FANTASTIC FOUR REBOOT

[Fencer]

Quante carriere ha stroncato questo film?

[Shuji]

 

Vogliamo ricordarli cosi', con una roba di 48 anni orsono.

[Boyd]

Quante carriere ha stroncato questo film?

 

Solo quella di Trank. I protagonisti sono tutti ottimi attori lanciatissimi, sopravviveranno tranquillamente ad un flop.

 

@Sciuggi: me lo ricordo perfettamente, lo facevano su Supergulp su Rai1 (andavo alle elementari)!

Modificato 9 Agosto, 2015 da FantasmaDeiNataliPassati

[onirepap]

Li vedevo anch'io, splendidi sopratutto per il chara design di Alex Toth, tornando al discorso di carriere finite, d'accordo che Trank vada al patibolo ma non dovrebbe stare in compagnia dei produttori che hanno avvallato il progetto e poi averlo gestito in modo così dilettantesco?

[Boyd]

 ma non dovrebbe stare in compagnia dei produttori che hanno avvallato il progetto e poi averlo gestito in modo così dilettantesco?

 

Mi spiace ma non sono d'accordo: prova a gestirlo tu un pazzoide sul set incapace di intendere e di volere e insicuro di qualsiasi cosa! L'errore della Fox è averlo ingaggiato in prima battuta e poi ha solo cercato di salvare il salvabile: non è che Trank gli avesse consegnato Il Padrino o Apocalypse Now e i cattivoni l'hanno stravolto e rimaneggiato: è molto probabile che il cut fosse inguardabile!

 

P.S.: Come mai con Tim Miller (lui un regista davvero debuttante, prima era solo un effettista) su Deadpool è andato tutto liscio?

Modificato 9 Agosto, 2015 da FantasmaDeiNataliPassati

[onirepap]

 

 

ma non dovrebbe stare in compagnia dei produttori che hanno avvallato il progetto e poi averlo gestito in modo così dilettantesco?

Mi spiace ma non sono d'accordo: prova a gestirlo tu un pazzoide sul set incapace di intendere e di volere e insicuro di qualsiasi cosa! L'errore della Fox è averlo ingaggiato in prima battuta e poi ha solo cercato di salvare il salvabile: non è che Trank gli avesse consegnato Il Padrino o Apocalypse Now e i cattivoni l'hanno stravolto e rimaneggiato: è molto probabile che il cut fosse inguardabile!

 

P.S.: Come mai con Tim Miller (lui un regista davvero debuttante, prima era solo un effettista) su Deadpool è andato tutto liscio?

Ma guarda che sono d'accordo, ma credo che Miller abbia funzionato perché è appunto un professionista già conosciuto se pur in differenti ambiti mentre Trask ha nel suo cv solo un film semi amatoriale nobilitato dal soggetto di Landis, un po' poco per affidagli un blockbuster

[Shuji]

L'esperienza c'entra poco come base per l'affidamento di un lavoro simile.

 

Nei contratti e nei colloqui da lavoro dipendente, si chiede e si esige esperienza (e quindi di aver già svolto il lavoro per cui si fa domanda, il che porta al solito 'ma se non mi fate fare esperienza come lo prendo questo lavoro') ad un certo livello perche' quel livello nel mondo del lavoro e' quello che concretamente lo porta avanti.

In tutti gli altri ambiti, cio' che conta e' unicamente il rapporto personale, e la bravura a 'vendersi', oltre ad essere piu' o meno presente nelle bocche di tutti in qualche modo.

 

Quello di cui si vagheggia con la menata dell'esperienza, e' quella di una sorta di 'scala' fatta da vari gradini di varie azioni che portano poi meritocraticamente alla cima. Non esiste niente di piu' falso nella vita; e' al massimo robba da Shonen Jump o da romanzi d'appendice.

Trask e' riuscito a vendersi bene, null'altro.

 

SE i capoccia delle varie aziende avessero davvero una vaga idea di cosa fare, le societa' per cui lavorano godrebbero sempre e solo di utili.

In questi ambiti para-editoriali, io ho sempre fatto 'tesoro' di una frase dell'amico Alessandro Ferri (ex Play Press, etc); ossia che in editoria e similari non si ha alcuna certezza assoluta, si butta roba sul mercato finche' non si 'becca' il successo. Alla fine e' una roba pure peggio del gioco d'azzardo.
Trask era solo una delle tante puntate di queste aziende; e' andata male (pare, almeno), ma chi butta le fiches nel piatto, non si alza dalla sedia e se ne va alla prima mano andata male. E ne' alla seconda. Ne' alla terza. Etc.

