Category: 20th Century Fox
Taglines: Once Brothers, Now Enemies.
Epic adventure Exodus: Gods and Kings is the story of one man’s daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses as he rises up against the Egyptian Pharaoh Ramses, setting 600,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.
Exodus: Gods and Kings is a biblically-inspired epic film directed by Ridley Scott. It was written by Adam Cooper, Bill Collage, Jeffrey Caine and Steven Zaillian. The film stars Christian Bale, Joel Edgerton, John Turturro, Aaron Paul, Ben Mendelsohn, María Valverde, Sigourney Weaver, Ghassan Massoud, Golshifteh Farahani and Ben Kingsley. It is a loose interpretation of the story of the exodus of the Hebrews from Egypt as led by Moses and related in the Book of Exodus.
Shooting of the film began in October 2013 in Almería. Additional filming was scheduled at Pinewood Studios, England. Shooting begun on October 22 in Tabernas (Almería) as the first and main location is Ouarzazate (Morocco), and in Sierra Alhamilla (Almería). The Red Sea scene was filmed at a beach on Fuerteventura, one of the Canary Islands off the northwest coast of Africa. Shooting also reportedly took place in Almeria and in Fuerteventura and lasted 74 days.
About the Story
In 1300 BC, Moses, a general and member of the royal family, prepares to attack the Hittite army with Prince Ramesses. A High Priestess divines a prophecy from animal intestines, which she relates to Ramesses’ father, Seti I. He tells the two men of the prophecy, in which one (of Moses and Ramesses) will save the other and become a leader. During the attack on the Hittites, Moses saves Ramesses’ life, leaving both men troubled.
Later, Moses is sent to the city of Pithom to meet with the Viceroy Hegep, who oversees the Hebrew slaves. Upon his arrival, he encounters the slave Joshua, who is the descendant of Joseph, and is appalled by the horrific conditions of the slaves. Shortly afterwards, Moses meets Nun, who informs him of his true lineage; he is the child of Hebrew parents who was sent by his sister Miriam to be raised by Pharaoh’s daughter. Moses is stunned at the revelation and leaves angrily. However, two Hebrews also overhear Nun’s story and report their discovery to Hegep.
Seti dies soon after Moses’ return to Memphis, and Ramesses becomes the new Pharaoh (Ramesses II). Hegep arrives to reveal Moses’ true identity, but Ramesses is conflicted about whether to believe the story. At the urging of Queen Tuya, he interrogates the servant Miriam, who denies being Moses’ sister. When Ramesses threatens to cut off Miriam’s arm, Moses comes to her defense, revealing he is a Hebrew.
Although Tuya wants Moses to be put to death, Ramesses decides to send him into exile. Before leaving Egypt, Moses meets with his adopted mother and Miriam, who refer to him by his birth name of Moishe. Following a journey into the desert, Moses comes to Midian where he meets Zipporah and her father, Jethro. Moses becomes a shepherd, marries Zipporah and has a son Gershom.
About the Production
On March 15, 2013, It has ben eported Ridley Scott wanted Christian Bale to star in the film; in August he confirmed the role to be Moses himself. On the same day, Joel Edgerton joined the cast to play Ramses and production was set to begin in September. The studio announced the casting calls in Spain’s Almería and Pechina for 3,000 to 4,000 extras and with another 1,000 to 2,000 extras on the island of Fuerteventura. On August 27, Aaron Paul joined the film to play Joshua. Sigourney Weaver, Ben Kingsley and John Turturro were still in talks about joining the cast. On March 27, 2014, the studio changed the title of the film to Exodus: Gods and Kings.
Exodus set in Pechina, Andalusia, Spain. Shooting of the film began in October 2013 in Almería. Additional filming was scheduled at Pinewood Studios, England. Shooting begun on October 22 in Tabernas (Almería) as the first and main location, and in Sierra Alhamilla (Almería). In Fuerteventura, Canary Islands, Ridley Scott shot additional footage in Pájara and Antigua.
Exodus: Gods and Kings
Directed by: Ridley Scott
Starring: Exodus: Christian Bale, Joel Edgerton, John Turturro, Indira Varma, Aaron Paul, Ben Mendelsohn, Sigourney Weaver, Ben Kingsley, María Valverde, Hiam Abbass
Screenplay by: Adam Cooper, Bill Collage
Production Design by: Arthur Max
Cinematography by: Dariusz Wolski
Film Editing by: Billy Rich
Costume Design by: Janty Yates
Set Decoration by: Celia Bobak
Art Direction by: Ravi Bansal, Alex Cameron, Alejandro Fernández, Gavin Fitch, Matthew Gray, Marc Homes, Luigi Marchione, Óscar Sempere, Ashley Winter, Matt Wynne
Music by: Alberto Iglesias
MPAA Rating: PG-13 for violence including battle sequences and intense images.
Studio: 20th Century Fox
Releas Dat: December 12, 2014
Taglines: One final night to save the day.
When the magic powers of The Tablet of Ahkmenrah begin to die out, Larry Daley (Ben Stiller) spans the globe, uniting favorite and new characters while embarking on an epic quest to save the magic before it is gone forever.
Night at the Museum: Secret of the Tomb is an American comedy film directed by Shawn Levy and written by David Guion and Michael Handelman. It is the sequel to the 2006 film Night at the Museum and the 2009 film Night at the Museum: Battle of the Smithsonian. The film stars Ben Stiller, Robin Williams, Owen Wilson, Steve Coogan, Dan Stevens and Ben Kingsley. It is the third and final installment of the Night at the Museum trilogy.
In Secret of the Tomb, security guard Larry Daley must travel to London to return the tablet of Ahkmenrah, an Egyptian artifact which causes the exhibits to come to life, before the magic disappears. The film premiered on December 11, 2014 at New York City’s Ziegfeld Theater and was released in the United States on December 19, 2014. Secret of the Tomb grossed over $360 million at the box office. The film is dedicated to Mickey Rooney and Robin Williams, both of whom died months after the film’s principal photography ended.
