Emerald Fennel will be another member of the selected and awarded list
The recent confirmation that Emerald Fennel will be responsible for the screenplay, in addition to the potential directing, of the upcoming witch Zatanna movie, has raised concern among fans. The filmmaker is currently on the rise in the film industry, her film Promising Young Woman (Bela Vengança) was present in all the nominations of the grand prix and is competing for the Oscar for best film in 2021. Not only its realization but also the quality of the script signed by Emerald was constantly reminded.
However, she’s not the first great filmmaker to step out of her comfort zone and venture into the unpredictable world of comic book adaptations. With that said, let’s remember five very heavy names in cinema who have been involved in the production of hero movies before.
The author’s name may not sound familiar to a young audience, but trust me, if there was the internet in the ’70s, the news that Puzo would write the screenplay for Superman’s first film would take him to space. and generate unthinkable hype. The Italian-American author is best known for a minor book called The Godfather, which in 1972 won a film adaptation in a film that is also little remembered. Not only that, but Puzo also signed the screenplay for the first film, in addition to crafting an unprecedented story for Parts II and III.
Mario Puzo signed the novel “Poderoso Godfather”
That said, while the Superman: The Film project was still in its early stages, it inevitably suffered from the disbelief of many as it was a comic book adaptation and the benchmark for this type of work until now. there to be the 1966 Batman feature film. Hiring Mario Puzo, in addition to all of the other names who participated in front of and behind the camera, was essential for the project to gain credibility. Besides, the writer has managed to adapt a lot to the sci-fi fantasy theme inherent in the character, proving that he is not limited only to the universe of the gangsters.
It’s much more of a gamble than a statement, but beware; the directors are currently with a film in production Marvel: The Eternals. The truth is that at the start of production on this item, this item would also bring in the talented Ava DuVernay, who was set to direct The New Gods for DC, a movie that would have a similar theme to her rival Marvel. However, it was recently reported that the studio has decided to pull the plug and cancel production. A feather. Coming back to talking about The Eternals, the project has the obvious ambition to present to the public a group of deities that is characteristic of the universe of the publisher and the filmmaker is representative of the new wave of directors emerging in Hollywood.
Chloe Zhao is currently in the spotlight but remains as a big promise
Chloe gained popularity with her contemplative Nomadland, a film that won major US cinema awards in 2021 and has become an Oscar favorite. The film examines the life of the mobile communities that cross the country in search of employment opportunities that arise. In any case, they are two filmmakers with a lot of potential and who were directing very similar productions.
Remember when in the late ’90s Marvel was really better known for their comics and even animation than their movies? The character adaptations of the House of Ideas until then never worked, and were seen far more as examples of how not to produce a movie than as a primer to be followed literally in order to be successful.
Before being a consolidated name in Hollywood, del Toro ventured into Blade II
That was until 1998 when New Line premiered the first Blade movie starring Wesley Snipes. The violent and focused approach to the bloody scenes of the first film led to a 2002 sequel directed by Guillermo del Toro. Long before he won the Oscar for Best Director and Film, during the Toro era, it was a bet that, at the very least, he would be able to maintain the somber tone of the previous film. It turned out that the Mexican filmmaker amplified what had already been worked on and consolidated in the blockbuster market in the United States.
Without a doubt, the early 2000s were unique for the genre; although comic book adaptations did not reach the peak of box office success, it was a very interesting experiential period where there was still some concern about how to translate this medium into cinema. Therefore, it’s no surprise to say that one of the most interesting of these tests was Hulk, directed by Ang Lee.
Whatever the final quality of the work, Ang Lee’s presence in the direction of “Hulk” was very important.
The Taiwanese director is an extremely heavy and important name in cinema; before adapting the Emerald Giant, he had already received the Oscar for best foreign film in 2001 with The Tiger and the Dragon and after venturing into comics he would be the first Asian filmmaker to win the Oscar for Best Director with The Secret of Brokeback Mountain and The Life of Pi. Even though the Hulk alone didn’t win anything, he’s still notable for the comic book format transitions the director has showcased and also as a kind of study of the character of Bruce Banner.
Yes, you saw it coming and there was no way you couldn’t. Before he became one of the big names in Hollywood (the rare guy who has a free pass and the free will to do whatever he wants) Nolan was seen as an interesting promise in the early 2000s to showcase pendant lights that didn’t just reflect but brought the styles direction completely out of the box; Amnesia, which develops backwards, is one example.
Nolan changed the whole making of comic book adaptations
In the mid-2000s, Nolan intended to produce a biography of the famous Howard Hughes, but Martin Scorsese came in first and released The Aviator. In the words of Christopher himself, “he turned his attention to another eccentric millionaire” and in 2005 launched Batman Begins with the proposition of an unprecedented realistic approach to the Bat Man myth. The size was the success of the work that generated two more sequels. Nolan’s impact on comic book movies in general is also undeniable, showing that these characters could indeed engage in more real-life storylines and fundamentally shape the way DC Comics make movies to this day.
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