[Boyd]

Confermato il disastro: 26,2 milioni di dollari nel week-end, è 'na ecatombe, è 'na apocalisse!!! E' già stato calcolato che a fine corsa F4 avrà incassato a malapena 60 milioni di dollari!!! :pazzia: :lolla:      

[onirepap]

Confermato il disastro: 26,2 milioni di dollari nel week-end, è 'na ecatombe, è 'na apocalisse!!! E' già stato calcolato che a fine corsa F4 avrà incassato a malapena 60 milioni di dollari!!! :pazzia: :lolla:    

 

La domanda nasce spontanea, ora la Fox cosa farà?

Continuerà a detenere a franchise che ha mostrato di non aver la pur minima idea su come utilizzare o si accorderà con la Marvel avendo in contropartita un maggior controllo sul mondo mutante(la famosa serie tv che fox vorrebbe fare)?

D'altro canto la marvelxsi ritrova con un franchise che è compromesso per almeno cinque o sei anni anche e dovrebbe iniziare un processo di risanamento lento e meiticoloso.

[Tetsuya]

Paradossalmente il quartetto e' la cosa meno importante, di quello che guadagnerebbe la Marvel nello scambio.
A parte Destino, che su di lui ci puoi impostare un'intera fase 4, dopo possono disporre di tutto il comparto cosmico mancante, di Kang come avversario dei Vendicatori e soprattutto... Galactus e Silver Surfer.
Inoltre, c'e' da dire una cosa. Il Marvel Cinematic Universe e' costruito in modo tale da poter narrare storie anche nel passato, come gia' han fatto con Agent Carter e in parte con Henry Pym.
I MS hanno gia' dimostrato che amano giocare con le idee, per cui... una storia dei Fantastici Quattro ambientata proprio negli anni '60? Con tutto il sense of wonder delle origini? Puoi fare la prima venuta di Galactus sulla Terra respinta dai FQ negli anni '60, per poi farlo tornare 50 anni dopo in epoca moderna ad affrontare gli Avengers e i discendenti dei FQ (e ci infili la Future Foundation).
Volendo, ci si puo' giocare in mille modi, senza problemi.
 

[Alex Halman]

Un film ambientato negli anni '60 sarebbe davvero una figata! 

 

Scrivi alla Marvel e proponigli l'idea, si sa mai... 

Modificato 9 Agosto, 2015 da Alex Halman

[Tetsuya]

Ne parlavo ora con amici e abbiamo sviluppato l'idea. Saga anni 60 con il Quartetto, poi per qualche ragione finiscono nella Zona Negativa o altro, restandovi intrappolati. Il genio di Reed alla fine li libera e ne emergono ai tempi nostri, giusto in tempo per avvisare della seconda venuta di Galactus.
Cosi' ottieni pure una linea narrativa leggera, usando che so, Ben e Johnny, con i contrasti anni '60/tempi moderni. Senza arrivare ai livelli di Austin Powers, ma il senso e' quello.
Destino non sarebbe un problema, tra scienza e magia, quello si rallenta l'invecchiamento come niente.

[sirtao]

O anche solo finisce pure lui incastrano nello stesso pasticcio che blocca i F4.

Anzi, l'idea che escono "tardi" a causa del fatto che Doom non voleva inizialmente collaborare e cose del genere

Considera anche la possibilità di legare tutto a Namor: Johnny ritrova Namor barbone nell'era moderna, non negli anni '60!

[Boyd]

Sono tutte idee splendide le vostre, ma poco commerciali e molto costose; inutile farsi pie illusioni: la Fox non restituirà mai gli F4 alla Marvel, non foss'altro per orgoglio, c'è quasi un odio atavico tra i due; sono certo che procederà militarmente con un sequel cambiando completamente registro oppure proverà a salvare la franchise crossoverandola con gli X-Men.

 

"While we're disappointed, we remain committed to these characters and we have a lot to look forward to in our Marvel universe," said Fox domestic distribution chief Chris Aronson.

 

Inoltre, non credo neanche che la Marvel sia terribilmente interessata: c'è tutta un'intera fase 3 particolarmente complessa da eseguire e portare a termine e per un eventuale film sugli F4 non se ne parlerebbe prima del 2022/2025 (campa cavallo che l'erba cresce!).