Night at the Museum: Secret of the Tomb
Directed by: Shawn Levy
Starring: Ben Stiller, Robin Williams, Rebel Wilson, Owen Wilson, Dan Stevens, Ben Kingsley, Mizuo Peck, Rachael Harris
Screenplay by: Robert Ben Garant, David Guion, Michael Handelman, Thomas Lennon
Production Design by: Martin Whist
Cinematography by: Guillermo Navarro
Film Editing by: Dean Zimmerman
Art Direction by: Nigel Evans, Catherine Ircha
Set Decoration by: Peter Lando
Music by: Alan Silvestri
MPAA Rating: PG for mild action, some rude humor and brief language.
Studio: 20th Century Fox
Release Date: December 19, 2014
Taglines: You only enter once.
The ancient wonders of the world have long cursed explorers who’ve dared to uncover their secrets. But a team of U.S. archaeologists gets more than they bargained for when they discover a lost pyramid unlike any other in the Egyptian desert. As they unlock the horrific secrets buried within, they realize they aren’t just trapped, they are being hunted.
The Pyramid is an American found footage supernatural horror film directed by Grégory Levasseur, produced by Alexandre Aja, and written by Daniel Meersand and Nick Simon. The film stars Ashley Hinshaw, Denis O’Hare, James Buckley and Daniel Amerman. The film was released on December 5, 2014, by 20th Century Fox.
About the Story
The film takes place during the Egyptian protests in 2013. An archaeological team discover a vast pyramid buried under the Egyptian desert; a pyramid that has three sides and not four like the pyramids of Giza, Egypt. Using satellite technology they determine the pyramid to be 600 feet deep. A tunnel that leads into the apex of the pyramid is discovered and upon opening, releases toxic air which poisons a worker. Shortly afterwards the team is ordered to leave the site because of the uprising in Giza.
The team, composed of father and daughter Miles and Nora Holden, argue over leaving the dig site because they are uncertain of when they can return. Eventually they agree on sending in a remote controlled robot to survey the first few rooms and document the pyramid. Shorty, the robot, enters the pyramid and after examining a small portion of the structure is attacked by an unknown creature and goes offline. After Shorty’s destruction by unknown means, they make their way inside to recover it.
They rapidly become lost, and a section of floor collapses beneath them, wounding and trapping Zahir (Amir K) pinning his leg to the ground by fallen debris. While attempting to climb back up, Sunni (Nicola) is scratched across the face by an unseen creature and falls. Leaving Zahir behind to find another way out, they hear him scream, and return to find only a bloody trail leading up the wall.
Directed by: Grégory Levasseur
Starring: Ashley Hinshaw, Denis O’Hare, James Buckley, Daniel Amerman, Christa Nicola, Joseph Beddelem
Screnplay by: Daniel Meersand, Nick Simon
Production Design by: Marco Trentini
Film Editing by: Scott C. Silver
Costume Design by: Essouci Zakia
Set Decoration by: Alessandra Querzola
Art Direction by: Alessandro Santucci
Music by: Nima Fakhrara
MPAA Rating: R for some horror violence and bloody images.
Studio: 20th Century Fox
Release Date: December 5, 2014
From producer Guillermo del Toro and director Jorge Gutierrez comes an animated comedy with a unique visual style. THE BOOK OF LIFE is the journey of Manolo, a young man who is torn between fulfilling the expectations of his family and following his heart. Before choosing which path to follow, he embarks on an incredible adventure that spans three fantastical worlds where he must face his greatest fears. Rich with a fresh take on pop music favorites, THE BOOK OF LIFE encourages us to celebrate the past while looking forward to the future.
The Book of Life is an American 3D computer-animated adventure musical comedy film produced by Reel FX Creative Studios and distributed by 20th Century Fox. Co-written and directed by Jorge Gutierrez, the film stars the voices of Diego Luna, Zoe Saldana, and Channing Tatum with supporting roles by Christina Applegate, Ice Cube, Ron Perlman, and Kate del Castillo. The film was theatrically released on October 17, 2014.
About the Story
A bus full of children arrives at a museum, where they are taken on a secret tour by a tour guide named Mary Beth (Christina Applegate), who tells them about the famous legends and myths of Mexican folklore. She leads them to a hidden room, containing the Book of Life, which holds the story of how the ways of their world were shaped.
She shows them a story that focuses on the Mexican town of San Angel and on two gods, La Muerte: Ruler of the Land of the Remembered (Kate del Castillo) where the spirits live on with their memories kept by their loved ones and Xibalba: Ruler of the Land of the Forgotten (Ron Perlman) where the forgotten souls decay into oblivion. During the Day of the Dead festival, the two spot three young children playing – Manolo and Joaquín, who are both in love with the same, free-spirited girl, María. Manolo comes from a family of bullfighters, but his real passion lies in music. Joaquín is more adventurous, hoping to avenge his father, a soldier who was killed by the sinister bandit Chakal (Dan Navarro).
Disguised as peasants, the two go down into the celebration. La Muerte, as an old woman, comes to Manolo (Diego Luna) and his father Carlos (Héctor Elizondo) who are at the grave of Manolo’s mother Carmen and is given a loaf of bread by Manolo. Xibalba, as an old man trades the bread for a mystical medal that will make Joaquín (Channing Tatum) invulnerable to harm. Xibalba then bets La Muerte that María (Zoe Saldana) will end up marrying Joaquín while La Muerte bets on Manolo. The winner will be allowed to rule over the Land of the Remembered.
María later sets free a group of animals into the town after seeing a cute baby pig (Carlos Alazraqui) much to the chagrin of her father General Posada (Carlos Alazraqui). A wild boar comes into town and nearly gets Posada, but Manolo manages to lure the boar like a bullfighter and cause it to crash, but Posada believes it was Joaquín that saved him ignoring Manolo in favor of him. As punishment for her actions, Posada orders María to be sent to a private boarding school in Spain. Manolo gives her the baby pig that she wanted to save which Manolo names Chuy. María gives him a guitar after his old one is broken. On it is an engraving that says “Always play from your heart.”
