REPOST: SpongeBob Squarepants Goes Live-Action/3D in New Movie Trailer

SpongeBob Squarepants ventures out of the ocean and into the dry land in the latest sequel featuring Antonio Banderas, Clancy Brown, and Tom Kenny. More info on “The SpongeBob Movie: Sponge Out of Water” in the article below.

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Nicktoons heroes battle live-action evil on dry land in long-awaited sequel

Want to feel old? It has been a full ten years since the originalSpongeBob Squarepants movie. Two generations (and counting) of fans have been clamoring for a sequel the whole time, and now Nickelodeon has debuted the first trailer for The SpongeBob Movie: Sponge Out of Water, in which the champions of Bikini Bottom will appear for the first time in 3D opposite live-action human actors.

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In the sequel (which also includes scenes rendered in the series traditional 2D animation), Antonio Banderas appears as an evil pirate seeking a powerful magic relic hidden in SpongeBob and friends’ undersea community of Bikini Bottom. When he succeeds in stealing it – placing both the ocean and surface worlds in peril – SpongeBob, Patrick, Squidward, Sandy, Plankton and Mr. Krabs must undertake the perilous journey to the human world to confront him (which is where the 3D kicks in); ultimately making use of the stolen magic themselves to become human-sized superheroes.


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While SpongeBob characters have ventured onto land before, in the series it was typically accomplished using intentionally-crude live-action puppets of realistic-looking sea creatures. In the first movie, SpongeBob and Patrick were depicted as remaining animated when on dry land, but only so long as they didn’t dry out. They also encountered a human ally in the form of Baywatch star David Hasselhoff.

Sponge Out of Water is currently targeting a February 2015 release date.

Samantha Pouls is a film enthusiast who aspires to make genre-bending films that sell around the world. Visit this Facebook page for more filmmaking articles, news, and interesting discussions.


REPOST: Roberto Orci Talks Venom & The Sinister Six Movies

Roberto Orci spills his thoughts on what’s ahead for The Amazing Spider-Man spin-offs in this article.

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The Spider-Man spin-offs are a team effort.

Intent on exploiting its Spider-Man resource to the fullest, Sony confirmed rumours by announcing last month that it was planning spin-off films for the symbiote villain Venom and the group of baddies known as The Sinister Six. It’s a big order, and a group of writers is involved with making it happen. One of those overseeing this new drive – Amazing Spider-Man 2 co-writer/producer Roberto Orci – has opened up to IGN about how they’ll get it all wrangled.

“That’s the discussion we’re having right now; how exactly do you do that, and how do you do it without betraying the audience and making them all mean?” he says. “Cabin In The Woods’ Drew Goddard is going to be writing that one, so it’s kind of his problem… I’m kidding. We’re all working on each other’s stuff. So we want to be true to it, but there are some antiheroes in this day and age. There have been examples of that even on TV – Vic Mackey on The Shield, one of the great antiheroes of all time. There are ways to milk that story. Audiences have seen everything. They’ve seen all the good guys who never do anything wrong. Is there a story in seeing the other side? That’s the challenge, and that’s the fun. I’m not sure how we’re going to do that yet.”

In terms of logistics, Orci, along with regular partner Alex Kurtzman and fellow writers Goddard, Jeff Pinkner and Ed Solomon, are using a method well known to most of them, who got their start in TV writing rooms under the likes of J.J. Abrams and Joss Whedon. “In television, you get a great team of writers together, a writing staff, and you’re working on five episodes at once. You’re prepping one, you’re shooting one, you’re writing one, you’re posting one, and you’re trying to make sure they’re consistent over 13 or 22 episodes. That’s how we learned how to do things. So it’s funny in the movie business, and you have different things being done by different teams and they’re not all communicating with each other.

“So when we talked about our interest in all this stuff, we said, ‘Well, the way would want to do it is kind of go to a TV model,’ and then the distinction between the quality of TV and film has gone away. They’re both equally viable, awesome storytelling formats. So the idea of, let’s get a core group of writers and producers and directors – and even though I might not be the one writing Venom, I’ll be in the meetings talking about how to make it interesting. We could be putting in Easter eggs and planning ahead in the previous movies, and then that guy over there is going to write that movie, and Ed Solomon’s gonna write another one with us. So having a committee, a board, of people who are creative, who are filmmaker, who just keep it all together, that’s kind of going back to the way we started.”

Of course, there is also the not-so-small matter of getting The Amazing Spider-Man 3 and 4 made too, and all the time hoping that the superhero movie bubble doesn’t burst in the meantime. But at least Orci and co. have a plan to make everything hang together. The Amazing Spider-Man 2 will be in our cinemas on April 18.

Samantha Pouls is a movie buff who loves the Harry Potter series, The Hunger Games, and the Twilight saga. Like this Facebook page for more movie news, trailers, reviews, and more.