 

Altre indiscrezioni su Trank/Fox:

 

“the rift on set was not about creative differences but rather combative and abusive behavior Trank demonstrated toward the crew, producers, studio and even the stars. It’s partly linked to Trank’s personal disputes – involving accusations of deliberate damage done to the house he was renting, as revenge over a dispite with the landlord – which sources say eventually manifested on set as hostility and frustration from Trank.”

 

“Some who worked on the film say Trank broke, for sure, but was driven to the breaking point by the studio, and that his clash was not with Kinberg but Fox production president Emma Watts. According to several individuals who worked on the movie, the studio delayed casting and script approvals, slashed the budget by tens of millions from what was originally promised during the development phase, and tried to force last-minute script changes to the film just as principal photography was beginning.”

 

 

Fox executives desperately wanted to reboot Fantastic Four after the indifferently received big screen versions in 2005 and 2007, but they also bristled at many of the traditional comic book elements that defined the characters…

There was uncertainty about who should star. Michael B. Jordan as Johnny Storm was set from the start, but the studio wanted a different actor than Miles Teller for Reed Richards. Trank won that battle, even though he later developed a mutually disdainful relationship with the actor – but Fox insisted that Kate Mara be given the role of Sue Storm, and Trank treated her badly as a result. Some say he was cruel, others say merely cold. No one says they got along.

 

Modificato 10 Agosto, 2015 da FantasmaDeiNataliPassati

[sirtao]

In pratica la Fox voleva una marionetta ma ha scelto male, e Trank era troppo inesperto per gestire correttamente il rapporto con la Fox

[onirepap]

In pratica la Fox voleva una marionetta ma ha scelto male, e Trank era troppo inesperto per gestire correttamente il rapporto con la Fox

Ti sbagli, la Fox voleva un professionista, che ad alcuni piaccia o no i cinecomics sono film su commissione, un prodotto da vendere quindi chi ci mette mani ne deve essere consapevole, poi sta anche qui la bravura del regista a far valere le sue idee o comunque cercando anche diplomaticamente di far valere le proprie idee o male che vada ti servira' come esperienza per futuri lavori, ma non ti rovini la carriera in modo cosi infantile e ne offendi gli altri come la povera Mara che fanno il loro lavoro in modo professionale.

[Erik]

Al di là del comportamento di Trank, di cui ho già detto quello che penso, mi pare comunque stavolta la Fox abbia calcato la mano più del solito.
Dai report clandestini che stanno venendo fuori man mano, il quadro complessivo è particolarmente grigio.

[onirepap]

Al di là del comportamento di Trank, di cui ho già detto quello che penso, mi pare comunque stavolta la Fox abbia calcato la mano più del solito.

Dai report clandestini che stanno venendo fuori man mano, il quadro complessivo è particolarmente grigio.

Comunque avrebbe potuto lasciare direttamente visto l'andazzo, oppure avrebbe dovuto pagare qualche penale?

[Erik]

I contratti di Hollywood sono sempre stipulati dai legali degli Studios, quindi se tante volte tu, dopo che ne hai sottoscritto uno, per caso lasci la produzione senza essere stato cacciato... come dire... fai meglio a lasciare immediatamente il pianeta.

[Joker]

Lui ci ha anche provato a farsi cacciare ma forse alla Fox erano distratti dall'ascesa di Deadpool!

[Roger]

bah... tutta 'sta gente che può permettersi di mangiarsi la reputazione è inquietante.

spero che la fox si impegni un po' di più perchè è un'altra occasione sprecata.

[Boyd]

B-roll footage: a quanto pare c'era pure 'na scena con una sorta di fantasticar! (e qui Trank sembra quasi professionale e molto rilassato! )

 

https://www.youtube.com/watch?v=9MaXgaQbLRs

Modificato 10 Agosto, 2015 da FantasmaDeiNataliPassati

[Shuji]

Ti diro', se l'avessero lasciato cosi', avrebbe avuto quella certa 'aria' di Chronicle.

lol

 

P.s.

http://www.vox.com/2015/8/7/9116015/fantastic-four-comic-explained 

 

Fantastic Four — the great comic book franchise, not the garbage movie — explained

 

 

 

 

 

L'articolo del link e' bello lungo, ma a mio avviso vale la pena leggerlo.

lo metto anche in copia incolla, ma senza le immagini non rende:

 

 

On the horizon, an unmitigated trash fire burns brightly — it goes by the name Fantastic Four. The movie, which hits theaters Friday, is 100 minutes of listless cinematic salad. I still keep waiting for director Josh Trank to rip off his mask and reveal that this has been a terrifyingly nerdy long con by Ashton Kutcher and friends.