The Book of Life
Directed by: Jorge R. Gutierrez
Starring: Diego Luna, Zoe Saldana, Channing Tatum, Ron Perlman, Christina Applegate, Ice Cube, Kate del Castillo
Screenplay by: Jorge R. Gutierrez, Douglas Langdale
Production Design by: Paul Sullivan, Simon Valdimir Varela
Film Editing by: Steven Liu, Ahren Shaw
Art Direction by: Paul Sullivan
Music by: Gustavo Santaolalla
MPAA Rating: PG for mild action, rude humor, some thematic elements and brief scary images.
Studio: 20th Century Fox
Release Date: October 17, 2014
Taglines: You don’t know what you’ve got ’til it’s…
Directed by David Fincher and based upon the global bestseller by Gillian Flynn, Gone Girl unearths the secrets at the heart of a modern marriage. On the occasion of his fifth wedding anniversary, Nick Dunne (Ben Affleck) reports that his beautiful wife, Amy (Rosamund Pike), has gone missing. Under pressure from the police and a growing media frenzy, Nick’s portrait of a blissful union begins to crumble. Soon his lies, deceits and strange behavior have everyone asking the same dark question: Did Nick Dunne kill his wife?
Gone Girl is an American mystery film directed by David Fincher and adapted by Gillian Flynn from her 2012 novel of the same name. It stars Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, and Carrie Coon. The film had its world premiere on opening night of the 52nd New York Film Festival on September 26, 2014. It had its nationwide theatrical release on October 3 and received positive reviews from critics, who praised Fincher’s direction, Flynn’s script, score by Reznor and Ross, as well as the lead performances.
About the Production
“It’s a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters. And if all of us are play-acting, there can be no such thing as a soul mate. ..” ― Gillian Flynn, Gone Girl
From the tour de force thriller that became a bestselling must read comes David Fincher’s screen version of Gone Girl, a wild ride through our modern media culture and down into the deep, dark fault lines of an American marriage – in all its unreliable promises, inescapable deceits and pitch-black comedy.
The couple at the center of the story – former New York writer Nick Dunne and his formerly “cool girl” wife Amy, now trying to make ends meet in the mid-recession Midwest – have all the sinuous outer contours of contemporary marital bliss. But on the occasion of their 5th wedding anniversary, Amy goes missing — and those contours crack into a maze of fissures. Nick becomes the prime suspect, shrouded in a fog of suspicious behavior. Amy becomes the vaunted object of a media frenzy as the search for her, dead or alive, plays out before the eyes of a world thirsting for revelations.
Just as Nick and Amy personified the quintessential romantic match, Amy’s disappearance has all the markings of an emblematic domestic American crime. But her vanishing becomes a kind of hall of mirrors in which tantalizing and savage secrets lead to tantalizing and savage secrets. The events that unfold are thick with shocks and complications, but the questions that remain are what cut, with razorsharp precision, to the bone: Who is Nick? Who is Amy? Who are any of us in marriages — and a society — built on a precarious base of projected images and disguises?
Adapting The Phenomenon to the Screen
Upon its 2012 publication, Gillian Flynn’s novel Gone Girl became that rare entity: a massively popular, nail-biting summer bestseller that was also the talk of the literary world. The book was lauded not only for relentless suspense, but also for its narrative ingenuity and willingness to plumb the murkiest depths of human behavior, grappling with the jagged lines between marriage and possession, public and private life, the lure of artifice and the glare of truth. Even in the crime fiction genre it stood out for its fusing of two stunningly unreliable, dueling narrators – the two halves of a torn marriage – who manipulate each other, tangling the reader in their webs of deceit.
The novel was a visceral, cinematic experience but filled with pitfalls for a screen adaptation. So strong were the voices in the book it seemed unlikely anyone could ever adapt it as well as its author. Fortunately, Flynn was up for taking on the daunting task and produced a screenplay that boiled the essence of her deftly plotted but deeply interior novel down into a skin-tight structure.
Then a synergy occurred between Flynn and David Fincher. The pairing of Flynn’s merciless insights with Fincher’s atmospheric storytelling made a potent mix with the drippingly dark humor of the story – and its skew on marriage, celebrity and the way we mold and remold our life stories.
“It was as if David interpreted what Gillian wrote and then that interpretation was put back through Gillian again on the page,” says Ben Affleck. “And during that process there was even more wit added, there was more sardonic stuff, and there were so many salient observations. It really fits into David’s work and has that distinctive combination of being at once funny and enlivening.”
Though she was already enmeshed in the fabric of the story, Flynn had her work cut out for her. “The novel has a rather complicated and intertwining plot—and it’s not easy to streamline because the pieces are so linked together—so my biggest concern was respecting the plot while making sure the film didn’t become all engine,” she explain of the adaptation. “I wanted to make sure to find room for the nuances, the relationships and the characters the dark humor and odd moments—because that’s where the creepy, toxic heart of the story lives.”
She’d always seen Fincher as a potential accomplice. “Even as I was writing the novel, there were certain scenes I pictured him filming—I could see them through his lens,” Flynn comments. “I knew he’d bring a great sense of place and I knew he’d capture the suspense and claustrophobia of the story. Everyone knows Fincher can do dread. But what I have always loved about his films is his dark bursts of humor. Gone Girl, for all its nastiness, has moments of humor, too, and I knew he’d bring those to the screen. I felt, too, that he wouldn’t turn Gone Girl into a rigid whodunnit, but would find room to explore what the story is really about, which is this marriage.”
“I loved working with Gillian,” says Fincher. “She is so hardworking, so diligent. She’s not one of these people that deflects or defends or obfuscates for any reason. She’ll slaughter her darlings. I have so much respect not only for her work ethic but also for the way she writes… as a popcorn eating, leaning-forward-in-the-2nd-row audience member. “
Fincher used the story’s nascent humor as a kind of dark marinade to soak into the visuals and performances. “People laugh in movies when they see something that is true,” says Fincher. “That’s what brings them out of their shells in the dark. If you then get the right people to carry the drama — and you encourage them to find what’s human about it all – that’s how you breathe life into it.”
For now though, Fincher believes the less said about the film’s plot perhaps the better. “I think this movie is best enjoyed walking in cold,” he says. “People love watching a movie where they don’t know where it’s going to go next. They go to the movies to be surprised.”