World War Z: Of Brad Pitt and soda ad cameos

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Apocalyptic films are just that—apocalyptic.  Most of the time they just share the same plot: a world in chaos with a super human phenomenon—it could be a tumultuous war against a megalomaniac dictator, an invasion of a monarchy of aliens who sees the Earth as a potential colony, or any violent upheaval that makes light matter of humanity’s well-developed technologies.  But what if the antagonist is none of these, but a corny bunch of walking deads, of rancid zombies?

World War Z, an apocalyptic zombie film based on  Max Brook’s novel, begins with barely mawkish drama that could have let one imagine that the entire film would revolve around Gerry Lane’s (Brad Pitt) family and his being a former UN troubleshooter.  But this drama ends immediately, as the following frames do not hesitate to go straight to the point: as the family drives through the Philadelphia city traffic, an uproar breaks the peace, causing severe traffic flow, and giving way to the appearance of the so-called zombies.

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Action-packed, intentionally rowdy, and breathtaking.  What follows is a series of zombie-killing scenes peppered with occasional dramas of Gerry choosing to save the world over his own family, as a protagonist is expected to choose the greater heroic cause.  After, the entire film continues in a not-so-otherworldly fashion: Brad Pitt travels around the world to find the weakness of the zombies—which he then finds minutes before the film ends. The open-ended finale, which shows zombie survivors from different parts of the globe, has Gerry Lane reuniting with his family.

Perhaps the film’s only fault is the profusion of a popular soda product at the climax—which killed the drama that could have merited a standing ovation for Pitt after killing all the zombies in a cinematically otherworldly fashion.

But who could not forgive a “just right” film if Brad Pitt is in it?

World War Z trailer - video
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Samantha Pouls understands that as a high school student who is interested filmmaking, she must not only look at the films produced outside the States but be a supporter of her own country’s movie industry, too. This Facebook page provides updates on her other activities.

What press junkets can do for a film

The Woman In Black Press Junket

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An important part of film marketing strategy, a press junket is a campaign used to get as much exposure for a movie as possible. Before a movie is released, journalists and film critics from around the world are flown into a preselected location to interview cast members and others involved in the film. Usually, a publicist is present to make sure that the interviews maintain a positive tone and are relevant enough to boost ticket sales. The interviews will be published across many media outlets worldwide, helping to create buzz for the motion picture.


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Press junkets are an exhausting task, but the value they bring to the film brand overrides this negative factor. It’s said that a large portion of a film’s budget is partitioned for this global marketing strategy.

Casting aside their marketing value, press junkets also provide the opportunity for media personalities and the audience to see what their favorite actors are like when the camera’s not rolling. In other words, press junkets offer an exclusive look to the kind of drama that appears outside a film set. The awkward moment between former couple Danny Boyle and Rosario Dawson on the junket for the film Trance is an example and so is the difficult situation which a Fusion reporter found himself in while interviewing Jesse Eisenberg of Now You See Me. An Asian reporter’s interview with Anne Hathaway for Les Miserables turned a bit miserable as the scribe was presented with cold statements like “That’s a very personal question,” in response to his query on whether or not Anne has experienced a kind of poverty to play the role of Fantine. Unfortunately the question is one of the many cultural bombs which the reporter shouldn’t have stepped on.


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For Samantha Pouls, a film student, a press junket is better appreciated by its face value—or brand value, that is. Visit this Facebook page for more film and entertainment news.

Yasujirō Ozu: The rebel filmmaker

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It always takes a long time before the Japanese art form to assault the grandiloquent consciousness of the West. The ethereal and macabre novels of Yukio Mishima—especially the The Sea of Fertility tetralogy or Hōjō no Umiand eccentric electro-jazz music of The Yellow Magic Orchestra had to wait years before they became known to the upper west side of the globe.


So did Yasujirō Ozu’s timeless films.


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Despite having an early fondness for American films, eschewing the trend of his time was Ozu’s favorite ball game. He—though not boldly—showed in his films how he loathed the conventions that Hollywood dictated. He preferred shooting continuous conversations to eyeline match wherein the audience sees what the on-screen character is seeing, a filmic storytelling he highlighted through breaking the 180-degree rule. A melodrama renouncer, he reconciled the conventionally unbearable continuous scenes present in his films with effectual narrative techniques by using ellipses—which he extensively developed in his 1949 drama Late Spring and his 1953 masterpiece Tokyo Story—or by cutting out enthralling scenes and transforming them into short dialogues instead.


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The camera positioning style—or the tatami shot, the shot and angle that represent the point of view of a Japanese kid, for according to him the world of corrupt moral and social orders can only be seen purely by an innocent kid—became a significant mark of Ozu’s career and filmmaking elegance. Over the years after Ozu succumbed to cancer, many young filmmakers attempted to employ the tatami shot in their films—some succeeded and countless failed—and some just became contented with paying homage to him.


Samantha Pouls, a big fan of the global film industry, is a junior high school student who is interested in the intricate process of filmmaking. This Facebook page can provide more updates of the other activities she loves being involved with.