 

This movie is just the latest footnote in what's been a long and sour 20 years for a team that was once considered Marvel's first family. The Fantastic Four have been in terrible movies, had their comic book adventures canceled, and, perhaps worst of all, been forgotten. But it wasn't always this way.

 

Without them, Marvel and the heroes we love today would never have existed. The F4's comic book sales singlehandedly saved Marvel from an early death. And they weren't just popular for being popular — their stories, mainly revolving around family, resonated with readers. They also influenced the heroes who came after them. Without the Fantastic Four there would be no Spider-Man to teach us about power and responsibility, no Avengers bickering about what it means to be a hero, and no X-Men to show us what it's like to be outsiders.

 

But over the past few years, the team has slowly been shelved. They perhaps aren't gritty enough to thrive in the post-9/11 comic book world. Superhero groups they used to overshadow, like the Avengers (yes, more on this in a bit) and the Guardians of the Galaxy, have overtaken them. And in true comic book fashion, the Fantastic Four became a sacrifice that allowed Marvel to survive — at their expense.

 

The Fantastic Four are both Marvel's greatest creation and its greatest shame.

 

The Fantastic Four are Marvel's origin story

 

There used to be a time when people who didn't read comic books distilled the industry into flat child's play and cast off its superheroes as gentle reading for unshorn minds and adult toddlers. But thanks to Marvel's sheer dominance, we're at a point in pop culture when people who don't even read comic books can tell you about Groot or Thanos. Marvel, no doubt, owes a large part of this success to brilliant moviemaking teams, the actors who brought these characters to life as well as the writers, artists, and creators who continue to write new comic book chapters in one of the most enduring and oldest continuous narratives alive today.

 

But this success, and this comic book golden age, wouldn't even be possible without the Fantastic Four. Without them, you don't have Marvel.

 

In 1961, when Marvel was on the precipice of failure, Stan Lee and Jack Kirby were tasked with creating something that could rival and rip off DC Comics' Justice League, the superhero team that included Superman and Wonder Woman. Sean Howe writes in his book Marvel Comics: The Untold Story:

 

[Publisher Martin Goodman] marched into the office with a mandate for Lee: steal this idea and create a team of superheroes. But Lee had been through attempted superhero revivals before. He went home to his wife, Joanie, and announced that he was finally going to quit. She talked him out of it. "Just do it the way you want to," she insisted. "Work your ideas into the comic book. What are they going to do, fire you?"

 

Kirby, the legendary writer-artist, tells it differently:

 

"Marvel was on its ass, literally, and when I came around, they were practically hauling out the furniture," Kirby said. "They were beginning to move, and Stan Lee was sitting there crying. I told them to hold everything, and I pledged that I would give them the kind of books that would up their sales and keep them in business."

 

However it really started, Lee and Kirby came up with the Fantastic Four — a team of space adventurers consisting of a brother, a sister, a genius (who would later marry the sister), and a brawler from the wrong side of the tracks — who each obtain different powers after a mysterious voyage. Reed Richards, the genius, gained the ability to stretch his body. Sue Storm gained invisibility and the power to construct force fields. Johnny Storm, Sue's brash, hard-headed brother, turned into the Human Torch. And poor Ben Grimm became the stone powerhouse known as the Thing.

 

And thousands of Fantastic Four No. 1 issues were sold:

 

  

(Marvel)

Kirby's art and cover were revolutionary at the time. The cover looks unfinished — the sky isn't colored, and the building just disappears. The Four aren't wearing uniforms or superhero costumes the way Superman or Wonder Woman do. You have that orange Golem in the bottom left corner who doesn't even look human and a hairy fireball scorching through the sky. And that dude in the ropes just looks crazy weird, like something closer to a 7-year-old's doodle.

 

Kirby's art was a more modern, novel take on the superhero story. There is no handholding, no explanation. The story is just as abrupt. The heroes bicker. They fight. They're jerks to one another:

 

  

Fantastic Four No. 1. (Marvel)

This fighting and discord is in the basic fabric of superhero stories you see today. From the Avengers films to Guardians of the Galaxy to the upcoming Batman v Superman, the idea that good guys don't always have the same idea of what's good — and don't always get along — has become integral to team stories. But at the time, Kirby and Lee's Fantastic Four were the team that really embodied this idea.