Facades And Interiors: The Gone Girl Landscape
The physical world of Gone Girl mirrors the internal states of its characters – or perhaps vice versa – with its portrait of a recession-era America full of comforting facades that, upon closer inspection, are fraying at the seams. The result is a kind of noir Americana, a darkly hypnotic angle on displaced American dreams. Fincher crafted this world of both strangeness and intimacy with a team he has relied on repeatedly including cinematographer Jeff Cronenworth, production designer Donald Graham Burt, costume designer Trish Summerville and editor Kirk Baxter.
Cronenworth has certainly gone down dark roads before with Fincher. Through a series of films including Fight Club, The Social Network and The Girl With The Dragon Tattoo the pair have forged a distinctive visual style that conjures potent atmospheres out of restraint. Driven by subtleties and details, their work on Gone Girl takes their aesthetic for the first time into the suburban Midwest. This film’s regionalism echoes the work of influential American street photographer Joel Sternfeld — who found both human beauty and ironic humor in modern, manmade landscapes.
The material itself helped to focus the approach. “Once I read Gillian’s script and started getting into David’s head and started to live vicariously through these characters and the mental chess games they play with each other and the emotional roller coaster they are on, the question became how can the visuals support this deep, dark journey?” explains Cronenworth. “We felt an obligation to visually immerse the audience in the fullest possible way into Gillian’s world.”
As for how camera and lighting become complicit in creating doubt and suspicion in a film where faux facades proliferate, Cronenworth says: “You look for ways to take a traditional, mundane small town and a couple’s impersonal home and subtly transform them into something mysterious.”
Filming took place in Cape Girardeau, a quaint Missouri River town a little over 100 miles outside St. Louis, which stands in for Nick’s downturned hometown of Carthage. Donald Burt notes that the location offered a lot of advantages. “Everything about Cape Girardeau was right – from its mix of different levels of economics and period architectures from the 60s, 70s and 80s to its sprawling malls to having the river right there as an anchor,” says the designer. “The people there were also so kind and so helpful. It shone a light on their remarkable generosity.”
Cronenworth was equally intrigued by the contours of Cape Girardeau in creating Carthage. “Carthage is much like many one-time prosperous towns across America where a highway came in and a few big box stores went up and suddenly the economic opportunities have moved down the road,” he describes. “I saw Carthage as a kind of a dusty old wedding gown that’s been kept in the closet. It still has a natural beauty and allure to it – but it hasn’t really been taken out and used for years.”
Practical locations were commandeered to hone in on this portrait. Burt explains, “With David it’s always about restraint but also finding things that are just a little bit off center. The idea is both ‘let’s keep it simple’ and yet ‘let’s keep it complex.’ We also make a concerted effort to constantly question ourselves; David often asks ‘do you think the characters would be in this place?’ And we explore things in that way, always through the characters.”
Adds Cronenworth: “I think David and Don and I all feel that the less we make obvious fingerprints, the more people are immersed in the atmosphere.”
Perhaps the most essential location was the Dunnes’ home, a rented McMansion in an affluent subdivision. Though shiny and new, shadows prevail within. “The Dunne’s house was all about taking a normal, ordinary domestic situation and turning it into an isolated fortress with the blinds drawn down,” Cronenworth explains. “From small details comes that sense of disenchantment.”
Burt and his team took a lot of care finding just the right house. “The house wasn’t too grand, yet it was large enough that two people could feel there was both closeness and at the same time a kind of separateness — the unspoken ‘don’t enter my space, I won’t enter yours.’ We wanted it to feel vacuous yet have layers,” the designer says. “It evoked the feeling of a McMansion without being disturbingly vulgar. We liked that it had classical elements, so that some of the wood in the Carthage house echoes their more historical townhome in New York but in a skewed way. It’s as if the house yearns to be traditional… but the hardware and the light fixtures and the vinyl windows give it away.”
The production lucked out in finding Desi’s lavish lakehouse nearby. “We found this spectacular home by a Frank Lloyd Wright student and it was just perfect. It felt remote but it spoke to money and yet it had a certain kind of prison quality,” Burt says.
One of the film’s literally darkest scenes takes place in an abandoned Missouri mall that has become a kind of mecca of the disenfranchised. Those sequences were shot in Los Angeles, using an abandoned Montgomery Ward store for the exteriors and the vast Hawthorne Mall for the interiors. “We dressed it with all this broken drywall and old dilapidated planters that you find in malls. We actually did a lot research on abandoned malls, because there are a lot across America,” says Burt. “There’s an apocalyptic feel – like there’s another, darker world underneath what you see in Carthage.”
For Cronenworth, it was a favorite location because of its challenges. “The scale was daunting in that you can see down 3 floors and 300 feet in each direction – and we wanted it all lit mostly with flashlights and bonfires,” he says. “It was one of the film’s most interesting photographic challenges. We wanted the scene to embrace that kind of catacombs feeling.”
Both men have found their work with Fincher deepening. Says Cronenworth: “I would say the main thing that has changed over the years is our ability to sleep a little more comfortably at night. We’re more decisive and efficient, which makes things just a little easier. But one thing that has stayed the same is that I go away every day on his films feeling like I’ve learned something.”
Burt has a similar take on their long-lived collaboration. “I’d like to think there’s a shorthand when you work with somebody enough – but I truly try to approach each project as a completely fresh experience, and this one was,” he says. “What strikes me most about David’s films is that there are so many elements that only hit you peripherally on first viewing, then later really sink in. It’s so often not the element that’s right in front of your face that is key and that is his unique artistry.”
The Sound of Gone
For the music that provides a surging undertow to Gone Girl, David Fincher returned again to work with Trent Reznor and Atticus Ross, who in addition to collaborating on Nine Inch Nails’ albums, together composed the scores for The Social Network and The Girl With The Dragon Tattoo. They have become valued partners in producing scores as atmospheric and assaultive as Fincher’s direction.
