![]() ![]() However, for a mature R-rated sequel to a cult film from 30 years ago and which also didn’t do much in the way of explicit marketing, that is quite an achievement. The masterpiece sci-fi sequel debuted with R2.7 million which is normally not much to write home about. Luckily it seems that a little bit of sanity has prevailed as Blade Runner 2049 has indeed opened at the top of the SA box office this weekend past. After having family-friendly animated fare – most of which were pretty terrible – best far better live-action movies at the box office this year, I was totally expecting to open the SA charts and be angered. Hollywood is only getting started.Well, now. In other words, if you think this trend is getting a bit tired, think again. Hasbro tried (unsuccessfully) to buy Dreamworks Animation a few years ago, and more recently they put in a bid for Lionsgate, a deal that fell apart earlier this month. But their next step is even more ambitious: they’re looking to buy an actual film studio. It has been working feverishly to develop all of its brands into Hollywood franchises – some (Transformers) more successfully than others (Battleship). My Little Pony is based on a Hasbro toy line, and Hasbro has gone all-in on the trend. The majority of announced projects in development at American animation studios are based on existing I.P. has multiple Lego sequels and spinoffs coming up, Sony has an Angry Birds sequel, Dreamworks has a Trolls sequel, and Lionsgate will release a My Little Pony feature in October. STX and Reel FX are getting ready to start production on a movie based on Uglydolls, Open Road Films will distribute a movie based on the German toy line Playmobil, Amazon is developing a feature around Emily the Strange merchandise, Warner Bros. It’s a path in which conveying the essence of a brand is considered to be a worthwhile creative endeavor for a filmmaker. The returns on The Emoji Movie will play a role in determining New Line’s decision to proceed or not.īut whether New Line makes the film, everyone else in animation is already headed down an I.P.-driven path. subsidiary New Line Cinema has already bought Fruit Ninja – the animated feature – but they’re still trying to decide whether to make it or not. Damiani told me this aligns with the Fruit Ninja brand: “Anybody can play. The action starts after each of the story’s heroes returns home after a horrible day and plays Fruit Ninja to relieve some stress. With civilization in imminent danger, a cadre of unlikely heroes materializes - a little boy, a college-age girl, two average guys. The only thing keeping humanity from certain doom is a secret society of ninjas who kill the fruit and rescue the hosts by administering the “anti-fruit.” The produce-slaying saviors are recruited from the population based on their skill with the Fruit Ninja game. The infected fruit then search for a human host. Eventually, a working narrative emerged: Every couple of hundred years, a comet flies by Earth, leaving in its wake a parasite that descends on a farm and infects the fruit. Their next concept involved scientific experiments on fruit gone wrong. They started with the premise that there was a magic book and an evil fruit overlord. The passage about the different ideas they’ve come up with for a Fruit Ninja feature is as depressing a read as one might expect:Įarly on, Lavin and Damiani struggled to find a narrative entry point. I can imagine going in and seeing it in 3-D - just imagine a 20-foot-high pineapple monster. For Lavin, the soul of the game is the feeling of “frenzy.” “There’s like a 60-second version of it where you can see how fast you can kill fruit,” he says, which “puts your brain in this weird, bizarre focused place.” As he sees it: “This would be the movie to go see stoned. “For me, it is the messiness, the immediate release of destroying fruit,” Damiani told me. Lavin and Damiani spent hours discussing the essence of Fruit Ninja. Their work on projects like Flat Stanley, though, had shown them that having less to work with provided a greater degree of creative freedom. Lavin called Damiani after playing for a while. When were approached by Vinson, the first thing they did was download Fruit Ninja. Lavin and Chad Damiani worked to figure out a Fruit Ninja script: The project’s lack of creative foundation is highlighted in the article through its detailed description of how screenwriters J. P. Like the other films that comprise this trend, Vinson’s idea is unmotivated by any artistic intent it is a pure capitalistic play with profit as its only motive. French’s piece revolves around veteran Hollywood producer Tripp Vinson and his efforts to develop an animated feature around the mobile game Fruit Ninja.
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