. As explained in the trailer.
Crowe & Beckinsale in Howard's Da Vinci Code?
The CinemaEye site reports the unconfirmed news that director Ron Howard is in talks with Russell Crowe and Kate Beckinsale to star in his upcoming The Da Vinci Code at Columbia Pictures:
Director Ron Howard seems eager to put his recent failure with The Missing behind him. To that end, he is quickly recruiting some of his regular cast and crew for his big-budget adaptation of the best-selling novel The Da Vinci Code. Howard has already recruited Akiva Goldsman who penned the adaptation of A Beautiful Mind and now we have received information from a credible source that Howard is quickly moving to secure his cast for the film. However, takes these as unconfirmed rumors albeit from a reliable source.
Howard is in talks with Russell Crowe who headlined the Oscar-winning A Beautiful Mind. Howard is currently in pre-production on his second film with Crowe, Cinderella Man. Cinderella Man starts shooting in March 2004, so Da Vinci Code would follow immediately after.
The story concerns clues embedded in paintings by Leonardo da Vinci which unlock secrets that cut to the core of Christianity. Brian Grazer, Howard's Imagine Entertainment partner, will produce. Cinderella Man writer Akiva Goldsman is penning the script.
Howard: Times Good for Independent Films
More interest in plot- and character-driven films means times are good for independent films, says Ron Howard, the Academy Award-winning director.
"There's an ever-expanding interest in stories, thank God," said Howard, who will appear at the Asheville Film Festival this weekend. "More and more, there are compelling financial reasons the artistic reasons have always been there to make films that target a smaller audience base."
The Asheville festival runs Thursday through Sunday and features 94 topics. Howard, who won Oscars in 2002 for "A Beautiful Mind" will be in town to attend the Spotlight Celebrations Awards Dinner on Saturday night at the Grove Park Inn. His father, longtime character actor Rance Howard, will receive a lifetime achievement award.
Finding money for independent films has also gotten better, though financing any film, independent or otherwise, is never easy, Ron Howard said in a telephone interview Monday.
"It's always a high-wire act to get an independent film made," he said. "Always. But there was a time when it was really trying to hit a bull's eye on a dart board a long way away. And now, it's a little more fair. ... In the last 10, 15 years, there's the beginnings of a kind of economic structure."
Does anyone know of the chances of Parenthood being released, hopefully with a nice 2 disc special edition? Great movei.
Howard Takes Flight with EAGLE
Story centers on Hernando Cortez and the Spanish conquest of the Aztecs in 16th century Mexico.
Source: FilmStew.com
Oscar-winning helmer Ron Howard is heading back to 1500s Mexico for the epic The Serpent and the Eagle for Paramount Pictures. Brian Grazer, Howard's partner in Imagine Entertainment, will produce the project.
In a deal worth a near $2 million, the studio has brought on Brian Helgeland to rewrite a script originally penned by Hans Beimier and Robert Wolfe. Focusing on the Spanish conquest of Mexico, the story more specifically centers on conqueror Hernando Cortez and how he worked with an Aztec princess-turned-slave to dominate the native tribe.
The project was originally set up at Universal for Howard after he left The Alamo, which was later helmed by John Lee Hancock. Still interested in Mexican history, Imagine then picked up the Beimier/Wolfe script.
Donald De Line and Alli Shearmur will oversee the project's development and production for Paramount, with David Bernardi shepherding for Imagine.
Crowe & Howard Crack Open DUFF
Russell Crowe and Ron Howard, who recently teamed on the upcoming boxing drama Cinderella Man, may get back together for the Universal drama The Power of Duff. Universal picked up the spec script for $900,000 against $1.25 million earlier this month, and DreamWorks will serve as a co-production partner on the film. Crowe has begun negotiations to star, while Howard is negotiating to go behind the camera.
Penned by Stephen Belber, Duff would star Crowe as a local newscaster who is absolutely devastated by the death of his father. His grief leads him to start praying during his newscasts, and when his prayers begin getting answered, he becomes one of the nation's most highly controversial television figures.
Marc Platt, who originally brought the script into Universal, will produce with Brian Grazer, Howard's producing partner in Imagine Entertainment. There is no start date for the project as of yet. Howard is busy working with Tom Hanks on an adaptation of The Da Vinci Code, which Sony will release on May 19, 2006.