Reznor notes that the way they work with Fincher is something more instinctive and unstructured than conventional composition – and that these altered means lead to a different kind of result. “We’ve learned working with David over the last couple of films to deploy a strategy that, really by chance, became the right way to do things,” Reznor explains. “It all starts with spending as much time as we can trying to extract from David the role he envisions the music playing in the film.”
On Gone Girl that meant starting with the film’s time and place amidst economic and social transitions. “We talked about the promise of the Midwest and what’s happened to that part of the American Dream, with all these foreclosed mega-mansions and downtowns that are being abandoned. We talked about the idea that this is a story about people presenting themselves to the world as they wish they could really be, at the same time that things around them are curdling,” Reznor says. “From that came the discussion of what palette of sounds, what instrumentation, what colors on the easel could create that. We wanted the sound to be distressed – where everything feels a little beaten up.”
A typically, Reznor and Ross compose conceptually long before they ever see reels of the film, continuously honing the score as the final film comes together. It’s a time-consuming, creatively daunting process, but one that can lead down unexpected alleys. “We work almost subconsciously based often just on textures and swatches,” Reznor delineates. “After a few weeks of working this way, we’ll turn in some music to see if what we are doing is resonating with what is in David’s head. It probably takes about 30 times as long to work in this way but it’s what feels right.”
The kick-off point for the music was the kind of softly benign strains you might hear whilst on a spa massage table. “We thought, what if we start with something almost grotesquely sweet and then reveal what’s under that surface,” Reznor says. “We incorporated spa-like moments, but then explored how to make them turn unpleasant, to peel off the layers so you feel the unraveling.”
Reznor continues: “In terms of the palette of sounds what’s unique on this one is that we used a more organic, less synthetic soundscape. We didn’t want it to feel too slick so we used a lot of interesting homemade equipment. There are moments where the rhythm is just me tapping on a wooden box so it feels repetitive but drifts around a bit like a human heartbeat.”
As for why he and Ross keep coming back to work with Fincher, Reznor says: “We’ve had such magical, inspirational and artistically rewarding experiences with him that it spoils you,” he says. “You realize how rare it is for really great films to pop up.”
Ultimately, over time, the music became a uniting thread weaving through all the other elements. “There was a moment when we turned in a batch of material and we got that sense of excitement from David and Kirk that we’d zeroed in on something that helped inspire them to tie the whole movie together. It’s like that moment when you’re recording and it coalesces into a true album and no longer just a collection of songs.”
Directed by: David Fincher
Starring: Ben Affleck, Rosamund Pike, Neil Patrick Harris, Carrie Coon, Kim Dickens, Lisa Banes, Missi Pyle, Casey Wilson, Sela Ward
Screenplay by: Gillian Flynn
Production Design by: Donald Graham Burt
Cinematography by: Jeff Cronenweth
Film Editing by: Kirk Baxter
Costume Design by: Trish Summerville
Set Decoration by: Douglas A. Mowat, Gena Vazquez
Music by: Trent Reznor, Atticus Ross
MPAA Rating: R for a scene of bloody violence, some strong sexual content / nudity, and language.
Studio: 20th Century Fox
Release Date: October 3, 2014
The story follows a boy named Thomas who wakes up in a strange place called the Glade with no memory aside from his first name. The Glade is an enclosed structure populated by other boys, and is surrounded by tall, stone walls that protect them from monsters called Grievers that live in the Maze, which surrounds the walls around the Glade.
Every day, some of the kids who are Runners venture into the labyrinth trying to map the ever-changing pattern of walls in an attempt to find an exit. As soon as Thomas arrives, unusual things begin to happen and the others grow suspicious of him. The Maze seems familiar to Thomas, but he’s unable to make sense of the place despite his extraordinary abilities as a Runner. When the first girl arrives in the Glade, she brings a message that she will be the last one to ever arrive in the Glade, as the end is near.
The Maze Runner is an American dystopian film based on James Dashner’s 2009 young adult novel of the same name. The film is the first installment in The Maze Runner film series and was directed by Wes Ball, with a screenplay by Noah Oppenheim, Grant Pierce Myers, and T.S. Nowlin. The film stars Dylan O’Brien, Kaya Scodelario, Thomas Brodie-Sangster, Ki Hong Lee, and Will Poulter.
About the Story
A boy wakes up inside a rusty elevator that was in the water for hours. When he arrives at the top, he is greeted by other boys in a grassy clearing called the Glade, which is surrounded by tall walls. The boy is unable to remember anything about himself, but Alby, the leader of the Glade, tells him that his condition is normal and that he would remember his name soon. He shows him the Glade and how it is run. The boy wonders what is beyond the opening in the wall adjacent to the Glade, but he is warned not to go through there, as it is a maze. The boy meets Chuck, and the two become friends.
There is a party that night to welcome the newest arrival. Every month, a new person and supplies come in the elevator. Newt, second in command and gardener, explains that the Maze is the only way out. The most able boys become Runners, who are the only ones allowed into the Maze. They search for an escape route during the day, but return before nightfall, as the Maze entrance closes at dusk, and no one has ever survived a night in the Maze. The boy ends up in a fight with a boy named Gally, during which he suddenly remembers his name: Thomas.
While Thomas is gathering supplies in the woods, he is viciously attacked by Ben, a Runner, who has been stung by a Griever – deadly monsters that lurk in the maze. The boys force Ben into the Maze to die. Minho, a runner, and Alby attempt to retrace Ben’s steps in the maze, but Alby is stung and rendered unconscious. Minho appears at dusk, dragging Alby, but is unable to reach the entrance in time. Seeing this, Thomas runs into the maze. Minho and Thomas survive the night, with Thomas successfully killing a Griever, and they return the next day with Alby to the astonishment of the other boys.
Gally, upset that the fragile peace between the boys and the Grievers may be in jeopardy, proposes punishing Thomas for entering the maze, though Newt overrules him and makes Thomas a Runner. Thomas accompanies Minho and a few others into the maze. They find the Griever’s corpse and remove a beeping mechanical part, discovering that it is numbered to correspond to a certain section in the maze. The first ever girl arrives in the elevator, who apparently recognizes Thomas. A note indicates that she is the final person that will be sent. The girl, named Teresa, carries two syringes filled with a mysterious substance. The Gladers use one on Alby, and he gradually recovers from his sting and starts to regain his memories.
