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Are you familiar with Zheng He? He led expeditions to east Africa in the early 1400s. Nobody in east Africa speaks chinese.
Of course you know Christopher Columbus. All of south America speaks spanish now. With the exception of Brazil, they speak portuguese thanks to some Pope, if I remember correctly.
That's what I'm talking about.
It's not the genes, it's not even the corruptive nature of power, it is culture. European culture. The only way we started to begin to understand the error of our ways was to wage two catastrophic wars against each other that destroyed our continent to an unseen extent. Sadly, we exported that toxic element of our culture to another continent. Just look at recent elections.

And in regards to the whitewashing of this IP, well, Hollywood doesn't trust its audience to embrace a more colorful world. It's gotten better but it's still a long way to go. At least we're going there. I just wish we'd hurry up a bit. I'm still baffeled about that Airbender movie and how they fucked up casting that so badly.
I like Johansson but she makes as much sense in that role as a black James Bond. It one of the things that make me hope the movie is good despite of it.

Yeah, black Heimdall is indeed weird. It's somehow the reverse to what the did with the casting of the Last Airbender movie. However, Idris Elba does a very goiod job with what he got.
I for one thought Clark Michael Duncan as Kingpin was the best thing about the Dare Devil movie and many complained about that. From a physical standpoint, he is still the best choice but sadly, he can't compete with D'Onofrio's version when it comes to the acting and writing. That Kingpin is so far the best realised Marvel villian since Loki.
Why are we discussing comicbook movies again?

I'm not a fan of Shyamalans work anymore, especially after the Happening (and I didn't even bother to see The Last Airbender), but the guy definitely had something special about his work. It's something that would make me a fan of his again if he returned to making films with that certain something.
I really didn't have a problem with The Village, Unbreakable, or even Lady in the Water, even though that last one I really had to try to get through. If you look at his films chronologically, that spark of different imagination slowly dwindles out until he did Airbender (the first film by someone other than himself).
Even The Happening, being the final straw for me, was still based around a topic that was insanely imaginative and interesting if it had been done in the right way. Lady in the Water had a cast of, like, 5 people, and took place entirely in one shitty apartment complex, but it was still insanely weird in that Shyamalan-way.
That aspect of his work is what made his pre-Airbender films truly unique. I guess if you're going to fail, might as well fail by doing something no one else will.

Who keeps giving this guy money?

The latter part of this could easily be attributed to a shitty script. I think the whole film probably could (don't know, avoided it intentionally).
Did Shyamalan write the screenplay? I don't actually know. I do like the first Airbender show though (part of why I avoided the film).
Shyamalan was one of my favorite filmmakers, just for his vision, even when the film itself failed. I could appreciate his intent all the way through The Lady In The Water, but the nosedive of actual quality up to that point put me off of any more of his films. I can only appreciate initial vision to a point.
I've been eager to see After Earth, even if it sucks. I'm mildly interested in this film, but only for morbid reasons. Any time you dismiss source material, it makes you a shithead in my view (fuck you Peter Jackson).

For most of my adult life I worked as a painter, color designer and art director for animated TV shows like Ren&Stimpy, Invader Zim, Avatar: The Last Airbender, and Spongebob Squarepants. I switched careers and now I'm an Art Director for social video games and work my ass off for an enormous company that everyone hates.

Exactly!>> ^GeeSussFreeK:

>> ^Fusionaut:
Damon Lindelof wrote the script?!?!?! FUUUUUUUUUUUUUUUUUUUUUUUUUCK!!!!!!!!! Damon Lindelof sucks giant donkey penis... There, I said it.

Prometheus, Cowboys & Aliens

But also: Avatar: The Last Airbender (TV series)....Imma be cautiously optimistic.

>> ^Fusionaut:

Damon Lindelof wrote the script?!?!?! FUUUUUUUUUUUUUUUUUUUUUUUUUCK!!!!!!!!! Damon Lindelof sucks giant donkey penis... There, I said it.


Prometheus, Cowboys & Aliens


But also: Avatar: The Last Airbender (TV series)....Imma be cautiously optimistic.

Been quite excited for this to finally come out. I worked on the first series (Airbender) for about 4 years of my life and was quite keen that Brian K has kept the momentum. Great stuff here folks!

This is a *dupeof http://videosift.com/video/Avatar-The-Last-Airbender-Azulas-Final-Battle which has a dead link.

Wait wait. I was with you up until you implied that Avatar: The Last Airbender was crap. It wasn't! Someone from the sift even worked on it, I forget who. Shamalama may have totally FUCKED the movie, but the cartoon was great fun, and actually quite poignant in parts. Not to mention, the artwork is gorgeous (see the fight between azula and zuko that I sifted, for example).

Of course maybe I read too much into your comment and you weren't implying that at all. In which case please ignore this comment entirely.

>> ^ChaosEngine:

Cartoons are the thing most likely to bring out the grumpy old man in me.
Transformers (the original, not the rubbish bayhem or the anime crap), Thundercats, Ulysses 31 were all awesome. Hell, even later stuff like Animaniacs, Samurai Jack and Dexters Lab were excellent.
Kids these days with their yu-gi-mon the last air whatever! It's crap.
now get off my lawn!

>> ^smooman:

>> ^Sarzy:
>> ^chilaxe:
@Sarzy
My understanding is that marketing budgets tend to be roughly equal to production budgets, so double the listed production budget to find the true cost of the film.
A "profitable" movie in Hollywood means earning a lot more than for example a 15% return on investment after 3 years (5% per year) of transferring the money because the ROI has to compensate for that there's substantial risk involved.

Well, notwithstanding the vagaries of profitability in the studio system, I think it's generally accepted that -- broadly speaking at least -- a movie is considered successful if it makes back its reported budget.
But even by your stricter definition of what constitutes a successful movie, with the exception of Lady in the Water, all of Shamalan's movies pass that test.

Titanic grossed almost 2 billion.....whats your point?


My point was just that Chilaxe was wrong about Shyamalan's movies losing money. I wasn't commenting on the quality of his movies at all.

>> ^Sarzy:

>> ^chilaxe:
@Sarzy
My understanding is that marketing budgets tend to be roughly equal to production budgets, so double the listed production budget to find the true cost of the film.
A "profitable" movie in Hollywood means earning a lot more than for example a 15% return on investment after 3 years (5% per year) of transferring the money because the ROI has to compensate for that there's substantial risk involved.

Well, notwithstanding the vagaries of profitability in the studio system, I think it's generally accepted that -- broadly speaking at least -- a movie is considered successful if it makes back its reported budget.
But even by your stricter definition of what constitutes a successful movie, with the exception of Lady in the Water, all of Shamalan's movies pass that test.


Titanic grossed almost 2 billion.....whats your point?

>> ^chilaxe:

@Sarzy
My understanding is that marketing budgets tend to be roughly equal to production budgets, so double the listed production budget to find the true cost of the film.
A "profitable" movie in Hollywood means earning a lot more than for example a 15% return on investment after 3 years (5% per year) of transferring the money because the ROI has to compensate for that there's substantial risk involved.


Well, notwithstanding the vagaries of profitability in the studio system, I think it's generally accepted that -- broadly speaking at least -- a movie is considered successful if it makes back its reported budget.

But even by your stricter definition of what constitutes a successful movie, with the exception of Lady in the Water, all of Shamalan's movies pass that test.