Howard should definitely hire or at least consult Dan Castellanata (sp!) for this thing.
Also, Parenthood is terrible. Magnolia lite, decaf, dickless.
The Heavyweight.
He's an Oscar-winning director, but gets flak for being a softie. With 'Cinderella Man,' it's time to rethink Ron Howard.
By Devin Gordon
Newsweek
May 2 issue - Many directors have said it's a pleasure working with the famously mercurial Russell Crowe. Ron Howard is not one of them. "Directing Russell is like shooting on a tropical island," he says. "The weather is going to change several times a day, but you're shooting there for a reason. Sometimes those dark clouds are just what you need. And sometimes"—he laughs—"you wish it would stop raining so you can do the sunny scene." Still, Howard insists that he adores Crowe, and if he's lying, he must be a masochist. The men are already planning a third collaboration even though their second, "Cinderella Man," the true story of boxer Jim Braddock's improbable rise to glory during the Depression, doesn't open until June. It's a curious pairing. Howard, 51, is known as one of the most genial guys in Hollywood; Crowe is not. But it works. Crowe gets a director unfazed by his Vesuvian blasts and unintimidated by his talent. And Howard gets from the actor something that his movies, even the very good ones, have often needed: an edge.
To date, Ron Howard has made 17 films—a diverse portfolio of thrillers, dramas, comedies and zero sequels—that have grossed more than $1.3 billion in the United States alone. His fee is about $10 million per movie, which is just down the street from Mr. Spielberg's neighborhood. He's an Oscar winner (for 2002's "A Beautiful Mind," his first film with Crowe) and a two-time Directors Guild award winner. But among critics, cineastes and even some in Hollywood, he can't seem to shake his rep as a cruiserweight—one division shy of the big guns, more artisan than artist. "It's a bummer that it doesn't compute the way it should," says Brian Grazer, Howard's longtime producer at Imagine Entertainment. "There are many directors who get fussed over a lot more than Ron and who have had significantly less impact. But he's just such a no-fuss guy. He doesn't wear all black clothes. He's not Paul Thomas Anderson—he doesn't have three names. Maybe he should." "Cinderella Man," which costars Renee Zellweger, who won an Oscar for "Cold Mountain," and Paul Giamatti, whom we're prepared to nominate right now for his supporting role as Braddock's corner man, is a vintage Ron Howard film. Make that a vintage Ron William Howard film: a humble crowd-pleaser with more intensity and elegance than at first appears. Just like the guy who made it.
Full article here (http://www.msnbc.msn.com/id/7613570/site/newsweek/).
Quote from: FernandoThe Heavyweight.
He's an Oscar-winning director, but gets flak for being a softie. With 'Cinderella Man,' it's time to rethink Ron Howard.
I guess Cinderella Man won out over "Peter Pan Boy"
Quote from: FernandoThe Heavyweight.
He's an Oscar-winning director, but gets flak for being a softie. With 'Cinderella Man,' it's time to rethink Ron Howard.
By Devin Gordon
Newsweek
Howard gets from the actor something that his movies, even the very good ones, have often needed: an edge.
"It's a bummer that it doesn't compute the way it should," says Brian Grazer, Howard's longtime producer at Imagine Entertainment. "There are many directors who get fussed over a lot more than Ron and who have had significantly less impact. But he's just such a no-fuss guy. He doesn't wear all black clothes. He's not Paul Thomas Anderson—he doesn't have three names. Maybe he should.".
that makes me sick. that is typical ron howard thinking: "hey why doesn't everyone love me! all my friends love me? i'm using up my $10million paycheck to get liza minelli to love me! why isn't everyone saying YES TO ME??!!!"
he surrounds himself with yes-men and can't accept that sum ppl see through that shit. yes, this is about Arrested Development, the show is overrated exactly because of the hype. thank god it's going to be cancelled and thank god he is still pining for the elusive "formula" that will gain him a place among the gods. it's not always who u know, ronny.
Watch that Arrested Development blasphemy, bite your tongue. What is overrated about it?
it's no curb. (http://xixax.com/viewtopic.php?t=6849&postdays=0&postorder=asc&start=15)
Well, if you don't like it, you don't like it.