 

Is being a superhero a curse?

 

The initial thrust of the Fantastic Four stories was their reflection of the era's obsession with space. Sue and Johnny Storm, Reed Richards, and Ben Grimm were sold as space adventurers who were altered when something went wrong and they were doused with cosmic rays in the vast beyond. Fantastic Four No. 1 was published in 1961 and went to market in August, four months after the Russians sent the first human into space.

 

When you talk to comic book writers, artists, and historians, they will say that large political events tend to shape the superhero stories for years to come. The atom bomb gave us more superheroes (see: Captain Atom), which then begat reactions to superheroes like Alan Moore's dark and nihilistic Watchmen. The Cold War brought about a glut of communist Russian characters (mostly villains). And the pain and tragedy of 9/11 still shapes stories today.

 

When it came to the Fantastic Four, people were still unsure what space could bring. It could be a place of wonderment and give these people fantastic (ha) powers. But it could also bring pain, which is how these characters first felt when they found themselves transformed. When they started getting abilities, Johnny Storm called his friends monsters:

 

  

Johnny Storm is not happy about these powers. (Fantastic Four No. 1/Marvel)

Kirby and Lee wanted to play with the idea that being a superhero could be a curse or make you a freak — something we didn't see with DC's Justice League. The way these powers would affect these heroes' lives would be fleshed out in later issues (the F4 decide pretty quickly to become heroes), but Kirby and Lee laid the groundwork for a comic book that really did explore the psychological toll of heroism.

 

The Thing is a story we can empathize with

 

Toward the end of junior high, when I was teetering on the brink of high school, I found myself working Fantastic Four comic books into my regular diet of several X-Men titles. I liked the X-Men (Storm mostly) because they felt as though they were cutting against the grain of comic books at the time. They felt like a family coping with a world that didn't understand them. And as I look back to the Fantastic Four issues I read, I'm beginning to understand I liked them for the same reason.

 

What I don't think I grasped at the time was how the Fantastic Four were a canny commentary on celebrity culture. The F4 did not need alter egos or secret identities. They lived their lives publicly as revered heroes. But three of the four (Johnny, Reed, Sue) did not have their looks affected by the accident. Ben Grimm is another story — a painful one.

 

Grimm's appearance as a monster was a constant source of insecurity for the hero. People treated him differently. And when they weren't scared of him, they pitied him. This came to a boil in Fantastic Four No. 51, titled "This Man … This Monster":

 

  

Fantastic Four No. 51. (Marvel)

In that plot, written by Lee and drawn by Kirby, Grimm deals with his physical appearance and the way it's affected his psyche. There's also a stark contrast to Johnny Storm, who is basically Zac Efron reimagined as a superhero:

 

  

Fantastic Four No. 51. (Marvel)

In this issue, a villain steals Grimm's powers and appearance, giving him the chance to live a normal life, which he does for a few moments. But his closest friends (Reed Richards and Sue) don't trust Grimm in his human form and only trust the guy that looks like the Thing. This allows the villain to infiltrate the inner sanctum of the F4.

 

"This Monster…" might not be the most elegant comic ever written, but it's soulful in a way that comics often aren't.

 

The Thing hits the nerves and conjures up the inevitable anxiety that all teens feel at some point in their lives. But Grimm's story also parallels the frustration of being a minority in America and the uneasiness of wanting to belong. The three other members have the ability to pass as "normal." Grimm doesn't. He's constantly defined by the way he looks and has to learn how to live with it.

 

It's tragic, it's sad, but it's also one of the most thoughtful and human aspects of the comic.

 

Marvel sold the rights to the Fantastic Four. That killed them.

 

The terribleness that is the two Jessica Alba and Chris Evans–led Fantastic Four movies (in 2005 and 2007), and this current monstrosity, has become synonymous with the superhero team. What gets lost is that there was a point that the Fantastic Four comic book was actually more popular than The Avengers. And even when the team's popularity waned, it wasn't too far behind:

 

 

In Avengers No. 1, the comic book that brings the Avengers together for the first time, the Fantastic Four have a splendid cameo. A distress call is sent out — the Hulk is on a rampage — and the F4 pick it up, but then are simultaneously shady and too important. They say another, lesser team (AVENGERS, ASSEMBLE!) can fix the problem while they are off saving the world:

 

  

Avengers No. 1. (Marvel)

At their height, the F4 were telling scrubs like the Avengers to deal with the trivial stuff. Fast forward 50 years or so, and we're at a point when Marvel announced this April that Fantastic Four's main comic book had been canceled and that the F4 are basically non-factors in the Marvel comic book universe.