The Maze Runner
Directed by: Wes Ball
Starring: Dylan O’Brien, Kaya Scodelario, Will Poulter, Chris Sheffield, Patricia Clarkson
Screenplay by: Noah Oppenheim, Grant Pierce Myers
Production Design by: Marc Fisichella
Cinematography by: Enrique Chediak
Film Editing by: Dan Zimmerman
Costume Design by: Christine Bieselin Clark, Simonetta Mariano
Set Decoration by: Jon Danniells
Music by: John Paesano
MPAA Rating: PG-13 for thematic elements and intense sequences of sci-fi violence and action, including some disturbing images.
Studio: 20th Century Fox
Release Date: September 19, 2014
Taglines: Fake cops, real trouble.
It’s the ultimate buddy cop movie except for one thing: they’re not cops. When two struggling pals dress as police officers for a costume party, they become neighborhood sensations. But when these newly-minted “heroes” get tangled in a real life web of mobsters and dirty detectives, they must put their fake badges on the line.
Let’s Be Cops is an American comedy film directed by Luke Greenfield and co-written with Nicholas Thomas. The film stars Jake Johnson and Damon Wayans, Jr. as two friends who pretend to be Los Angeles police officers. Also co-starring Nina Dobrev, Rob Riggle, and Keegan-Michael Key, the film was released on August 13, 2014.
About the Story
Two long time pals, Justin, a reject video game designer, and Ryan, a washed up college quarterback, recall a pact they once made: if they hadn’t “made it” in Los Angeles by the time they were thirty, they would head back to their Ohio hometown. While exiting a bar, their car is hit by a vehicle full of Albanians, who intimidate them into doing nothing.
Justin attempts to pitch a game about policemen, but his boss bullies him down. Later, Ryan convinces him to use the police uniforms from his presentation as costumes for their college reunion party. Upon attending, both are confronted with their failures and mutually accept to honor their pact. As they walk home, they are treated like real cops and decide to enjoy the gag. It allows Justin to finally get the attention of Josie, a waitress to whom he is attracted and who works at a local diner, Georgie’s.
Ryan decides to take the hoax further than one night. He learns official procedures and buys a used police cruiser, modifying it to resemble the genuine article. Although reluctant, Justin agrees to continue the charade, and through it begins a relationship with Josie. Ryan gets revenge on the Albanians who hit his car, unaware that they are mobsters blackmailing the owner of Georgie’s. During their many shenanigans, Ryan and Justin end up on a real distress call with Patrol Officer Segars. The experience shakes Justin, who realizes they face serious jail time if exposed. He tries to “retire,” but gets a phone call from Josie about a man frequently harassing her at work. It turns out to be Mossi Kasic, leader of the Albanian mobsters. Once more, the pair are intimidated into doing nothing.
Via Segars, Ryan obtains surveillance equipment to gather evidence and put Mossi away, along with an unidentified partner who has been investigating the pair. Ryan convinces Justin to do an undercover operation to obtain information on an incriminating shipment of crates. During the mission, they discover the crates full of SWAT equipment, along with secret tunnels in which they are shipped that run between Mossi’s club and Georgie’s restaurant. This necessitates the acquisition of the restaurant, explaining the blackmail. After a few close encounters, they barely escape. Fed up, Justin insists on mailing the evidence anonymously, but Ryan, finding purpose in his life again, is set on delivering it personally. They fight, and part ways.
Ryan brings his evidence to Segars, who recommends it go to the highest authority, which is Detective Brolin. Unfortunately, Brolin is actually Mossi’s partner. After instantly recognizing each other, Ryan makes it out of the station, but his sudden threat has blown their cover. Meanwhile, Justin decides to man up and, in uniform, assertively pitches his game again. One of Brolin’s officers shows up to try and kill him, inadvertently helping to sell the pitch. Ryan is abducted, and Mossi sends a threatening message to Justin. Overwhelmed, Justin pleas to Segars for help after admitting everything. He also confesses to Josie, which he had made previous attempts to do, and she disgustedly leaves him.
Justin goes into the tunnels alone while Ryan pits Mossi and Brolin against each other, prompting Mossi to shoot and kill the detective. Justin attempts to save his friend, but is overpowered. Segars arrives, causing Mossi and his crew to retreat. Segars admonishes the duo for their deception and orders them to leave before going after the mobsters without waiting for backup. Ryan and Justin agree they can’t abandon him, and suit up with the SWAT equipment. They save Segars, but he becomes incapacitated. The pair then face Mossi alone, during which the two reconcile. They fail to take him out, luckily, Segars is able to show up and shoots Mossi in the back of the chest, killing him.
Let’s Be Cops
Directed by: Luke Greenfield
Starring: Jake Johnson, Damon Wayans Jr., Rob Riggle, Nina Dobrev, Natasha Leggero, Rebecca Koon
Screenplay by: Luke Greenfield, Nicholas Thomas
Production Design by: William Arnold
Cinematography by: Daryn Okada
Film Editing by: Bill Pankow, Jonathan Schwartz
Costume Design by: Debra McGuire
Set Decoration by: Jennifer M. Gentile
Music by: Christophe Beck, Jake Monaco
Studio: : 20th Century Fox
Release Date: August 13, 2014
Dawn of the Planet of the Apes is an American science fiction film directed by Matt Reeves and written by Mark Bomback, Rick Jaffa and Amanda Silver. It stars Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, and Kodi Smit-McPhee. It is the sequel to the 2011 film Rise of the Planet of the Apes, which began 20th Century Fox’s reboot of the original Planet of the Apes series.
It is the eighth theatrical film in the franchise. The film was released in United States and Canada on July 11, 2014, and was met with critical acclaim, with critics praising its visual effects, story, direction, acting, and emotional depth. It was also a box office hit, having grossed over $697 million.