Quote from: RaviWell, if you don't like it, you don't like it.
yep. that observation is totally consistent with the post i just linked to. :shock:
anyway my main point was the obvious flaw in brian grazer/ron howard's mentality. that's what i was getting at..
Quote from: Pubrick
that makes me sick. that is typical ron howard thinking: "hey why doesn't everyone love me! all my friends love me? i'm using up my $10million paycheck to get liza minelli to love me! why isn't everyone saying YES TO ME??!!!"
he surrounds himself with yes-men and can't accept that sum ppl see through that shit.
Exactly, they realized winning an oscar didn't do much in that department, I guess cause their flims are never mentioned by their pears among the best thing to come out since the last one; they must get over the fact that they'll never hear David Lynch (a two name director nonetheless!) or some other major player say: Ronny's awesome, he has influenced my work deeply, he tha bomb!
instead, pt anderson refers to him as "little ronny howard" in an interview right after his oscar win...shitty...ha
If Ron Howard made his films in the fifties he would be beloved right now. But I guess there is just something about his films, a lot of which I really like, which stop him from being a big player. I watched The Paper for the first time recently and it was really enjoyable. In fact (although I suppose it could be said for most 'newspaper' films) the dialogue was very Hawks-like, particularly Michael Keatons telephone scenes.
I'm glad he's doing his thing, though and that hes got his leading man - it is an interesting combo. However, although I really enjoyed Seabiscuit, I hope Cinderella Man offers something different and more substantial than the trailer suggests.
Howard is what could be considered a "solid" director. He doesn't have any particular vision or style, but he can be depended upon to direct his films with simple clarity.
exactly.
he didnt do seabiscuit. that was gary ross (pleasantville).
Yeah I know, but Cinderella Man has a very similar "triumph of the working man/underdog" story line. Or at least the trailer gives that the most emphasis.
"when the world was on its knees, he brought us to our feet..."
hm.
Opie Heads Home
Howard to helm Iraq thriller.
Variety reports that Oscar winner Ron Howard will direct Last Man Home for Universal Pictures, which has acquired Jamie Moss' spec script. Howard and Brian Grazer's Imagine shingle will produce along with Tom Lassally.
The trade says Last Man Home follows a U.S. covert ops unit on a mission in Iraq during the days before the invasion. The main character is looking for his brother, an AWOL U.S. trooper who went missing during the first Gulf War.
Ron Howard could direct THE CHANGELING
Source: Variety
Universal Pictures and Imagine Entertainment have grabbed the rights to J. Michael Straczynski's (Babylon 5) thriller THE CHANGELING. Ron Howard is thinking about directing the film as his next project.
The story of the film is based on actual events about a mother who prays for the return of her kidnapped son. When her prayers are answered and her son returns, she begins to suspect that the boy who comes back is not her child.
Howard has still not signed on to helm the sequel to THE DA VINCI CODE.
Exclusive: Ron Howard to Direct "Frost/Nixon"
Breaking News: Pardon me?
TMZ has learned that Oscar-winning director Ron Howard has his eye firmly fixed on Tricky Dick: Howard's Universal Pictures-based Imagine Entertainment is in negotiations to acquire the feature film rights to Peter Morgan's hit stage play, "Frost / Nixon," currently playing to packed houses at the Donmar Warehouse theater in London.
The play, which opened to rave reviews earlier this month, centers on the legendary 1977 television interviews between President Richard Nixon and interviewer David Frost, with Frank Langella playing the president on stage. No stranger to projects steeped in politics, Langella starred last year as CBS network owner and (mostly) benevolent despot, William Paley, in "Good Night, and Good Luck."
Frost, of course, is the only person to have interviewed all of the past six British prime ministers and the past seven US presidents. His successful 1977 cat-and-mouse game with Nixon to secure the ultimate "get" - several interviews with the only U.S. president ever to resign the office - is both the subject of the stage play and of Howard's new film project.
Per the Hollywood Reporter 's review of the stage play,
"Frost had ridden to success on the wave of satirical comedy that surged out of the U.K. in the 1960s. Lacking comedic talent but being glib and confident, he had segued into talk shows in his homeland, Australia and the U.S. According to Morgan, by 1977 it was all coming apart. Desperate for a major splash, Frost decided to risk everything by contracting with the disgraced U.S. president for a series of confessional interviews. With legendary Hollywood agent Swifty Lazar (Kerry Shales) acting for Nixon, negotiations resulted in agreement on how many minutes would be devoted to the president's highs and lows and a fat fee that Frost had great difficulty in raising. In fact, the play suggests there is no guarantee the four-hour series of interviews will ever air, and Frost ends up putting a huge chunk of his own money into the project."
