I really do need to start a spreadsheet to keep up with all of the possible fairy tale related films in development and production for the next few years. This time Hansel and Gretel is up for grabs.
From Michael Bay's The Institute to Produce Hansel and Gretel in 3D Source at ComingSoon.net:
Michael Bay's The Institue will produce Hansel and Gretel in 3D, an action-packed visual FX-filled version of the classic Grimm Brothers fairytale.Is anyone else as worried about this one as I am? There will be "legendary creatures of German mythology" in this tale? The white dove or the duck they escape on? Has anyone working on the film read the tale recently?
In addition to the infamous witch in the gingerbread house, the film showcases the legendary creatures of German mythology. These Teutonic beings will be designed by Joseph C. Pepe, the lead character designer from Avatar. The film is live action.
The movie is being produced by The Institute and Kalliope Films. The Institute was co-founded by Michael Bay and Scott Gardenhour. Kalliope Films was founded by Kira Madallo Sesay. Scott Gardenhour and Kira Madallo Sesay are the producers on the film.
The movie is scheduled for a spring 2011 shoot on location in Germany.
And may I add that while I have fully embraced ebooks, I am not anywhere near jumping on the 3D film bandwagon?
Oooh, snap. To quote Raymond Babbitt, bad. Definitely bad.
ReplyDeleteIn the movie world, at least from what I've seen, Michael Bay is, ahem, not the best producer you would want for a movie.
Other than that, Teutonic creatures? Apparently they have their history mixed up. Teutonic refers to the people of Germany when they were pagans. I think. Judging by the way the story is told and illustrated, Hansel and Gretel sounds like it is set in post-Teutonic, Christian Germany. Therefore, not too many Teutonic creatures would be mentioned, other than the usual dwarves, trolls, etc.
Strange. Definitely strange.
I've posted about a few more exciting prospects I've learnt of today on the SurLaLune forum here. There's also of course the current Michel Ocelot project, which is to screen in cinemas in a stereoscopic version – him having never been inclined to luddism when it comes to technique and always embraced new technology as a way to make something with a different texture to what he has done before. I don't use "luddite" as an insult, though; I'd describe myself as one and I believe we need them to keep analogue techniques alive, lest technology reach the ceiling it perhaps already has and leave everything having the same texture for ever more. But it's also enlightening to have someone like Ocelot to expose how much of the annoyances that I think of as being inherent to techniques that are currently popular in the mainstream are not due to the technology but rather to just how the mainstream uses them.
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