 

To critics and comic fans, the main reason for their disappearance was the team's film rights. Back in 1990s, when the comic book bubble burst, Marvel was flailing — the company filed for bankruptcy in 1996. As comic book movies weren't giant hits back then, Marvel sold its rights to popular characters as a way to make cash it wasn't making off the comic books themselves.

 

"The company made a series of licensing deals around the time they sought bankruptcy protection in 1996," the Wall Street Journal's Ben Fritz explained. "These deals put Spider-Man in the hands of Sony. The X-Men and Fantastic Four went to Fox. Because the studios were in strong positions, they agreed to share only about 5% of the revenue from each film with Marvel."

 

Though Marvel hasn't said why the F4 have been diminished, making them big players in the Marvel Universe makes no business sense anymore. Simply put: Investing in properties like the X-Men or Fantastic Four isn't in Marvel's best financial interest. Fox would and could ostensibly make movies out of that great stuff, and then Marvel would only get a tiny cut of the revenue. And though the X-Men were in the same Fox boat as the Fantastic Four, they were the ultimate comic book of the '90s, making it impossible for Marvel to shelve them.

 

"They're [The Fantastic Four] an easy target in the war between Fox and Marvel," Vulture's Abraham Riesman wrote.

 

Having terrible Fantastic Four movies doesn't exactly help the cause, either.

 

The rub is that a lot of things we love about superhero movies and what makes them so great come from the Fantastic Four. While the '60s idea of space travel looks dated, the comic books' main stories about these heroes are still fresh — so fresh that we still see them in stories today. The feelings of family, the questioning of how "good" guys are supposed to act, the idea of a hero being a monster — these are all stories and themes we saw in the first issue of The Fantastic Four in 1961 and are also the same major themes in this summer's Avengers: Age of Ultron movie.

 

The Fantastic Four's relevance is the saddest thing about them. Seeing something dated and shopworn dissolve into nothing doesn't hurt because some part of you thinks it deserves that. But there's still a lot of life left in the Fantastic Four's bones — so much that even in the face of the unmitigated disaster that is Fox's new movie, I still believe in the Fantastic Four and the possibility of not just another great movie, but another great story. There's a comeback to be written, but I don't know if we'll ever see it.

[Boyd]

Drew Mcweeny (era Moriarty su AICN), che in passato non è mai stato tenero con la Fox gestione Rothman, si schiera con lo studio contro Trank:

 

I think people are siding against the studio without knowing what really went on in the process. Fox knew what their reputation was when Tom Rothman was running things, and they've been working hard to shift that perception by changing the way they approached collaboration.

 

Josh Trank may have fired off his disgruntled Tweet late Thursday night, but there are things about what he said that don't sit right with me. Trank had the studio's support on this film far longer than would seem justified because Fox was so very aware of how it would look if they pushed the young filmmaker off of his movie. They made him work for the greenlight before they decided to go ahead with the movie, and whatever Trank wants to say about how he was handled, he was the one who directed the film. The studio wasn't making daily changes or forcing him to shoot material he didn't help create. They were doing everything they could to keep him on schedule and on budget, and they surrounded him with crew that they trusted. They wanted this film to work. Even when things weren't working, the studio still worked to find a way to have Trank solve those problems. He may claim that his cut a year ago was amazing, but that opinion was not shared by the majority of the people working on the film. There were internal conversations at that point about potentially scrapping everything. That's how strong the concerns were. Even so, they decided to back Trank while looking for ways to fix the movie, and the end result is the film audiences largely didn't bother to see in theaters this weekend.

Everything I've heard would indicate that the studio will move forward with a "Fantastic Four" sequel. It may not make that original 2017 date, but they're definitely planning to make it. The next filmmaker in is going to start from a difficult position, and they're going to have to work hard to create their own movie while starting with some of Trank's choices intact. For better or worse, Trank was given room to define these characters, and his signature will remain on the next film no matter who writes and directs it. The next movie will be a reaction to this one. What remains to be seen is whether or not this incident overall will test Fox's resolve to try to support their filmmakers. It would be understandable if they suddenly reverted to the way things used to be, when you did what Fox said or they would just steamroll you.

 

Modificato 11 Agosto, 2015 da FantasmaDeiNataliPassati

[Joker]

Vogliamo Deadpool nel sequel!