Insiders familiar with the talks stressed that while there are still a few open deal points, a formal announcement could come as early as Wednesday.
Howard's Imagine also recently picked up the rights to J. Michael Straczynski's thriller "The Changeling" as a potential film for Howard, who hasn't decided how to follow up this year's international box office hit, "The Da Vinci Code," which grossed some $753 million worldwide. It's not yet clear which project will tickle Howard's fancy, but insiders say that Howard has not made casting the Straczynski property a priority; as a result, we may be in for an early "Frost" at the box office next year.
Grazer to produce 'Colossus'
Universal, Imagine to remake sci-fi saga
Source: Variety
Universal and Imagine Entertainment will remake the 1970 sci-fi saga "Colossus: The Forbin Project" as a potential directing vehicle for Ron Howard. Brian Grazer will produce.
Jason Rothenberg has been set to write the screenplay for a pic to be called "Colossus."
Based on a book by D.F. Jones, the original film was a forerunner of movies like "Terminator," introducing the idea of a government-built computer that becomes sentient and then takes control.
Rothenberg will use the original's premise as a springboard and will incorporate two subsequent "Colossus" novels written by Jones to hatch a much broader film premise.
After a brainiac designs a supercomputer for the government as a means of protection, the computer decides itself that the most effective way it can act as protector is to assume complete control. The WMA-repped Rothenberg wrote the original draft of "The Sparrow," which has Brad Pitt attached at Warner Bros., and he adapted the graphic novel "Proximity Effect" at Universal.
Dave Collins, who was integral in tying up the rights to the series, will be exec producer.
Howard is next directing "Frost/Nixon" and then will tackle the Akiva Goldsman-scripted "Da Vinci Code" follow-up that's based on the Dan Brown novel "Angels and Demons."
Howard ready to father 'Children'
Baumbach to adapt Messud novel for Universal
Source: Variety
Ron Howard has said yes to another directing assignment for Universal.
Imagine Entertainment's co-topper will helm U's adaptation of "The Emperor's Children," Claire Messud's 2006 novel about Gotham's upper crust, based on a script by Noah Baumbach.
Imagine acquired the tome, about Ivy League grads approaching their 30s with trepidation in 2001, early this year as a possible directing vehicle for Howard, with partner Brian Grazer aboard to produce (Daily Variety, Jan. 26). Baumbach, a writer who has shown an affinity for writing about the East Coast elite, has been circling the project since at least mid-March.
Howard's busy directing slate includes "Frost/Nixon," the screen adaptation of the legiter skedded to begin production Aug. 24, and "Angels & Demons," the prequel to "The Da Vinci Code" for Columbia. Imagine has also set up remakes of the French thriller "Cache" and '70s sci-fi film "Colossus: The Forbin Project" at U as possible directing projects for Howard.
Imagine reupped with U last week in a deal that keeps the shingle in the studio fold through the end of 2013. The shingle has many productions in the works including the Ridley Scott-helmed "American Gangster," Michael Dowse's "Kids in America" and "The Changeling," a co-production of Imagine and Malpaso directed by Clint Eastwood.
Baumbach has delivered his adaptation of "Prep" to Lorne Michaels and John Goldwyn for Paramount's adaptation of that novel. Previously, he penned and directed "The Squid and the Whale" and did double duty on Paramount Vantage's upcoming "Margot at the Wedding."
Howard moves fast with 'Code' sequel
Director finalizing 'Angels' before strike
Source: Variety
As Hollywood scrambles to make deals before the Oct. 31 expiration of the WGA pact, one fast-tracked project has almost flown under the radar -- though it could become one of the biggest films assembled during this frenzied period.
Columbia has formalized a February start in Europe for "Angels & Demons," the Ron Howard-directed sequel to "The Da Vinci Code" that will be released in December 2008.
Producers Brian Grazer and John Calley, Col, Howard and writer Akiva Goldsman are seeking to finalize the shooting script before next week's deadline. Meanwhile, the "Angels" team have begun casting around Tom Hanks, who will reprise his role as Robert Langdon.
