I’m going to save my guess as to Joss’ future plans until after Much Ado comes out. If it gets good buzz and a decent box office, the sky’s the limit. If not, then he may decide to play around with things that interest him the most rather than go for the “glory” that is Michael Bay-dom.
Maybe he could spin off another series set in the Firefly universe. It seems to me there are lot of stories could be based in that system. There is a dramatic tension between the more civilized parts of the system and the pioneer parts of the system.
Ugh, thanks for the heads-up - even shakey-cam in 2D tends to inflict nausea on me. (3-D is always out of the question.) I guess I’ll be spending that part of the film with my eyes closed.
I don’t remember that much shakey-cam in the film, in fact I remember commenting after seeing it that it DIDN’T have any, perhaps I missed it? or our definitions of “Shakey-cam” are different?.
Is this a joke? How can you think Much Ado–a pet project shot on the cheap in a few days at his house and whose biggest “name” actor is Nathan Fillion–will be a better indicator of Whedon’s career trajectory than his current megablockbuster? I mean, I realize the success of The Avengers has to do with many, many other things in addition to Joss, but this will definitely give him much more weight to throw around in Hollywood. And that doesn’t mean he’ll become Michael Bay.
Don’t get me wrong–I am looking forward to seeing Much Ado and I love Joss’s stable of actors (especially Fillion), but even if it does get a theatrical release it’ll likely be nothing more than a blip at the box office. I imagine he’ll continue to do these kinds of small projects for fun, in between larger, more mass-appeal ventures.
I’m speaking from an artistic view. More than one director has fallen to the blockbuster Hollywood temptation. If Joss still has the chops for “Art,” then maybe he’ll keep at it and not sell out to Hollywood. Make the films he wants to make, and do the blockbusters to keep his funding alive. But if MAAN disappears without notice, he might just decide to turn to the Dark Side. We don’t need any more of those people. We need directors who care, like Joss has been so far.
I can see a few reasons why Much Ado could be significant. One, it’s a test of his directing ability independent of his writing ability. Two, it broadens his portfolio: Most of what he’s done so far has been nerd fare in one form or another, but Much Ado is a straight romcom. Three, there’s a certain segment of the critical community that pays no heed to blockbusters, but would take notice of Shakespeare. Yeah, it won’t make as much money as The Avengers, but money isn’t everything.
When is that coming out, anyway?
“Inception” exists because of the Box Office of The Dark Knight allowed Nolan to finally get it made. Joss must have something like that rattling around his attic. That’s what I can’t wait to see.
I wonder what Joss’ deal is? I’m sure he has some points.
Take this for what it’s worth, because Joss often gives jokey answers or is coy about his intentions, but this is from a recent interview:
So the success of The Avengers means we may finally get to see Space Titanic.
On a more serious note, success isn’t always a good thing for creative types. Sometimes it turns out that they do their best work under limitations. Give them complete freedom and they produce self-indulgent crap.
Well if he’s going to be making blockbusters, I’d like to see him partnered with Timothy Olyphant for some action and/or science fiction films. Between Whedon’s dialogue and Olyphant’s delivery, that could be a terrific team.
In act 3, I noticed quite a few explosions emphasized by camera shakes, plus some quick camera pans.
I don’t get it. Besides the point that Joss doesn’t post here, there’s no step 1, and why would he want to do those horrible things? (altho true, I admit that Castle may have gone past it’s “sell by date”)
I would’ve thought Jon Favreau, by making Iron Man, would be in the firmament of Hollywood director gods. But then he made two disappointments back-to-back, and now he has two TV movies in development, a bit of a step down. It’s not hard to attribute a successful movie to something other than the director, or an unsuccessful movie to the director alone. And I can see Joss Whedon falling victim to this as well.
Starship Titanic has, in fact, been done.
The studio hired Whedon to write Alien Resurrection after he wrote the scripts for Buffy and Toy Story, but before the latter’s Oscar nom and the former’s resurrection as a TV show. So he was just a regular old screenwriter (and not JOSS WHEDON) at the time.
Normally, I don’t believe people who claim “they ruined my movie” because we don’t know how it would have turned out after drastic changes, but Whedon is right. They ruined the movie he wrote because Alien Resurrection the filmed movie is more or less the same as Alien Resurrection the Joss Whedon script, but suckier in several small (but key) ways.
That’s a good point, and something like that could still happen. However, the way I see it, the key difference is that while Robert Downey Jr. received most of the credit for *Iron Man’s *success, at least according to the vast majority of the reviews I’ve read, Whedon seems to be taking most of the acclaim for the Avengers. Now, there’s no assurance that the Hollywood industry will thing the same way as the critics, but it’s a good indication.
Sorry, I guess I left out important context. Step 1 was basically in the Reddit fan’s question - “Raise money (via Kickstarter) towards buying the rights back from Fox.” And steps 2 through 4 I read as sarcasm - that they’d be necessary to get Firefly back on the air as a TV series, but not what Joss wants to happen - thus, step 5.
It’s far from a certain thing yet, but when Sean Maher and Amy Acker, (both in the ‘Much Ado’ cast,) were in Toronto a few weeks ago for Wizard World Comic Con, there was some mention that Joss may be submitting it for the Toronto International Film Festival this year, which happens in September. That usually goes along with a wide release between November and January, though the TIFF winner from last year, “Where do we go now”, is coming out next week.
Take with salt as needed.