About the Story
As seen in the prologue, the ALZ-113 virus causes the collapse of human civilization following martial law, civil unrest and the economic collapse of every country in the world. Ten years later, Caesar leads and governs a new generation of apes in a community located in the Muir Woods. While walking through the forest, Caesar’s son Blue Eyes and Rocket’s son Ash encounter a human. The human, Carver, panics and shoots Ash, wounding him. Carver calls for the rest of his small party of armed survivors, led by a man named Malcolm, while Blue Eyes calls for the other apes. Caesar orders the humans to leave.
The remaining humans in San Francisco, genetically immune to the virus, are living in a guarded tower within the ruined city. Prompted by Koba, a scarred bonobo who holds a grudge against humans for his mistreatment, Caesar brings a large group of the apes to the city where he conveys the message that while the apes do not want war, they will fight to defend their home. He then demands that the humans stay in their territory and states the apes will stay in theirs, too.
Malcolm convinces his fellow leader Dreyfus to give him three days to reconcile with the apes to gain access to a hydroelectric dam in their territory, which could provide long-term power to the city. Dreyfus, distrustful of the apes, arms survivors using an abandoned armory. Malcolm then travels into the Ape Village but is captured by gorilla guards, who bring him to Caesar. After a tense discussion, Caesar allows Malcolm to work on the dam’s generator, provided they surrender their guns. As Malcolm, his wife Ellie, and son Alexander work, they bond with the apes. Mutual distrust of both sides gradually subsides but trust momentarily ends when Carver threatens Caesar’s sons with a concealed shotgun.
The sides reconcile as Ellie is allowed to treat Caesar’s ill wife Cornelia with antibiotics. Meanwhile, Koba discovers the armory and confronts Caesar, questioning his allegiance and taunting him over his “love” for humans. In response, Caesar heavily beats Koba, but since he does not kill other apes he chooses to forgive him. Koba then returns to the armory, steals an assault rifle and murders two human guards. He then secretly kills Carver, stealing his lighter and cap.
Dawn of the Planet of the Apes
Directed by: Matt Reeves
Starring: Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, Kodi Smit-McPhee
Screenplay by: Mark Bomback
Production Design by: James Chinlund
Cinematography: Michael Seresin
Film Editing by: William Hoy, Stan Salfas
Costume Design by: Melissa Bruning
Set Decoration by: Amanda Moss Serino
Music by: Michael Giacchino
MPAA Rating: PG-13 for intense sequences of sci-fi violence and action, and brief strong language.
Studio: 20th Century Fox
Release Date: July 11, 2014
Despite the tumor-shrinking medical miracle that has bought her a few years, Hazel has never been anything but terminal, her final chapter inscribed upon diagnosis. But when a gorgeous plot twist named Augustus Waters suddenly appears at Cancer Kid Support Group, Hazel’s story is about to be completely rewritten.
The Fault in Our Stars is a romantic comedy-drama film directed by Josh Boone, based on John Green’s bestselling novel of the same name. The film stars Shailene Woodley, Ansel Elgort and Nat Wolff. It is scheduled to be released in The Netherlands and Australia on June 5, 2014, and June 6, 2014 in the United States. Filming took place in Pittsburgh and Amsterdam.
Filming started on August 26, 2013 in Pittsburgh, Pennsylvania, and finished on October 10. Filming occurred in Amsterdam from October 14-16 and officially wrapped on the last day. The author of the novel The Fault in Our Stars, John Green, was on set for filming and made video blogs during production of the film chronicling his artistic journey in watching his creation be brought to life on a movie screen. His video and web blogs discuss topics such as why certain things like eye color and hair color were not primary reasons for casting actors as the characters from his book.
About the Story
Hazel Grace Lancaster, an intelligent and sarcastic Indianapolis teenager, has terminal thyroid cancer that has spread to her lungs. Believing her to be depressed, Hazel’s mother urges her to attend a cancer patients’ support group to make friends. During a support meeting, Hazel meets Augustus Waters, a teenager who had lost a leg because of bone cancer. After the meeting, Augustus invites Hazel to his house, where they bond. Before she leaves, they agree to read each other’s favorite novels.
Hazel recommends An Imperial Affliction to Augustus, a novel about a cancer-stricken girl named Anna that parallels Hazel’s experience. After finishing the book, Augustus expresses frustration with the novel’s abrupt ending. Hazel explains that the novel’s mysterious author, Peter van Houten, retreated to Amsterdam following the novel’s publication, and has not been heard from since.
Weeks later, Augustus tells Hazel he has traced van Houten’s assistant, Lidewij, and through her has corresponded by e-mail with van Houten. Hazel writes to van Houten to ask about the novel’s ambiguous ending; van Houten replies that he is only willing to answer her in person. Hazel asks her mother if she can travel to Amsterdam, but the idea is rejected because of financial and medical constraints. Later, Augustus surprises Hazel with tickets to Amsterdam, donated by a charitable foundation.
Days before the trip, Hazel suffers from pleural effusion and is sent to an intensive care unit (ICU). Her doctors initially will not let her travel, but are eventually persuaded to allow the trip. Hazel and Augustus arrive in Amsterdam and are presented with reservations for an expensive restaurant, paid for by van Houten. During the meal, Augustus confesses his love for Hazel. The pair meet van Houten but are shocked to find that instead of the kind writer who has been corresponding with them, he is a mean-spirited alcoholic and that Lidewij arranged the meeting and their dinner on his behalf. Van Houten, unaware of and angered by his assistant’s actions, taunts Hazel for seeking answers to a piece of fiction and belittles her medical condition.
As the two leave the author’s residence, dejected, Lidewij invites them to go sight-seeing with her, to make up for their experience. The three visit the Anne Frank House, where Hazel struggles to climb the house’s many stairs. At the end of the tour, Augustus and Hazel share a romantic kiss. They return to the hotel and have sex for the first time. The next day, Augustus tells Hazel that his cancer has relapsed. Upon returning to Indianapolis, Augustus’ health worsens. He is taken to the ICU for a few days and realizes he is close to death. Augustus invites his blind best friend Isaac and Hazel to his pre-funeral, where they deliver eulogies they prepared. Hazel quotes van Houten’s text, and tells him she would not trade their short time together for anything.