The film guarantees a manic year for Howard, who will be multi-tasking to get the picture done. Howard will shoot "Angels & Demons" as he supervises editing and post-production on the screen adaptation of the Peter Morgan play "Frost/Nixon." That film, which Howard wrapped shooting last week, has tentatively been slotted for a late 2008 release.
This means Howard could have a double-pronged post-production schedule and will have two high-profile projects opening in a relatively short time.
The rush-rush schedule echoes Steven Spielberg's back-to-back shooting of "Jurassic Park" and "Schindler's List" and Clint Eastwood's double duty on "Flags of Our Fathers" and "Letters From Iwo Jima."
Hanks' character, a Harvard-based expert on religious symbols, this time sleuths a mystery that involves a secret society and a conspiracy that leads to Vatican City and threatens the future of the Catholic Church.
Dan Brown wrote "Angels & Demons" prior to "The Da Vinci Code," but after the first film grossed $218 million domestic and $758 million worldwide, the studio made a seven-figure deal with Goldsman to turn the earlier novel into a sequel.
Universal, Imagine team on 'Strange'
Duo gear up 'Lovecraft' graphic novel
Source: Variety
Universal and Imagine Entertainment are gearing up for "The Strange Adventures of H.P. Lovecraft."
The studio has bought the film rights to Image Comics' graphic novel, with the project a potential directing vehicle for Ron Howard. The book bows April 8.
U sparked to "Lovecraft" because its take on classic horror fits in well with the studio's library of monster fare featuring Dracula, Frankenstein, the Mummy and the Wolf Man, the last of which is being brought back to the bigscreen later this year.
Created by Mac Carter and Jeff Blitz, book borrows elements from Lovecraft's life, such as his family's struggle with mental illness and his own bouts with writer's block, and transforms the young writer's darkest nightmares into reality when he comes across a book that puts a curse on him and lets the evils he conjures up loose on the world.
Lovecraft, who died in 1937, is considered one of the most influential horror writers of the 20th century.
Carter, a commercial director, will pen the script and serve as executive producer alongside Blitz.
Carter and Blitz both helmed commercials for Anonymous Content, working on spots for such clients as McDonald's, Yahoo, Coca-Cola and Toyota. Carter has since gone solo and has helmed more than 100 ads for clients.
Imagine's Brian Grazer and Howard are producers. David Bernardi, shingle's senior VP, and director of development, Chris Wade, will serve as co-producers.
Image Comics also publishes the popular "Spawn" books, as well as "Witchblade," "WildC.A.T.s," "The Walking Dead" and "Youngblood."
Bryce Dallas Howard pens 'Originals'
Universal, Imagine pick up drama; Ron Howard may direct
Source: Hollywood Reporter
Universal and Imagine have picked up "The Originals," a drama written by Bryce Dallas Howard and writing partner Dane Charbeneau that could serve as a directing vehicle for her father, Ron Howard.
Imagine is producing.
"Originals" is an ensemble film about a group of twentysomethings who reconvene for a weekend in New York after learning that the teacher who shaped their childhoods has fallen into a mysterious coma.
The idea for "Originals" germinated a few years ago, when Howard, an actress with such films as "The Village" and "Spider-Man 3" under her belt, took to the idea of writing something that tackled the quarter-life crisis issues her contemporaries were dealing with. She roped in Charbeneau and the two have been working on the script for the past couple of years, as Howard shot "Terminator Salvation" and gave birth to her son Theodore.
"Originals" also became more of family affair during the writing process, as Charbeneau began dating Howard's sister Jocelyn. The two are now are engaged.
Howard, repped by ICM and Management 360, and Charbeneau eventually showed it to Ron Howard, who saw it as a potential antidote to the huge productions for which he is known.
"Originals" is still in development though the elder Howard, who is coming off Columbia's worldwide hit "Angels & Demons" and has not picked his next helming gig.
The director will return to his home at Universal for his next movie, with projects like "Colossus," a sci-fi thriller about a supercomputer, high on the priority list. "Originals" also is on that list.
Ron Howard tiles U's 'Mosaic'
Director takes on Ludlum adaptation
Source: Variety
Universal Pictures has attached Ron Howard to direct "The Parsifal Mosaic," an adaptation of the espionage thriller by "The Bourne Identity" author Robert Ludlum.
David Self will adapt the Ludlum novel about a CIA operative who thinks he witnessed the execution of his lover after she was identified as a KGB double agent.
Imagine Entertainment's Brian Grazer will produce with Captivate Entertainment partners Jeffrey Weiner and Ben Smith. Imagine's David Bernardi will be exec producer.
The studio, which is separately developing a fourth "Bourne" installment with director Paul Greengrass, and "The Sigma Protocol" (an adaptation of yet another Ludlum thriller), began negotiating the rights for "Parsifal Mosaic," for which it had first-look rights in a deal U made with Captivate, which controls screen rights to the late author's books.
Self, best known for "Road to Perdition," most recently co-scripted "The Wolf Man" for Universal.
Vince Vaughn set for Ron Howard pic
Universal project centers on infidelity
Source: Hollywood Reporter
Universal has a cheating heart.
The studio is putting the pieces together for a film project exploring the subject of infidelity that will be directed by Ron Howard and star Vince Vaughn.
Imagine topper Brian Grazer came up with the idea and is producing with Vaughn, who will produce with his Wild West Picture Show Prods. Allan Loeb wrote the currently untitled script, which would go before cameras in the spring.
The story follows a man who learns that his best friend's wife is cheating and must then navigate treacherous waters to decide what do with that knowledge.
The project is said to continue Vaughn's interest of tackling the dark areas of relationships, which he did with "The Break-Up" and, to a lesser extent, "Couples Retreat," which ended up leaving its darker moments on the editing room floor. The script is said to walk a fine line of being comedy and drama, much like "Break-Up" did.
Imagine's Kim Roth will serve as executive producer. Universal's vp of production Kristen Lowe will oversee the project for the studio.
It's been a while since Howard tackled a comedy. While the CAA-repped director's last movie was "Angels and Demons," his previous comedic movie was 1999's "Edtv."
Vaughn and Loeb, who wrote "Wall Street 2: Money Never Sleep" as well as "The Baster," are repped by CAA.
Did anyone read what The Playlist said about this? They really roasted Ron Howard and Vince Vaughn. HILARIOUS.
Here. http://theplaylist.blogspot.com/2010/01/vince-vaughn-is-not-to-be-trusted.html
'Dark Tower' by Ron Howard, Brian Grazer and Akiva Goldsman (exclusive)
Source: Hollywood Reporter
J.J. Abrams' Bad Robot shingle, which has long sought to crack Stephen King's "The Dark Tower" book series as a television series, no longer has the rights to one of the author's biggest properties.
Bad Robot has returned the rights back to the best-selling author. Now Ron Howard, Brian Grazer and Akiva Goldsman are teaming up to tackle the fantasy Western.
The three are in discussions on a scenario that would see an adaptation begin as a movie, to be written by Goldsman and directed by Howard, that would lead to a TV series produced by Imagine's small-screen division.
"Tower" is not set up, nor has any option deal been made, but insiders say Universal, home to Imagine, would be the studio that will release the movie.
That would be a contrast to the vision drawn up by Bad Robot, which had been eyeing their potential series as a reunion with "Lost" exec producers Damon Lindelof and Carlton Cuse. Because of the comprehensive nature of the project, the creators wanted to wait until "Lost" was over to give it their attention. When they realized they wouldn't be able to do an adaptation justice, they gave the rights back to King.
King's magnum opus, "Tower" encompasses not just a narrative about the Man in Black and Roland, the Gunslinger, that spans seven lengthy books (and one short story), but also the entire universe of King's fiction. Characters from his other novels flit in and out of "Tower" in minor and major ways.
Envisioned when King was still in his teens as his own take on spaghetti Westerns and the world of Tolkien's "Lord of the Rings," "Tower" has also spawned a series of graphic novels from Marvel Comics, with the latest issue hitting shelves May 19. The property's expansive nature and direct connection to King's other works make it one of the biggest, ripest franchise possibilities in entertainment.
"Hey, remember how we were going to build that house you've been wanting for a while?"
"Yeah"
"And we were going to bring in an expert architect and some very skilled builders and electricians?"