The Fault in Our Stars
Directed by: Josh Boone
Starring: Shailene Woodley, Ansel Elgort, Nat Wolff, Laura Dern, Sam Trammell, Lotte Verbeek, Toni Saladna, Allegra Carpenter, Emily Peachey, Emily Bach, Milica Govich
Screenplay by: Scott Neustadter, Michael H. Weber
Production Design by: Molly Hughes
Cinematography by: Ben Richardson
Film Editing by: Robb Sullivan
Costume Design by: Mary Claire Hannan
Set Decoration by: Merissa Lombardo
Art Direction by: Gregory A. Weimerskirch, Edwin Kemper
Music by: Mike Mogis, Nate Walcott
MPAA Rating: PG-13 for thematic elements, some sexuality and brief strong language.
Studio: 20th Century Fox
Release Date: June 6, 2014
The X-Men ensemble fights a war for the survival of the species across two time periods in X-Men: Days of Future Past. The characters from the original X-Men film trilogy join forces with their younger selves from X-Men: First Class in a battle that must change the past – to save their future.
X-Men: Days of Future Past is an upcoming 2014 American superhero film, based on the fictional X-Men characters appearing in Marvel Comics and on the 1981 Uncanny X-Men storyline “Days of Future Past” by Chris Claremont and John Byrne.
Directed by Bryan Singer, it is the seventh film in the X-Men film series and the third X-Men film directed by Singer after 2000′s X-Men and 2003′s X2. It stars an ensemble cast including Hugh Jackman, James McAvoy, Michael Fassbender, Halle Berry, Anna Paquin, Jennifer Lawrence, Ellen Page, Peter Dinklage, Patrick Stewart, and Ian McKellen. The story is written by Simon Kinberg, Matthew Vaughn and Jane Goldman, with Kinberg writing the screenplay.
Days of Future Past acts as a sequel to both 2006′s X-Men: The Last Stand and 2011′s X-Men: First Class, as well as a follow-up to 2013′s The Wolverine. Principal photography began in April 2013 in Montreal, Canada and ended in August 2013. The film was shot in 3D and is scheduled to be released on May 23, 2014.
Cast and Characters
Hugh Jackman as Logan / Wolverine
A mutant with accelerated healing, enhanced senses, adamantium-laced skeleton and retractable bone and adamantium claws. Director Bryan Singer stated that “Hugh of the future is sent, his consciousness is sent into his younger self [and] Hugh gets to play both parts because [Wolverine] is ageless.” Writer Simon Kinberg explained in an interview why Wolverine is the time traveler and he stated “We made the decision for a lot of reasons… One reason is that he’s the protagonist of the franchise, and probably the most beloved character to a mass audience.”
James McAvoy and Patrick Stewart as Charles Xavier / Professor X
The world’s most powerful telepath. Singer described the younger Xavier as being “a very different beast from First Class’ feckless playboy. He’s a wounded animal, bearded, long-haired, filled with rage at the way the world has treated him.” According to Stewart, there will be an explanation for Professor X’s return after he was vaporized by Jean Grey in X-Men: The Last Stand. Professor X’s return was previously alluded to during a post-credits scene in X-Men: The Last Stand and a mid-credits scene in The Wolverine.
Michael Fassbender and Ian McKellen as Erik Lehnsherr / Magneto
A mutant with the ability to manipulate metallic objects. Singer described McKellen’s role as “also a fixture in the future war, facing an enemy so monstrous that it forces former foes to band together.”
Halle Berry as Ororo Munroe / Storm
A mutant with the ability to manipulate the elements. Singer described Storm as “one of the last surviving X-Men in this post-apocalyptic world”. Berry stated that “there’s something very revealing and shocking about Storm in this movie. There are some things you find out about her that I think give you much more insight into who she is.” When asked about if her pregnancy affected Storm’s role, she replied “I wasn’t in as much as I was meant to be. My ever-growing belly was posing a constant challenge! What I could do was getting more limited so the role that I play is so different from what it could have been, due to my surprise pregnancy.”
Jennifer Lawrence as Raven Darkhölme / Mystique
A mutant with the ability in shape-shifting. Singer stated that Mystique “is less innocent, evolved, getting closer to where Mystique was in X-Men 2.” Lawrence revealed that Mystique is split off from Lensherr and Xavier and she has one mission of trying to assassinate somebody. She added “we’ve seen her [Mystique] in the future and what she becomes and this is kind of a turning point for her.”
Anna Paquin as Rogue
A mutant with the ability to absorb the mutant abilities of anyone she touches.
Ellen Page as Kitty Pryde
A mutant with the ability to phase through solid objects. Singer described Pryde as the prime facilitator and that Pryde’s phasing ability enables time-travel to happen.
Peter Dinklage as Bolivar Trask
A military scientist and the head of Trask Industries who created a range of robots called Sentinels whose purpose is to hunt and destroy mutants. Dinklage stated that Trask “sees what he’s doing as a good thing — [his ambition is] definitely blind and he’s quite arrogant. He’s strove all his life for a certain respect and attention.” He also stated that Trask is up against Richard Nixon.
Nicholas Hoult as Hank McCoy / Beast
A mutant with super-strength, agility and speed.
Shawn Ashmore as Bobby Drake / Iceman
A mutant with the ability to create and manipulate ice. When Ashmore was asked about what can be expected to see how his character’s relationship with Rogue has evolved since X-Men: The Last Stand, he replied “they’re constantly having these relationship issues so we’ll see what happens.”
X-Men: Days of Future Past
Directed by: Bryan Singer
Starring: Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Halle Berry, Anna Paquin, Ellen Page, Peter Dinklage, Ian McKellen, Patrick Stewart
Screenplay by: Simon Kinberg
Production Design by: John Myhre
Cinematography by: Newton Thomas Sigel
Film Editing by: John Ottman
Costume Design by: Louise Mingenbach
Set Decoration by: Gordon Sim
Music by: John Ottman
MPAA Rating: PG-13 for sequences of intense sci-fi violence and action, some suggestive material, nudity and language.
Studio: 20th Century Fox
Release Date: May 23, 2014