"Yeah"
"Well, those guys said the house was too dangerous to build so we hired a bunch of bumbling ding-dongs to come build it. Their faces are covered in smiles, their hands are full of loose nails, and they're really excited about the new Hammer Loops they had installed on their tuxedos."
"That doesn't sound safe"
"You still have to live there"
If they cast Nicolas Cage as Roland, I'm leaving the planet.
Ron Howard Says 'The Dark Tower' Will Shoot Spring 2012, Remains Cagey About Javier Bardem
Source: The Playlist
With a plan to stretch over three films and television series, Ron Howard and Akiva Goldsman's adaptation of Stephen King's "The Dark Tower" is certainly ambitious, so much so, that rumors swirled earlier this month at Universal was getting cold feet about the project. Alas, the project is still set up at the studio, but undergoing some revisions as the cautious studio looks like slim down the budget with the filmmakers getting more time to get the story and approach right. EW recently caught up with Howard and he was quite candid about the latest developments, including the involvement of Javier Bardem who isn't quite seured just yet. "We had to pull back to our September start date due to budget delays and ongoing story development and logistical issues, but Dark Tower is moving forward," Howard said. "We're thinking of starting in early spring now. I can't really say who'll be in it yet, but Javier Bardem has shown a great deal of interest. We'll know by the end of the summer, when our flashing green light goes solid." That's quite a different tune, especially since Bardem was reportedly signed on last month. However, with the budget getting trimmed and the story getting adjusted, perhaps the actor wants to see where the direction goes before fully committing and that seems fair enough. But it also opens a window for Bardem to take another look at "James Bond 23" which will shoot this fall. As you might recall, the actor was offered a villain role in the film which would've have initially conflicted with "The Dark Tower." But with the fall now free and clear, could Bardem take another peek? We hope so. As for why the mega-franchise will roll out on both the big and small screen, Howard has a simple explanation. "There are elements of the 'Dark Tower' saga that are more personal and can be best dealt with on television," he said. "TV allows you to roll out details of the characters in a more methodical way." And by details, we're sure the "Arrested Development" producer means more Mayon-egg, right? No word yet on how the production shift will affect currently slated May 17, 2013 release date, but we imagine that will be shifted to later the same year. But in this age of rushing films to find a release date, it's kind of nice to see one blockbuster taking a pause to make sure all of its moving parts make sense.
Sorry Henry Selick, Ron Howard Is Now In Talks To Direct Neil Gaiman's 'The Graveyard Book'
Source: Playlist
You gotta kind of feel for Henry Selick. The man behind "Coraline" didn't have a great 2012, with his Disney/Pixar project "Shadow King" getting scrapped and shelved when no other studio wanted it. And while he was attached to direct Neil Gaiman's "The Graveyard Book" last spring, it seems the turn of the events of the studio has seen that job go to someone else as well.
Ron Howard is now in talks to helm the adaptation, and instead of being animated as was the previous plan, it will be a live action feature. The 2009 Newberry Medal award winning book, is essentially a ghoulish riff on Rudyard Kipling's "The Jungle Book," with a young orphan boy growing up in a graveyard surrounded by ghosts, vampires and other things that go bump in the night. While this may have seemed like perfect Selick material, Howard is a less obvioius choice. However, given how hard he was pushing for his ambitiously sprawling multi-film and TV series version of Stephen King's "The Dark Tower" to get made, it seems there's a fantasy itch he really wants to scratch (he also just signed on to helm "All I've Got," a supernatural drama for J.J. Abrams).
But we'll see how it all plays out. Howard is negotiating, and a new script will have to be commissioned, so this is a couple years away at least. Howard's next effort "Rush," will theaters on September 20th.
Ron Howard To Helm Authorized Beatles Docu On British Invasion Years
BY Deadline
Ron Howard will direct a feature documentary on The Beatles. The focus will be the period from 1960-1966 when the mop-topped quartet took Europe and then the United States by storm with a flurry of 166 concerts in 15 countries and 90 cities. By the time they finished the last concert in San Francisco's Candlestick Park in 1966, they were as big a band as Elvis Presley was a solo artist. The film has been authorized by the band's holding company, Apple Corps Ltd, and will have the full cooperation and support of surviving Beatles Paul McCartney and Ringo Starr, as well as John Lennon's widow, Yoko Ono Lennon, and George Harrison's widow Olivia Harrison. The docu will be a co-production between Apple, White Horse Pictures' Nigel Sinclair and Scott Pascucci, and Imagine Entertainment, whose principals Brian Grazer and Howard will produce with Sinclair and Pascucci. Imagine's Michael Rosenberg and White Horse's Guy East will be exec producers. They expect to have it ready sometimes next year, and don't be surprised if there is a sequel, covering the band's politicization and eventual break-up.
The film begins with the band honing its chops in Liverpool's Cavern Club, to its first road trip shows in Hamburg, Germany, and other European countries in 1963, right before they came to America for an appearance on The Ed Sullivan Show. That appearance, on February 9, 1964 sparked a generation of future musicians like Eagles leaders Don Henley and Glenn Frey to make their parents rush out and buy them musical instruments.
Howard was turning 10 and was halfway through his run on The Andy Griffith Show when he saw the Sullivan broadcast, one of those cultural zeitgeist moments where people remember exactly where they were when it happened. "Not only did I see the Ed Sullivan Show along with everybody else, the only thing I wanted for my tenth birthday was a Beatles wig, which I got.," Howard told Deadline. "I'd never thought about bands before, only Elvis. These guys looked and sounded different, and were absolutely explosive to watch. The girls were screaming. It was this flash of genius and uniqueness, but they were also relate-able. Seeing them on The Ed Sullivan Show was right up there with the 1969 Apollo 11 moon landing, in terms of images from the television set that I'll never forget, and that were pivot points of what was possible."
Sinclair has produced music documentaries on Bob Dylan, The Who, Foo Fighters and the Martin Scorsese-directed George Harrison: Living In The Material World. The latter brought a relationship with Apple and he broached the idea of a Beatles docu as he, Howard and Grazer worked on the Chris Hemsworth-Daniel Bruhl Formula One film Rush. Sinclair glimpsed the British invasion from the other side of the pond. He said it was even more profound.
"It was more pervasive in Britain, all Beatles, all day, from August till December, 1963," he recalled. "There were eight national newspapers, and every one of those papers during that period had a Beatles story on the front page, every day. The Beatles were 22 and 23, and there was no culture of celebrity and stars then. The Beatles pioneered the idea of the meta-celebrity and the idea that so many people could be thinking and feeling the same thing at the same moment, listening to the same record. And then they dissolved in 1970, a short span compared with many groups. There is something unique about their lifestyle, their point of view and the way they assimilated their experiences and shared them back with society. It changed society, and certainly changed things in Britain."
They have begun pulling together footage of appearances and concerts, and are working with docu editor/director Paul Crowder, who last teamed with Sinclair on the Billy Joel docu Last Play At Shea. That film that included McCartney singing Let It Be, a touching homage to the Beatles first 1965 appearance at Shea Stadium. That film was made just before Shea was torn down.
Howard, who's finishing the survival tale Heart Of The Sea, most recently directed the musical docu Made In America, about Jay-Z organizing the Budweiser Music Festival. The narrative will be very different here, he said.
"Made In America was stylistically a bit more like Nashville, these snapshots of individuals," he said. "The focus on the touring years of the Beatles creates a natural narrative shape, and it's more like an adventure story. These remarkable individuals throw themselves out into the world, on this remarkable journey. At the end, both they and we changed in a lot of ways, but are steadfastly the same in other ways. Looking at it from the perspective of The Beatles as geniuses who are venturing into new territory, at a time of transformation that affected and influenced them, is a remarkable opportunity. Looking at them from our perspective, the difference between an individual from 1960-66 was likely to be very significant. Those are great story lines to be able to follow."
The cooperation of the band's members and estates give the film another undeniable benefit. Already, collectors are coming out of the woodwork with footage and soundboards of concerts, and the film will go heavy on performances that were previously unseen by most people.
"That footage is so valuable to me as a director, being able to offer the audience an experience," Howard said. "Applying digital technology to this 8mm and Super 8 footage that has been located and continues to be found, that has never been seen before, and combining that with what has also been collected, these mixes, these tracks from these soundboards, will allow us to synch up these Super 8 and 8 millimeter images, those home movies, and create this very intimate concert experiences for audiences. We get to tell the story and offer this very visceral, exciting, emotional experience for people who go see the film. "